Y ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rd STREET BEGINNING SATURDAY, APRIL Ist, 1916 AND CONTINUING UNTIL THE TIME OF SALE OLD AND MODERN PAINTINGS BY tHE GREAT MASTERS FORMING THE IMPORTANT COLLECTION OF MR. JOHN ANDERSON, JR. TO BE SOLD AT UNRESTRICTED PUBLIC SALE IN THE GRAND BALLROOM OF PibeebicAZ Oo HO LEE FIFTH AVENUE AT 59th STREET, NEW YORK ON THURSDAY EVENING, APRIL 6th, 1916 AT THE HOUR OF 8.15 O’CLOCK Z ta “unt tes «i & , = % — +e - ‘ a 0 a - + ah ¢. _ a =) See = Nee date al P / r ¢ 2 ¢ ‘ 4 ~ 7 ~ J e 2 o ILEWSPRATED, GATALOGUE ©F OLD AND MODERN PAINTINGS BY THE GREAT MASTERS FORMING THE IMPORTANT COLLECTION OF MR. JOHN ANDERSON, JR. TO BE SOLD AT UNRESTRICTED PUBLIC SALE IN THE GRAND BALLROOM OF THE HOTEL PLAZA FIFTH AVENUE AT 59th STREET, NEW YORK ON THURSDAY EVENING, APRIL 6th, 1916 THE SALE TO BE CONDUCTED BY Mr. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK CITY 1, FES A a aie et i ; # ipa di \ send 40k =x@ a a ‘ » vg fl y a’ wow . heap Wake : a . rs \ ¢ : ¢ THE AMERICAN ART ASSOCIATION _ DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY ' ‘ \ ~ - _— . ‘ ‘ / * ¥ ‘ ' THE ANDERSON COLLECTION INTRODUCTORY NOTE BY MR. ANDERSON The advertisement of the sale of my paintings has given to many their first notice of my having been a student of Art as well as of Bibliography, and covering an equally extended period. That I was a lover of good pictures many years before I was able to buy one is but stating the situation in which many others have found them- selves. Even in those days I bought pictures, but they were not good ones. My aims were high, but my funds were low. Books cost less than pictures, so I bought good art works, and studied them. I attended various art exhibitions, was a frequent visitor to the Met- ropolitan Museum of Art, visited the Academies and Museums in other cities, and haunted the Auction Salesrooms, when the best collections of paintings were exhibited and sold. Others were acquiring the pictures; I was acquiring an education. # * * * * « * * My ambition was to become the possessor of at least one good, authen- tic picture, by one of the acknowledged great painters of the world. ‘To own and enjoy a single masterpiece, meant much more to me than the pos- session of a houseful of ordinary paintings, and now, after the lapse of over thirty years, I hold, even more strongly, to the same opinion. There are few collectors of the Altman type and stature, who can form entire collections of masterpieces. ‘To most of us, their acquirement is a slow process, but the joy of landing one is only equaled by that of an ardent fish- erman who has caught a fish so large that no one will believe his statement as to its size and weight. Great paintings, by great masters, do not grow on trees or bushes, to be plucked by the casual passer-by! * * # # * * * # Later in life, I enjoyed the inestimable privilege of travel, visiting many times, in many countries, the famous art galleries, and some of the private ones. his, in my opinion, is one of the most important factors in the formation of a collection of paintings. ‘There can be no competent judgment, without sight and first-hand study of the great works of the masters. No man has it in his power to form a collection containing exactly what he most desires, nor all that he desires. The limitations of time, means and opportunity apply to all alike, though not in the same degree. As a collector I was not content merely to seek great names or certi- fied pedigrees. My aim was to secure one or more representative exam- ples of Dutch, Flemish, English, French, Italian, Spanish and German art. In that regard, my hopes have been more than realized. Inness, Wyant and Blakelock more particularly represent the American school. + # * 4 * * # % The signatures of the early artists present a fascinating study. Strangely enough, no comprehensive work on the subject has been writ- ten, though monograms have been adequately treated by well-known authors. The criterion of value in an early masterpiece is not, primarily, its signature, but its quality. Many paintings bear forged signatures, but they have been applied, in nearly all cases, so as to make poor pictures appear to be good ones. Paintings of rare quality seldom bear forged names. ‘The motive is lacking. Signatures on old paintings are often most difficult to decipher, be- cause of having been made very lightly, and with studied unobtrusiveness ; and also because of the use of pigments liable to fade. * x * * * * * * I am a lover of good paintings, of whatever school or period, and en- tertain no conscious prejudice in that respect. Why, then, the dispropor- tionate representation, in this collection, of modern masters to the early ones 4 Possibly I have been influenced by the thought that the reputation and standing of the latter are assured while with many notable exceptions, of course, there is an element of uncertainty regarding the judgment of pos- terity as to the works of the modern painters. Perhaps it was because I have tested, and found true, the statement of John Durand, which I read over twenty years ago: “The art of all modern schools suffers more or less by contact with the masterpieces of the old masters. Introduce a Rembrandt, a Raphael, a Velasquez, a Titian, or any work of a great genius of the Renaissance epoch into the finest modern col- lection, and all other works grow pale before it.” The rules I adopted for my guidance, and endeavored to follow, in forming this collection, are these: Cultivate individual taste, and acquire knowledge by study and expe- rience. ‘These two ingredients, well mixed, will produce a “knowist,” the highest exemplification of so-called “expertism.” See as many good paintings as possible, and study them. Judge a painting by what it is, and not by the name it bears. A painting of great quality can have been made only by a great artist. Distinguish between originals, copies, and replicas. Shun copies, but remember that replicas are oftentimes better than the originals. Refuse paintings that lack quality. Genuine works of a master will pos- sess It. Avoid paintings possessing an artificial note. They will soon wear out their welcome. Do not countenance monstrosities in art. You must live with them, as with your family. So far as is possible, admit no picture to your collection that is not in- contestably genuine. If one has been inadvertently admitted, dis- card it promptly, without regard to the money loss involved. Make it up on something else. * * * * * * * * It is needless to say that, with high ideals and diligent endeavor, I have been subject to serious limitations, and am conscious of having fallen far short of the realization of my aims. The judgment of the jury will be accepted, without demur. * x % # % * % * In my catalogue I have made bold to set forth not alone the attribu- tions of authorship which I have given to my pictures, but also my reasons for doing so, and to the end that the pictures might have the best possible de- scription, each is illustrated, the text being merely notes of historic interest or of appreciation. Als ae Alte Monrciuarr, NEw JERSEY, March, 1916. 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. 9. 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 purchase 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. 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. {. 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. ar NOTE Mr. Anderson has written a monograph which has been printe contains a more critical and detailed account of the exam Rembrandt (62), Van Eyck (67), and Raphael (56), than was sible in the limits of a catalogue description, and this may be ob on request, from the Managers. at SALE THURSDAY EVENING APRIL 6, 1916 IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE AT 59TH STREET —_ BEGINNING PROMPTLY AT 8.15 O'CLOCK ery s i 7 © d as ow ’ - ip! 7 3 on Sy nee = S54 2 ¢ + oat eke e Ae) wh. 7 > 3 - No. 1 ee aes “ ALFRED EDWARD CHALON EncuisH: 1781—1860 4 ‘oo BABY’S BATH Height, 20 inches; ‘width, 1444 inches. aa n CHALON was distinguished as a fashionable portrait paint Ps He made portraits of Dickens, Lord Lytton, and many are rare. Mr. James was able to record only two of at public sale since 1840. er een CS ea > saci sie RAMEE No. .2 JOSEPH JEFFERSON American: 1829—1905 A LOUISIANA SUNSET Height, 14 inches; length, 20 inches EvipEnty this painting was made in the vicinity of J efferson’s own home in Louisiana. The influence of Rousseau is clearly indicated. It is one of the most pleasing examples of his brush-work, and lends weight to the opinion held by many of the admirers of the famous actor-artist that ‘f he had been able to devote undivided attention to his painting, he might have developed into one of America’s best landscape artists. But, in that case, we should never have had our beloved “Rip!” Signed in the lower right-hand corner, J. JEFFERSON. No. 8 THOMAS SULLY AMERICAN: 1783—1872 cye-cs ee THE YOUNG ARTIST AT WORK ~% i Height, 13 inches; length, 18Y inches He painted the birthplace of Benjamin Wiese ana ee elderly friend and adviser, in England. | ae Signed with monogram in the lower - From the collection of the late Samuel A. Beers, Esq. Ke a By * Fit * ., ~~ ' > $y ra e ~. ™Y Pe ‘ i yh Shab = vi No. 4 GODFRIED SCHALCKEN DutrcH: 1643—1706 CANDLELIGHT COMFORT (Copper) Height, 111% inches; width, 9 inches Tre resemblance of the smoker to the engraved portrait of Schalcken be- ing marked, it was possibly intended as a portrait of himself. He made a specialty of artificial light effects, and attained remarkable suc- cess. His masterpiece is in the Royal Collection at Buckingham Palace, and he is well represented in the Wallace Collection and the National Gal- lery, London. This is one of the pictures where he tried to combine the effects of two dif- ferent sources of light. Signed in the lower right-hand corner, G. SCHALCKEN. From the collection of T. R. Marshall, Esq., Bournemouth, England. No. 5 ALEXANDER CALAME | Swiss: 1810—1864 THE VALLEY OF CHAMOUNIX, MOUNT BLANC IN oe I end Signed in the ee lef No. 6 HENRY HOWARD Enewuiso: 1769—1847 PORTRAIT OF JOHN PHILIP KEMBLE AS CORIOLANUS Height, 24 inches; width, 20 inches Avr twenty-one years of age, young Howard won both the silver medal of the life school and the gold medal for the best painting, in the Royal Acad- emy. He was Professor of Painting in the R. A. in 1833. Kemble attained his greatest success in classical parts. In the characters of Coriolanus, Brutus, and Cato, he was without a rival. An inscription seems to have been written on the garment covering’ the breast, but beyond the date (Feb. 5, 1795) it cannot be deciphered. Exhibited in Somerset House, London, 1820. From the collection of the late Elias Dexter, Great Russell Street, London. No.7 oe VICTOR PIERRE HUGUE Frenon: 1835—1902 ae = ARAB HORSEMEN AT DRINKING | Height, 141 inches; a 19 inc Tan artist traveled much in Algeria and the Waste n ; SNe) of the painting of Arabian life and charact ; » . a « ce a oa ak al No. 8 ALLAN RAMSAY ScorrisH: 17138—1784 DR. JOHNSON’S VISIT TO FLORA MACDONALD Height, 20 inches; length, 24 inches Frora Macponanp was the Highland lassie who risked her life to save “Bonnie Prince Charley” from capture, and succeeded in conveying him, disguised as her manservant, to the Isle of Skye, in 1746. She married and emigrated to North Carolina, but later returned to Skye. The interview between Dr. Johnson, Boswell, and Flora Macdonald is de- scribed in Boswell’s account of Dr. Johnson’s visit to the Hebrides. Ramsay was the son of the author of the “Gentle Shepherd.” Churchill > refers to him in his “Prophecy of Famine,” as follows: “Thence came the Ramsays, names of worthy note Of whom one paints as well as tother wrote.” Boswell quotes Dr. Johnson as speaking in the highest terms of the artist Ramsay. Portraits by him are in the National Portrait Galleries of Eng- land and Scotland. Signed in lower left-hand corner, A. Ramsay. Purchased from C. A. Woollett, Esq., Rochester, Kent, England. ee ho No. 9 CHARLES WILLSON PEALE | AMERICAN: 1741—1827 PORTRAIT OF RICHARD HENRY LEE Height, 22 inches; width, 19 inches To Peale belongs the honor of having painted more } ton, from life, than any other artist,—no less than not in the National Military Service, it is probabl i appears indicates his relation, as a volunteer, to the ‘Ss state, Virginia. i Purchased from Mr. M. Marcell, New Orleans. i ne No. 10. | AMERICAN: 1851—1903 INDIAN ENCAMPMENT, SOUTHERN CA] Height, 40 inches; width, 80 inches Rrx was generally at his best when painting a | , was deeply in love with the scenery of that t of his friend Bierstadt is seen in this example. | _ ey eee of No. 11 WILLIAM MULREADY ‘ Height, 24 inches; width, 20 inches . es =n Mutreapy was one of the most gifted of the English ing the honors with Sir David Wilkie and Chas. R. | asm in his work is evidenced by his reply to the Sel Royal Academy, in 1863, the year of his death, abs as if I were drawing for a prize.” Mulready never with a picture until he felt he could do no more to ee \ No. 12 THOMAS HUDSON Eneusu: 1701—1779 PORTRAIT OF CHARLES CHURCHILL Height, 30 inches; width, 25 inches Cuurcuitn was an English clergyman, born 1731, died 1764. He aban- doned his profession and became a noted poet and satirist. He wrote the “Rosciad,” and satirized Hogarth, who avenged himself by a famous cari- cature. Hudson was the fashionable portrait painter of his day, the pupil of Jon- athan Richardson, and the teacher of Sir Joshua Reynolds. From the collection of H. J. A. Eyre, Esq., Shaw House, Newbury, Berkshire, Eng- land. 4 No. 13 JAN VAN GOYEN Dutcu: 1596—1666 FISHING BOATS, AT MOUTH OF THE MEUSE (Panel) Height, 19 inches; length, 28 inches Van Govren might be called the liberator of Dutch landscape painting. “Tle was the first to discover poetry in the unbroken horizons of his na- tive land, and the first painter who was able to give to canals and streams a place of importance in art, and to realize the deep emotion which is to be | The seal of an early owner appears on ’ found in a low cloud-laden sky.’ back. Signed, with monogram, on boat, at right. From the collection of Miss Emilie Grigsby. No. 14 JONATHAN RICHARDSON Encusu: 1665—1745 PORTRAIT OF MATTHEW PRIOR Height, 30 inches; width, 25 inches. Prior was a distinguished statesman as well as an ingenious poet. He was buried in Westminster Abbey. 3 Richardson was an intimate friend of Prior, as he was of Alex Pope, whose portrait, painted by Richardson, also appears in this collection. Dr. Johnson, Sir Joshua Reynolds, Hogarth and Prior varied in their esti- mates of the value of Richardson’s writings on Art, but not on his ability as a painter. Prior, when asked by him what title he should give one of his books, replied: ‘““The memoirs of yourself and your son, with a word or two about painting.” Engraved by Philip Audinet, London, 1794. Purchased from J. Spratt, Esq., Exeter, England. No. 15 ASHER BROWN DURAND American: 1796—1886 NEW YORK CITY FROM HOBOKEN HEIGHTS Height, 15 inches; length, 27 inchés Duranp was famous as an engraver for many years before he resolved to become a painter of landscapes and portraits. He was forty years old when he painted his first picture. The country back of Hoboken and Weehawken, as then existing, was a fav- orite resort of the artist. The painting has never been engraved. Signed in the lower left-hand corner, A. B. Duranp. Cas Mahe OG, Che ee vi “ 1 ‘ No. 16 JULES ADOLPHE a FRENCH: 18271906 some iad ant eee ene o Hee the better class of pene that he lo No. 17 JAKOB JORDAENS Friemisu: 15983—1678 THE PEASANT AND THE SATYR Height, 17%4 inches; length 2314 inches Ix Jordaens’ second manner, evidently under the direct influence of Ru- bens. Probably a replica of the picture in the Royal Museum at Brussels, pur- chased at the Wellesley sale, in 1846. Max Rooses, the greatest authority on the works of Jordaens, states that the artist frequently painted this scene from peasant life, and that the subject possessed an unusual attraction for him. He describes the pic- ture in detail in his work on Jordaens, and adds: “No fierce glow, no vivid | full color, is to be seen any longer; everything is wrapped in a velvety warmth, a suppressed glow, and a melting light.” Crowe says: “In power and transparency of coloring, Jordaens may be placed on the same level with Rubens, and in a certain golden glow, and depth of chiaroscuro, he even excels him.” In this painting Jordaens has introduced a portrait of himself, together with those of his wife and child. From the collection of the late Elias Dexter, Great Russell Street, London. No. 18 THOMAS STOTHARD EneuisH: 1755—1834 SCENE FROM SHAKESPEARE’S “KING RICHARD IT” Height, 811% inches; width, 22 inches SrorHarp’s original picture, painted for Alderman John Boydell’s fam- ous Shakespeare Gallery. It represents the Duke and Duchess of York and their son Aumerle in a room in the Duke’s palace. The Duke has dis- covered Aumerle’s treachery to the King, in the paper found on his person. Curiously, the engraving made from this painting for Boydell’s Gallery (of which a copy accompanies the picture) gives the name of William Ham- ilton, R.A., as the artist. This mistake originated at the time the engrav- ings were issued, and has, apparently, remained undiscovered until now. Even Mrs. Bray, the biographer of Stothard, was unaware of his having painted the picture, as it is not included in her exhaustive list of his works. The composition, design and colors are distinctly Stothard’s, and it bears his signature and date. Stothard’s famous painting of the “Canterbury Pilgrimage” is now in the National Gallery, London. Signed in the lower right-hand corner, T. SrorHarp, 1801. Purchased from Messrs. Robinson & Fisher, London. 1° y,! ll . No. 19 a WILLIAM HART, N.A. AMERICAN: 18231894 f AN AUTUMN MELODY Height, 16 inches; eee: peut ve A rriENnp of the owner, whose nationality may easil the artist, and this picture: ‘Ile may have sant E ture than that, but it is impossible.’ conte et ae No. 20 JAN-JIOZEF HOREMANS THE ELDER Friemisu: 1682—1759 THE COCKFIGHT AT THE FORGE Height, 25 inches; length, 30 inches Tur younger Horemans (Jan-Jozef, 1714-179—) is generally confounded with his father. ‘The works of the son (called the “bright one,” because of his using bright colors) are frequently sold in the London and Continental Salesrooms, and the New York Metropolitan Museum of Art possesses a number of examples. On the contrary, the paintings by the father (called the “brown one,” because of the preponderance of that color in his canvases ) are few in number and most difficult to procure. Signed on the barrel, in lower left-hand corner, J. H. (date indistinct). From the collection of Arthur Stopes, Esq., Colchester, Essea, England. No. 21 DAVID COX EneuisH: 1783—1859 ACROSS THE COMMON Height, 18 inches; length, 18% inches A cHaracreristic example of Cox’s work in oils. Nearly ¢ were made in water colors. The paintings of his son, name, are often mistaken for his. A former owner, finding the signature a trifle indi by tracing it over with modern ink. Fortunately | he ¢ prove the landscape itself. : ae eee Purchased from W. L. Yewlett, Esq., London, England. ne . \ es i, _- ‘i. 2 Le te & + ar ws Fs No. 22 GABRIEL METSU Dutrcu: 1630—1667 THE ARTIST, PAINTING HIS MOTHER'S PORTRAIT Height, 28 inches; width, 24 inches Brrors his marriage, Metsu’s mother served as his model; after marriage, his wife was frequently introduced into his canvases, oftentimes in company with the artist himself. These same figures appear in Metsu’s famous “Visit to the Nursery,” be- longing to Mr. Morgan and now in the Metropolitan Museum of Art. It shows how the artist advanced from days of struggle to those of affluence, from meagrely furnished rooms to those with sumptuous fittings. In the - Morgan example, the woman-servant wears the same character of neck- wear that his own mother wore ten years before. The date of 1651 appears on the painter’s box. Metsu often introduced his own portrait in his pic- tures, but this is evidently the earliest one of him known. Signed (indistinctly) in the lower left-hand corner, G. Mrrsu. From the collection of the late John Wilkinson, Esq., Isleworth, Surrey, England. Purchased from his niece, Miss Davis, through George Suckling, Esq., London. No. 23 JEAN BAPTISTE EDOUARD DETAILLE Frencu: 1848—1912 A CHANGE OF PACE, GOING UP HILL Height, 1014 inches; length, 18%4 iches Ar the time this painting was made, M. Detaille was a Secretary to Gen. Appert, and serving in the Franco-German War. He was making plans of the environs of Paris, and doing other topographical work. The picture possesses interest as being one of very few known, of a non-- military nature. Signed in the lower right-hand corner, E. Derattye, 1871. From the collection of the late Alexander Cecil Fenton, Bayonne, Neds No. 24 GONZALES COQUES FLemisH: 1618—1684 INTERIOR OF A FLEMISH TAVERN Height, 25 inches; length, 30 inches Cogurs was the son of Spanish parents, who were ignorant of the arts, and incapable of discerning the peculiar bent of his early developed powers. They placed him under the tuition of David Ryckaerts the elder, who was probably more successful as a teacher than as a painter. Coques was ev1- dently influenced by the work of Adriaen van Ostade and Teniers. He pictured merrymakings of the peasants, and scenes of domestic life among the lower classes. He soon came under the influence of Van Dyck, and, thereafter, painted only portraits, garden scenes and conversation pieces, in which he attained fame and wealth. He was called “The little Van Dyck.” Few of his genre paintings are known. Out of over fifty pictures by Coques, described by Smith and Seguier, only one represents the distinc- tive work of his earlier period. Signed in the lower left, near the barrel, G. CoauEs. my i + i Now25se ee Pe . SIR GODFREY wee : ENGLISH: 16481723 Gay was the famous author of the ae a - ESS ie farces. ea “Fables” ose He was buried in Westminster Aber tion on his monument. From the collection of Charles Ratcliffe, Esq., Salis ny =a No. 26 AELBERT CUYP § DutrcnH: 1620—1691 - . A TRAVELER BESTOWING ALM (Panel) Ligne ents ae From the collection of Richmond Whe Beh, Exeter, \ aernegibdl No. 27 JOHN GRAHAM GILBERT ScorrisH: 1794—1866 PORTRAIT OF JAMES WATT (Panel) Height, 25 inches; width, 20 inches Tus portrait may not be by Graham Gilbert. If not, it is by Sir Henry Raeburn. It is catalogued under Gilbert’s name, and not Raeburn’s, be- cause it is the less famous. The portrait may be by either, and the party purchasing it as a Graham Gilbert may find himself, or herself, possessed of a fine Raeburn. Lists of the portraits painted by Raeburn have been published by Sir Walter Armstrong, Mr. James Greig, and Mr. James L. Caw, all ac- knowledged authorities. The name of James Watt does not appear in any of the lists. Nevertheless, Raeburn painted two portraits of the great en- gineer and inventor, one for Mr. Watt, himself, and another,—a replica of it—for his friend John Rennie. An account of them is given in Muirhead’s life of Watt, London, 1858, p. 533. Graham Gilbert also painted two portraits of Mr. Watt, but not from ite; He presented one to the University of Glasgow, and a replica made for Mrs. Watt was at the family residence near Birmingham, in 1858. As the result of the present owner’s visits paid to the homes of Mr. Watt's descendants and heirs, in England and Wales, and based on correspond- ence following said visits, it can be definitely stated that neither of the por- traits referred to is now in the family’s possession. A duplicate of the portrait now offered is in the Hunterian Museum, Glas- gow, but the authorities there state that they are not able to trace its his- tory, nor when, nor how they acquired it. They do not even know who painted it. ‘They have also one or more other portraits of Watt in the Mu- seum Collection, one of which may be the bequeathed Graham Gilbert. If so, it adds to the probability of this portrait being by Raeburn. Muirhead states that Watt sat to Raeburn in Edinburgh, in 1815, when he was seventy-eight years of age. From the collection of Charles Holland, Esq., Hendon, Middlesex, England. ae”. “ ar No. 28 RALPH ALBERT BLAKELOCK American: 1847— | is = oa as A INDIAN ENCAMPMENT Height, 14 inches; length, 20 inches Ir is difficult to conceive any more satisfying ] blend of poetry and prose. eek The painting was purchased from the artist, mained in his possession until his death. Signed in the lower From the collection of the late J. M. Booth, Esq. 3 ; 4 wie Ce nae’? No. 29 GEORGE ROMNEY EncuisH: 17 34— 1802 PORTRAIT OF CHARLES JAMES B Charles James Fox was one of Hngland’s genes the cause of America, in oppesiion to the policies 1 the Revolutionary War. From the collection of Major C. E. Davis, Bath, E gl doe No. 30 _EncusH: eee ; o A DECIDEDLY original conception of the fat kni a a Shakespearean subject re by hee as no No. 31 THOMAS THOMPSON American: 1767?—1852 THE BATTERY PROMENADE, AND NEW YORK HARBOR (Colored lithograph, 1829) Height, 241% inches; length, 611% inches Tux artist and lithographer was probably born in England. In his earlier years he was a portrait painter, and practiced his profession in the Southern States. He painted the portrait of Augustus Graham, founder of the Brooklyn Institute of Arts and Sciences. During his later years he re- sided in Brooklyn. Only one other copy of this lithograph view is known. It is in a private collection, and was exhibited at the Grolier Club, in December, 1915. The American flag (17 bars!) and weather-vane, on Castle Garden, have. been added by some former owner. He evidently feared the scene might be mistaken for Hamburg or Hong-Kong. Lacks inscription at bottom. While its primary value is as a view of Old New York, this print also possesses uncommon interest as an example of the lithographic art. The earliest known lithograph in America was issued only in 1819, and, here, only ten years later, appears this elaborate specimen, in three sections. It is valuable as giving a reliable representation of the costumes of that period. Signed in the lower right-hand corner, T. ‘THompson, 1829. No. 32 JAN WYNANTS Durcu: 1615?—1680? SMALL LANDSCAPE, WITH FIGURES (Panel) Height, 1114 inches; width, 10°4 inches A ‘ryPiIcaL example of Wynants’ art in miniature landscape painting, dif- fering materially from his work on the larger canvases. The dead tree, the sandbank, the vegetated foreground, are all here, but beyond these, the lit- tle picture possesses that indefinable quality he imparted to his small paint- ings, which induced some of the well-known English landscape painters to imitate him. The figures are probably by A. van de Velde. Signed in the lower right-hand corner, J. WyNaANtTs. Purchased from James Gunn, Esq., Bedford Street, London. No. 33 GEORGE INNESS a American: 1825—1894 ee : A SUNSHINY AUTUMN LANDSCAPE Height, 30 inches; width, 25 inches Mr. Iynezss contributed a sketch many years ago to the Black and White Club, held at the rooms of the Salmagu tracted the attention of Mr. J. M. Booth of Rochester, sioned the artist, Sane. Mr. Sand ord eee No. 34 GEORGE MORLAND Eneusu: 1763—1804 SELLING FISH (Freshwater Bay, Isle of Wight) Height, 281% inches; length, 36 inches Moranp paid a number of visits to the Isle of Wight, and painted over thirty pictures and sketches of its lovely scenery, and the domgs of its peo- ple. His time was spent at Shanklin, Cowes, Yarmouth, and Freshwater Bay. While at the latter place, in 1796, in hiding from his London cred- itors, he painted this picture, “Selling Fish.” It must not be confounded with a different picture bearing the same title, now in the collection of as Phillips, Esq., Cobham, Surrey, England, reproduced in Williamson’s “Morland.” The picture now offered appeared in a sale held at a large old house in Newport, I. W., and was bought by a local dealer. He sold it to Mr. Symes of Eastbourne, who in turn sold it to Joseph Walker, Esq., of Sevenoaks, Kent, Eng. The present owner purchased it from Mr. Walker. ‘Two other pictures bearing this title are known, but they are much smaller, and one is unsigned. This bears every mark of being the original, and probably never left the Isle of Wight until purchased by Mr. Walker. Signed in lower left foreground, G. Mortanp, 1796. Engraved in mezzotint by J. R. Smith, 1799. Reproduced in Dawes’ Life of Morland, 1904. No. 35 JONATHAN RICHARDSON EncusH: 1665—1745 3 : oN PORTRAIT OF ALEXANDER POPE Height, 30 inches; width, 25 inches Ricuarpson was called by Malone, the “pictorial gran Reynolds,” as his pupil, Thomas Hudson, was the t Z as Pope and Richardson were intimate f rend There i is believing this to be one of une mos life-like ‘portraits: poet and essayist. - Engraved by T. H olloway as Pee to Warton’s edition : vols., London, 1797. ae! From the collection of Benjamin Way, Esq., 1797. 3 A * a ; From the collection of Evert Jansen Wendell, Esq., New York. t(aa No. 36 ADRIAEN BROUWER Dutrcu: 1606—1688 THE VILLAGEHK SURGEON (Copper ) Height, 11%4 inches; width, 9% inches “Ti paintings of Brouwer are real marvels of arrangement and coloring. We must attribute to his excesses the extreme rarity of his works, a rarity the more to be deplored, on account of the artist’s great talent.”—Henry Havard. The most enthusiastic admirers of Brouwer’s art were Rubens and Rem- brandt. Among Rubens’ effects no less than seventeen of his paintings were found, and Rembrandt possessed six of them, besides many drawings. This picture is probably the one described in Hofstede de Groot’s “Cata- logue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century,” London, 1910. (No. 30C), though there is a slight difference in the measurement. A canvas painting of the same subject is in the Alteren Pinakothek, Mu- nich. ! Signed with monogram in the lower left-hand corner. From the collection of the late Elias Dexter, Esq., Great Russell St., London. No. 37 JOSEPH MALLORD WILLIAM TURNER, R.A. EneusH: 1775—1851 NORTH SEA, OFF LOWESTOFT LIGHT (Water Color) Height, 12 inches; length, 18% inches ComparativeLy few of Turner’s paintings in oil have retained their orig- inal colors. On the contrary, those painted in water colors have not deteri- orated, but, in fact, have improved through being mellowed by age. This painting was exhibited at the Arbuckle Institute in Brooklyn, and its Director of the Fine Arts, Leon Dabo, Esq., in his lecture on “Turner and His Works,” referred to it as a particularly good example, possessing the most sought for characteristics of the great painter’s art. Signed in the lower left-hand corner, J. M. W. TURNER. aaa No. 38 SIR JOHN WATSON GORDON Scotrtisuo: 1790—1864 PORTRAIT OF WILLIAM WORDSWORTH Height, 30 inches; width, 25 inches Watson Gorpon’s reputation as a portrait painter was so high, that at the death of Sir Henry Raeburn, in 1823, he was chosen to be his successor in his Edinburgh practice, and the celebrities of the Scottish capital visited his studio. He was President of the Royal Scottish Academy. He painted the portraits of many eminent literary characters, including Sir Walter Scott, John Wilson (“Christopher North’), De Quincey, and Lockhart. As De Quincey was a close friend of Wordsworth, it is likely the poet was induced by him to go to Edinburgh, and have his portrait painted. It is believed that no reproduction has previously been made of this portrait. Purchased from Messrs. Foster & Foster, London, Eng. No. 39 WILLIAM HENRY BARTLETT Eneutsu: 1809—1854 NEW YORK CITY, FROM WEEHAWKEN HEIGHTS Height, 25 inches; length, 80 inches During the period of 1835-1854, Bartlett was probably the best known and most prolific of the topographical landscape painters. His artistic tours extended to all the four quarters of the globe, and he paid four visits to America, between 1836 and 1852. He wrote the text of seven different works, including one on the Pilgrim Fathers, and supplied the illustrations for no less than nineteen thick volumes, covering all the countries then ac- cessible. He died at the early age of forty-four years, on his return from a trip to the Orient. His “American Scenery” is one of his most noted works. The plates were evidently engraved from his drawings, as nearly all his originals are in that form. Very few paintings by him are known. This picture, in oil, is the original from which the accompanying engraving was made. The portion of New York City shown, probably runs from 40th to 70th Streets. It is likely that all of the houses represented could be identified by reference to old maps of the city. Purchased from James Gunn, Esq., Bedford Street, London. No. 40 PAULUS POTTER Dutrcu: 1625—1654 MAN, WITH CATTLE, IN LANDSCAPE Height, 1814 inches; width, 10 inches Porrer lived only twenty-eight years, and the exhaustive research of Dr. Hofstede de Groot failed to reveal more than about two hundred known ex- amples of his art. ‘He was noted for the perfection of his drawing, his knowledge of anatomy, and a coloring which harmonizes wonderfully with the different lights of day. His landscapes, with a few willows in the fore- ground, are painted with an atmosphere of wonderful clearness. His works are generally of small dimensions, but are all the better for not being more extensive in scale.”—Havard. Signed in the lower right-hand corner, Pauius Porter, 16(49). Seal of former early owner (artist making a sketch) on back. No. 41 JOHN CONSTABLE Encuisu: 1776—1837 A PASSING SHOWER ON HAMPSTEAD HE Height, 25 inches; length, 80 inches Hampstreap Hearn had a peculiar charm for Constable, its beauties on many canvases. His happiest days were ily, in their home in Hampstead village. He first exhibited a painting of this lovely scene ins 1833, his own possession until his death in 1837. It was pees ed Gallery in 1888 py his Se : ar 7 No. 42 DAVID TENIERS THE YOUNGER re Dutrcu: 1610—1690 | oe op A FLEMISH VILLAGE FETE (Panel) ik Height, 91% inches; length, 1214 inches A. SPIRITED and characteristic example of Teniers’ art, aa a bright and stimulating; his humor merry and superficial.” Before this panel was cradled, it bore on the back a se Signed with initials, on a From the collection of Arthur Knapp, Esq., N ayland, Essew. From the collection of A. W. Nightingale, Esq., Colchester No. 43 MARC GEERAERTS THE YOUNGER Beueran: 1561—1685 | PORTRAIT OF HENRY WRIOTHESLEY, oT erate! were Aeiieted to ine He was high in the favor of King James L., whose by Geeraerts, is in the collection at Dulwich Colle es nt a bi Hw eo oo oot Nite ge BATH aie ae, No. 44 SALOMON VAN RUYSDAEL Durcu: 1600?—1670 OLD CHURCH BY THE RIVER-SIDE (Panel) Height, 16 inches; length, 211% inches THE artist was the uncle and teacher of Jacob van Ruysdael. He, him- self, was the pupil of Jan van Goyen. The figures were probably painted in by Philip Wouwerman. Signed on the boathouse at lower left, S v R. Seal of former owner on back, with initials W. H. From the collection of the late Dr. Wilkiisos Shaftesbury, Dorset, Eng. ELE TNT EER — ETE a rp No. 45 THOMAS SULLY AMERICAN: 1783—1872 PORTRAIT OF GEORGE FREDERICK COOKE Height, 24 inches; width, 20 inches THE parents of Sully were comedians. He was born in England and brought to America in 1792 when nine years of age. Inheriting a love for the drama, he painted portraits of a number of the leading actors and act- resses of the period, including Edwin Forrest, Fanny Kemble, and this one of Cooke. He had the distinction of being selected to paint the portrait of Queen Vic- toria, soon after she ascended the throne, and was one of the few Amer- ican gentlemen who had the honor of dancing with her. George Frederick Cooke was one of the most famous and talented actors on the English and American stage. He came to this country in 1810, and played in all of the leading cities, exciting much enthusiasm. He died in New York in 1812, and was buried in St. Paul’s Churchyard on Broad- way. ‘The monument to his memory there was erected at the expense of that other great actor, Edmund Kean, who visited the grave in 1821. Signed with monogram in the lower left-hand corner. From the collection of the late Wm. B. Wood, Philadelpia. From the collection of the late Hon. John H. V. Arnold, New York. No. 46 CORREGGIO (real name ANTONIO ALLEGRI) Iranian: 1494—15384 MADONNA AND CHILD, WITH INFANT ST. JOHN Height, 36 inches; width, 291% inches Dr. Corravo Ricct, probably the leading authority on Correggio and his works, was able to name only thirty-nine paintings as the product of his brush, and a number of those he classed as doubtful. The date of this painting is significant. Much of Correggio’s best work was done between the years 1525 and 1531. It includes the famous fres- coes in the Parma Cathedral; “La Notte” and the ‘Madonna and St. George,” in the Dresden Gallery; “Cupid’s Reading Lesson” in the Na- tional Gallery, London, the “Madonna and St. Jerome,” and “Madonna della Seodella” in the Parma Gallery; and “Danaé,” in the Borghese Gal- lery, in Rome. The quality of the example now offered will make its own appeal, show- ing, as it does, a mastery of chiaroscuro that only Rembrandt could equal. Its former possessor, Admiral Bosanquet, of Crimean fame, traveled in many countries during many years, gathering paintings and objects of art which were dispersed a few years ago, when the last surviving member of the family died. It is probable that he secured the painting in Italy, and had it forwarded to his English home. Signed on garment covering the knee of the Madonna, An'rontys pe ALE- cris, Reero, 1529. ©) (4 few letters indecipherable.) From the collection of the late Admiral George Stanley Bosanquet, Bitchet Wood, Sevenoaks, Kent, England, No. 47 — HENDRIK WILLEM MESDAG | Durcu: 1831—1915. 5 DUTCH FISHING BOATS PUTTING OUT TO - —- Height, 21 poner length, 31 inches Peek ie TuouGcH undated, this is believed to be an example 2 and to approximately represent his best work. It also possesses the advantage of an oblong sh: for the full effects of the wave-movement. + he r a No. 48 FRANCESCO BARTOLOZZI Iranian: 1725—1815 ABRAHAM ABOUT TO SACRIFICE ISAAC Height, 29 inches; width, 23% inches Barvro.ozzZi is universally known as an engraver because of the beauty and quality of his work, but as a painter he is almost unknown. Yet Mr. A. W. Tuer, the recognized authority on him, says in his “Bartolozzi and his Works” (vol. 1, p. 9): “Bartolozzi had an almost equal mastery over the eraver, the pencil, and the brush. It was well known that he had regu- iarly studied, and to a considerable extent practiced as a painter at Flor- ence, and that his pictures and original designs were in many Italian col- lections. Very few of his paintings are in England, but examples of his drawings are by no means scarce.” So far as can be learned, no example of Bartolozzi’s painting is in any English or American public gallery, and it is believed that this is the first occasion on which one has been offered at public sale. Signed in the lower left-hand corner, F. Barrouozzi. Purchased from Maurice Stephens, Esq., Cecil Court, London. PSs No. 49 DAVID ROBERTS — ENGLISH: 1796—1864 ay cm, a) % TRAFALGAR SQUARE, LONDON Height, 23 inches; length, 2814 hee : Onz of the artist’s series of paintings of London, made aft from the Holy Land. Another example appeared in the London a few years ago. Speer |. The view is interesting because of the changes which have particularly in the square itself, the types and costumes of the carriage traffic. , | a —? Signed in the lower right-hand co VE rner, D No. 50 BARTOLOME ESTEBAN MURILLO SpanisH: 1617—1682 YOUNG SPANISH GIRL, RAISING HER VEIL Height, 17 inches; width, 13 inches A PAINTING of this girl, identical in all details with the present example, is in the collection of Major Holford, in Dorchester House, London, It formerly belonged to Sir Thomas Baring, who exhibited it at the British Institution in 1837. Having been acquired by R. S. Holford, Esq., 1t was exhibited by him in 1844 and 1852. Dr. Waagen described it in his “Art Treasures of Great Britain,” 1854, and it is included in “Klassiker der Kunst, Murillo,” as having been painted between 1665 and 1675. The example now offered bears the signature and date B.M. 1655, on the red garment, below the elbow, in the lower left-hand corner. The size of the Holford painting is not recorded, and it is not known whether it bears any signature and date. The present example may be either the original, or a replica. It is, evi- dently, not a copy. From the collection of the late Thomas Aspinall, Esq. From the collection of the late Alexander Wilson Drake, Esq. : re he NERA, a No. 51 os 4 a : THOMAS SULLY ae AMERICAN: 1783—1872 ‘ , ee HEAD OF REMBRANDT No. 52 CONSTANT TROYON Frencu: 1810—1865 COWS AND SHEEP IN LANDSCAPE Height, 15 inches; length, 18 inches Mr. Raupu James, in his account of Troyon, says: “In some of his works, the animals, which he painted with so much skill, form the principal objects; in others, the landscapes; yet neither ever caused him to neglect the other, and it is this, above all things, that gives them such a peculiar appearance of truth.” This painting is a veritable object-lesson, in confirmation of the statement of Mr. James. Signed in the lower left-hand corner, C. 'Troyon. From the collection of the late C. C. Hutchinson, K.C., London, Eng. a # = « fy - cd No. 53 JEAN BAPTISTE GREUZE Frencu: 1725—1805 HEAD OF A YOUNG GIRL Height, 18 inches; width, 14 inches Tus girl was doubtless a regular model of Greuze, for she appears in his large picture, “The Death of the Grandfather,” recently sold, in the Lam- bert Collection. This distinguished genre and portrait painter laid himself open to the serious criticism that he was “influenced by the pursuit of pretti- ness.” It is admitted that he utterly lacked the ability to paint a face in cubical form, and made no effort to attain the “higher education”—in art. There are persons still existing who pretend to have seen children resem- bling these “merely pretty” Greuze models, and to have recognized in the artist’s subjects the winsome characteristics of girlhood and boyhood. Signed in the lower right-hand corner, J. B. Grevze. From an anonymous sale at Messrs. Robinson & Fisher's, London, Eng. No. 54 WILLIAM HOGARTH Encusu: 1697—1764 Height, 35 inches; width, 27 inches A repiica of the portrait in ie Na nee eae if eee Esq., ae formed part of pee 1 was, in turn, purchased by the English nation, é as. af tional Gallery. Bee This replica was made for his intimate friend, Tl mi Ne Se ere England, whe received peny visits fro No. 55 FRANCIS HAYMAN Encusu: 1708—1776 PORTRAIT OF WILLIAM HOGARTH Height, 30 inches; width, 25 inches 1 Wheatley. he painted in Hogarth’s Suis nae some of his | been taken to be the work of that artist. This painting was made the year before Hogarth’s de possesses interest and value as presenting the only p of him in his later years. It has never been engraved. — The name and date, “William Hogarth, 1763,” an above the head. Ye Mae P Signed on athe tet, Fra From the collection of the late J. D. Ichenhauser, N ew York. + No. 56 RAFFAELLO SANZIO (Attributed) Irauian: 1488—1520 ECCE HOMO Height, 2414, inches; width, 19%/4 inches Axour twenty pictures known to have been painted by Raphael are record- ed by his biographers as lost. A number of others, that have been lost, are doubtless unrecorded. It is believed that the present example answers to the latter designation. An inscription on the back reads; “Raphael Xantius, Kece Homo. Orig- inally painted on panel, and recently transported on (transferred to)- can- vas, in Paris.” An inscription, in old Greek, is on the band encircling the neck. Certain peculiarities of treatment are in close accord with Raphael’s work on other panels, and the famous Vatican frescos. It has been suggested that the head and shoulders represent the work of Raphael’s own brush, while the remainder was done by one of his pupils, probably Lo Spagna. It is interesting to note that the former owner of this painting bears the unusual name of the Dutch painter of the 17th century, who spent a large portion of his life in Rome, painting views of its ruins and other monuments of art. He made a painting of the interior of St. Peter’s, at Rome. Signed on the sleeve, over the left wrist, xu, Rarraro, 1509 (or 1519). From the collection of C. P. Rademacher, Esq., London, Eng. No. 57 AART VAN DER NEER Durcu: 1608—1677 RIVER SCENE BY MOONLIGHT (Panel ) Height, 13 inches; length, 191% inches Onr of the artist’s characteristic moonlight scenes, painted on dark ground, slight and transparent. Because of this style of painting, many of his pic- tures are in a bad state of preservation, particularly with reference to the skies. A pure, untouched example, such as the present one, is uncommon. The method of treatment is almost identical with that in one of the examples in the National Gallery, London. Signed, with monogram, in the lower left-hand corner. Purchased from W. M. Dibben, Esq., Bournemouth, Eng. No. 58 NARCISSE VIRGILE DIAZ DE LA PENA Frencu: 1808—1876 DIAZS TRAVELING EASEL, BRUSHES, AND PALETTE Ture box has a handle and measures 12 x 1714 inches. In extended form it measures 421% inches. It contains color box, seven (7) brushes, pencil, pen- cil-holder, rule and triangle. Marked in Diaz’s handwriting, “Boite de Campagne,” and signed “N. Diaz.” Underneath is the guaranty of his son: “Cette boite a appartient i mon pére. Eug. Diaz.” The palette is the one used by Diaz in the production of his Forest of Fon- tainebleau landscapes, and the brushes are guaranteed to be the identical ones used by him in painting those harmonious combinations of color which have been the despair of his followers and imitators. The palette is en- closed in a plush-lined shadow-box. A break in the palette has been skill- fully repaired. Purchased in Paris by the late Charles T. Yerkes, and presented by him to Miss Emilie Grigsby. : i ; No. 59 NARCISSE VIRGILE DIAZ DE LA PENA — Frencu: 1808—1876 | THE “PICTURE-PALETTE” OF DIAZ — (Enclosed in a plush-lined shadow box.) | . Tus palette is also guaranteed te have been. in the actual | and used by, the famous artist. It oo eee ful painting of a cluster of roses. “Diaz could reveal the finest kind of art in a bunch of rose Dyke in “What is Art?” lie Gate S a > ? RIOR NM te No. 60 WILLIAM ETTY EncuisH: 1787—1849 THE BATHER, “at the doubtful breeze alarmed” Height, 26 inches; length, 82 inches. beauty was concentrated in woman, oe ro ieee her.” He died a bachelor! ¥ It is interesting to note that Mr. Earp who was both a artist possessed this painting for many years, and a ample of the work of Richard Westall! a Signed in the lo From the collection of the late Henry Earp, Esq., York Villa, Brigh + \ ae ve. Pas EMILE LOUIS VER: TIER FRENCH: 1831—1887 Sven ! rae like Calame, was famous as a conve 2 2 jects represented the work of Corot, Rousseau, Mi lle absorption of Corot’s style is evident, in the examy Signed in the lower left-hand corner, E. L. V No. 62 REMBRANDT HARMENSE VAN RIJN Durcu: 1606—1669 THE ENTOMBMENT OF CHRIST (Panel) Height, 331% inches; width, 26% inches Onx of Rembrandt’s oft-repeated subjects, appearing in drawings, etch- ings and paintings, between the years 1632 and 1654. No painting, hith- erto known, was made after 1639, though a copy of the one begun in 1682 or 1633, made by his pupils and touched-up by Rembrandt, bears the date of 1653. The accepted painting of the subject is in the Alteren Pinako- thek, in Munich, and is in poor condition. Dr. Bode, Emile Michel, and other biographers of Rembrandt record many lost paintings by the master. The one now offered, hitherto unrecorded, is believed to represent the final effort of Rembrandt on the subject, painted at least twenty-five years after the Munich example. The head of Christ in this representation of the Entombment is identical with that of the so-called “Zeno, the Philosopher,’ engraved by Bernard Picart in 1699, after an original by Rembrandt. Dr. Bode includes the “Zeno” in his list of the lost pictures of the master, but suggests that it represents the “suffering Christ.” ‘This is very nearly, but not entirely, correct! Many other strong arguments can be presented to prove this picture the work of Rembrandt, but the discovery, in the painting, of this long-lost head of Christ, admittedly by the master, and corresponding closely, in type, with others by him, of the same period, is deemed sufficient proof to estab- lish its place among the accepted and authentic works of Rembrandt. Signed in the lower centre, REMBRANDT, 166(1). Purchased by Robert Ranshaw, Esq., Louth, Lincolnshire, Eng., at a sale of a private collection about 1870. From the collection of Robert Ranshaw, Esq. From the collection of George Wrangham, Esq., Sheffield, Eng. From the collection of Mrs, Maria Wrangham, Sheffield, Eng. No. 63 NARCISSE VIRGILE DIAZ DE LA P- Frencu: 1808—1876 a IN THE HEART OF FONTAINEBLEAU ae Height, 10 inches; width, iy inches. Bh y i the most powerful and effective landscape nineteenth century. arco | Purchased from the artist, in Paris, by the late Louis » From the sale of the Boury Collection. No. 64 GEORGE INNESS AmeEricAN: 1825——1894 THE POND, IN THE FIELDS Height, 17 inches; length, 20 inches Tus is evidently one of the earlier examples of the “golden-glow” of In- ness, as indicated by the date. It was purchased about thirty years ago by Mr. Booth, and remained in his possession until his death. It was then purchased by its present owner. Signed in the lower right-hand corner, G. Ixness, 1874. From the collection of the late J. M. Booth, Esq., Rochester, NAYS No. 65 HANS HOLBEIN THE YOUNGER German: 1497—1548 PORTRAIT OF AN UNKNOWN ECCLESIASTIC (Panel ) Height, 16 inches; width, 18 inches Tus portrait by Holbein answers closely to the description given by the well- known critic and observer, F. P. Seguier: “Holbein occasionally painted on a brownish-red ground, and was fond of green or blue backgrounds to his portraits. In his cabinet pictures, the malachite-colored backgrounds have a pretty effect, especially as his cabinet portraits are usually painted without the assistance of gold or of brilliant colors in the drapery, the caps and dresses being of a uniform dark color, or else simply enriched with a little brown fur.” Some of the best of Holbein’s portraits were made in the years 1541-1543, notably those of Dr. John Chambers, in the Hofmuseum, Vienna, and of Sir William Butts and Lady Butts, now in Mrs. Gardner’s museum in Bos- ton. Holbein died of the plague in London (1543), and up to the present time, only one portrait was known as having been painted by him in that year _that of himself, in the Uffizi Gallery, Florence. The example now of- fered bears the same date. Its former owner, Thomas Stainton, Esq., was one of London’s old-time collectors, and devoted his energies and means for half a century to the gathering together of a collection of paintings, engravings and art objects. At his death, a few years ago, the collection was dispersed, when this por- trait was purchased by the well-known dealer, Edwin Parsons, Esq., who resold it to the present owner. | Signed in the lower right-hand corner, H H 1548. (sv") 50 [shown by photo- graphic enlargement accompanying picture |. From the collection of Thomas Stainton, Esq., Lincoln’s Inn Fields, London. * * No. 66 WILLIAM DUFFIELD Eneusn: 1817—18638 a GAME, FRUIT, Etc. Height, 231% inches; length, 36 inches Tue works of this artist are highly esteemed in ] 2 amples are rarely met with. Queen Victoria was an work, and a number of his choicest paintings a lection. | : Sean eR hi 3 No. 67 HUBERT VAN EYCK Fremisu: 1865?—1426 THE PIETA (Central Panel of a Triptych) Height, 48 inches; width, 38 inches Aone the unsolved problems in art is that of the work of the brothers Hu- bert and John van Eyck. On only one point have the authorities agreed, viz., that Hubert, the elder brother, designed the famous Ghent polyptych, or Altarpiece, and painted the greater portion of it, while John completed the work, after Hubert’s death, in 1426. The portion to be credited to each is still a mooted question. This painting was purchased by its previous owner about fifty years ago, presumably at Christie’s, in London, as their written sale figure of that period—before they adopted the stencil—appears on the back. He treas- ured it as a van Eyck, but apparently never made any serious effort to find out which one of the brothers painted it. The reasons for imputing it to Hubert van Eyck can be stated here in con- densed form only. They are based on the belief of the writer that Hubert painted all—or virtually all—the figures in the polyptych, while John painted the landscapes and accessories (backgrounds and_ inscriptions). The style, design, composition, impasto, etc., will need to be judged from an examination of the panel itself. The uniform gold background, the colors (reds and greens predominating), the portraits, the hands and nails, the eyes, the folds of the drapery, the wide, ill-fitting sleeve, the faces in three-quarters, all show distinct peculiari- ties of Hubert’s treatment which are not to be found in John’s. A complete photographic copy of the Ghent polyptych, three-tenths the size of the original, is offered for comparison. From the collection of the late Lord and Lady Abinger, Cornwall Terrace, London, and Brighton, England. No. 68 JOHN SELL COTMAN Encusy: 1782—1842 MOONLIGHT ON THE YARE, NORWICH IN DISTANCE Height, 27% inches; length, 36 inches Tus artist shared the high honors with John Crome, in the famous Nor- wich School of Painting. His water colors and etchings are far more numerous and better known than his paintings in oil. This example is of superior quality, and equal to the best in the Norwich Museum, and the Reeve Collection, now permanently lodged in the British Museum. Signed in the wpper left-hand corner, J. 5. Corman, From the collection of John Gooch, Esq., Addison Road, London. No. 69 AELBERT CUYP Durcnu: 1620—1691 THE HALT AT THE INN Height, 331% inches; length, 41 inches Tus example represents Cuyp at his best period, 1660-1670. “The charm of Cuyp’s compositions is centred mainly in the splendor of the light which illumines them. He possessed the conception of light to a higher degree than any other landscape painter, and no one, with the ex- ception of Claude Lorraine, has ever been better able to render the heat of midday or the warm and vibrating rays of the setting sun.’—Henry Ha- vard. Signed in the lower right-hand corner, AELBERT CUIJP. From the collection of John Gooch, Esq., Addison Road, London. No. 70 DAVID MARTIN ScortrisH: 1730—1785 PORTRAIT OF BENJAMIN FRANKLIN Height, 21 inches; width, 1514 wches ProsaBiy a replica of the portrait made in London, in 1767, for the Earl of Stanhope. Martin was a pupil of Allan Ramsay, and traveled with him to Rome. He pursued his profession as a portrait-painter, in London, until 1775, when he settled in Edinburgh. The portrait of Franklin was painted about the time of his famous ap- pearance before the English Parliament, when he was sixty years of age. It has been reproduced in many forms and by many engravers, the fine mezzotint by Edward Savage being among the more noteworthy. An early copy, made by Charles Willson Peale from the Stanhope original, is in possession of the American Philosophical Society, in Philadelphia. From the collection of Lady Larking (Lady-in-waiting to Queen Victoria), Bourne- mouth, England, . No. 71 DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ SpantsH: 1599—1660 PORTRAIT OF A HAPPY SPANISH BEGGAR Height, 1714 inches; width, 13% inches Tus is one of the principal figures in one of Velasquez’s most famous genre paintings, “Los Borrachos” (“The Topers”). It was purchased by Philip IV of Spain before Velasquez made his first journey to Italy (1629), and is now in the Museo del Prado, Madrid. It represents his realistic work of the latter part of his first period. A comparison of the portrait now offered, with the figure of the beggar in the accompanying framed photogravure, will show material differences, particularly in the hat, the neckband, the absence of the drinking-bowl, and the lights and shades. ‘The complete picture and this single figure have often been copied, but always with literal exactness, for that is the province, as well as the limitation, of a copyist. The painting was purchased by its former owner in 1867 in Seville, Velas- quez’s birthplace, where he lived until 1623. A signed statement on the back of the canvas attests these facts. It is believed to be the original por- trait of the beggar, which, with others, was incorporated into the large painting, made perhaps five years later, forming the famous group of topers. The sureness of touch indicates the hand of a master, and there seems little possibility of its being a copy. It has been claimed that, while the heads of the topers are powerfully studied and “as strong as the best pair of eyes in the world could make them,” there is no organic unity in the picture, when the heads have been brought together. It is possible that Velasquez painted all the heads sep- arately while living in Seville, and, afterwards, in Madrid, having acquired even greater skill as an artist, incorporated the heads with slightly changed forms and expressions, into “Tos Borrachos.” Signed in the upper right, above the hat, D. VELASQUEZ. From the collection of the late George Henry Hall, N.A. No. 72 ¥ oh ALEXANDER H. WYANT, N.A. — American: 1€36—1892 KEENE VALLEY, NEW HAMPSHIRE Height, 181 inches; length, 241/, inches Tum charm that Keene Valley possesses for the artist has ] strated both by the number of our leading landscape p 1 portrayed its beauties on canvas, and the satisfying results of Signed in the lower left-hand corner, A Purchased from the artist, about 1885, by the late J. M. Booth, . SQ: From the collection of the late J. M. Booth, Esq. ie Ezhibited at the Powers Art Gallery, Rochester. a ips a \ iy ‘ih a “hy ae ", _ } { he No. 73 JAKOB VAN RUISDAEL Dutcu: 1628—1682 WOODLAND SCENE, WITH SHEEP AND CATTLE Height, 25 inches; length, 414% mches Ruispaen is generally considered to have been the greatest of the Dutch landscape painters, though many advocate the claims of Hobbema to that coveted distinction. Ruisdael was a lover of solitude, and it has been said that many of the scenes he selected for portrayal were only considered a means to express his poetic melancholy. Mrs. Jameson’s account of her visit to the great statesman, Sir Robert Peel, indicates the soothing influence of Ruisdael’s best. work: “ ‘I cannot express to you,’ said Sir Robert, ‘the feeling of tranquility, of restoration, with which, in an interval of harassing official business, I look around me here!’ And while he spoke, in the slow, quiet tone of a weary man, he turned his eyes on a forest scene of Ruisdael, and gazed on it for a minute or two in silence—a silence I was careful not to break—as if its cool, dewy verdure, its deep seclusion, its transparent waters stealing through the glade, had sent refreshment into his very soul.” Most of Ruisdael’s paintings have darkened materially with age, but in that respect, this example is beyond criticism. Signed in the lower right-hand corner, J. Rutspakt, r-16(—) No. 74 ADRIAEN VAN OSTADE Dutrcn: 1610—1685 MERRY PEASANTS OUTSIDE A HOUSE (Panel ) Height, 161% inches; length, 25 inches Van Osrapr has justly been called the “Rembrandt of Genre Painting.” A study of the example now offered will show the appropriateness of the designation. “The admirable clearness of his light and shade, and the beautiful golden tone of his color, have led many to see the hand of Rembrandt in his work, but these qualities were eminently peculiar to van Ostade, and can be ob- served in his very earliest pictures.”’—Henry Havard. An early Dutch authority, C. J. Nieuwenhuys, said of the artist: “In the more elevated stage of the art, namely, oil painting, Adriaen van Ostade its so admirable that I do not believe his fine productions can be surpassed. His best works are difficult of attainment, and those who possess a fine picture by him may consider themselves fortunate.” Signed on the wall of the house, A v O. From the collection of the late Rudolf Seckel, Esq. No. 75 MEINDERT HOBBEMA Dutcu: 16388—1709 A DUTCH LANDSCAPE IN SUNSHINE Height, 821% inches; length, 45 inches A VARIANT of the example in the Steengracht Collection, sold in Paris in 1914 (No. 81). A study of the two pictures will demonstrate that the one now offered was probably painted at a later date than the Steengracht example. The changes made are all for the better, and the artist has given a more intimate view of the charming scene he has chosen to portray. Signed in the lower right-hand corner, M. Hoppema. In the collection of John Ellis, Esq., London, in 1755. Smith's Catalogue Raisonné, London, 1829. No. 105. Purchased in Spain in 1902 by the late Francis Lathrop, Esq. From the sale of the Lathrop Collection. No. 76 SIR JOSHUA REYNOLDS EncusxH: 1723—1792 DEATH OF CARDINAL BEAUFORT Height, 17 inches; width, 18 inches At the request of his friend, Alderman John Boydell, Sir Joshua painted two pictures for Boydell’s famous Shakespeare Gallery, the present exam- ple and one of “Puck.” They were intended to serve as a basis for engray- ings. Caroline Watson made from this original the fine print which accom- panies it. ater Sir Joshua made a very large picture of the same subject which is now in the possession of Lord Leconfield, at Petworth. It will be noticed that the demon at the back of the bed does not appear in the engraving, having been suppressed. This is one of the paintings made by Sir Joshua after he had succeeded in his life-long search for lasting colors. This painting is remarkable as being one of only three known examples bearing Sir Joshua’s signature, the others being “Mrs. Siddons as the Tragic Muse” and “lady Cockburn and her Children.” Signed on the bed-covering, J. ReynNowps (some letters indistinct). Purchased from Henry Dale, Esq., Reading, Berkshire, Eng. No. 77 DAVID TENIERS THE YOUNGER Dutcu: 1610—1690 THE CARD PLAYERS Height, 111% inches; length, 141% inches Tue influence of Brouwer is clearly perceived in this painting, though greatly modified. Crowe says: “Upon the whole, Teniers’ greatest tri- umphs are attained in pictures of few figures.” Probably painted between 1645 and 1650. Signed on the edge of the bench at right, D. TEnters. From the collection of Sir Thomas Grove, Ferne, Wiltshire, England. Purchased from Ernest Johnson, Esq., Shaftesbury, Dorset, England. betes eer 4 ‘ qawt . No. 78 JAMES NORTHCOTE ENGLISH: 1746—1 831 PORTRAIT OF SAMUEL NORTHCOTE Height, 80 inches; width, 25 inches NorrHcore was a pupil of Sir Joshua Reynolds, lived with h and wrote his life. He was devotedly attached to his brot lived in Plymouth, Devonshire, and ites therefore not oa prise that the portrait of him takes rank among the finest examp brush-work. Che beautiful and rare mezzotint made from the. pair 1785, by S. W. Reynolds, accompanies the portrait. ees From the collection of George Leach, Esq., Plymouth, Eng. RAE Ste ee : ao No. 79 he Bee : JOHN T. PEELE eg Eneuisn: 1822—1897 SUCH A GOOD TIME! Height, 3014 inches; width, 24 hae : Tus artist made a specialty of the painting of children, ‘in oe cessful. The example in the Metropolitan Museum of ae a by the late Samuel P. Avery. 4 Mr. Peele lived in New York ae the earlier ee ° - . 2 ti ! No. 80. RALPH ALBERT BLAKELC American: 1847— THE MOUNTAIN DEFILE — - Eyipentiy an example representing Blakelock at, or near period, when he was changing from the classic to the r cool grays to warmer colors. ek amis Signed in the lower left-hand corner, Re = p, A mm + pe : aA mie nae a Le nee ps % ~ i : i oo - L No. 81. JAN WYNANTS Durcu: 1615?—1680? CASTLE ON HILL, OVERLOOKING VALLEY Height, 25 inches; length, 30 inches | Tus painting corresponds closely with No. 883 in the London, which came from the Peel ‘Collection, and is dated 1659. i sheep and dog are probably the work of ne Lingelbach, © os es ee oaraek in lower RO eorne) \. 4 ee ea 2 SAN aes No. 82 WILLIAM SHAYER THE ELDER Encutsu: 1788—1879 THE RETURN TO THE FARM Height, 24 inches; length, 33 inches No one could ever mistake an example of Shayer’s art in landscape paint- ing for other than English scenery. It smells of the soil. His son painted sporting subjects, mainly, and is oftentimes confounded with the father. Signed on the rock in lower left-hand corner, W. Suayer, Ocr. 10, 1821. From the collection of John Gooch, Esq., Addison Road, London. No. 83 GEORGE HERBERT McCORD American: 1840—1909 ENGLISH SEAPORT TOWN Height, 18 inches; length, 80 inches Tum artist was made an A.N.A. in 1880, and it was in the succeeding decade that some of his best work was produced. This painting shows dis- tinctly the influence of Turner. Signed in the lower left-hand corner, G. H. McCorp, A.N.A. From the collection of the late Hon. John H. V. Arnold, New York. No. 84 WILLEM VAN DE VELDE THE YOUNGER DutcH: 1633 L707 AT THE MOUTH OF THE RIVER (Panel) Height, 71/4, inches; length, 9 inches Asmat, but good, example of the work of an artist who has been desig- nated, “not only the greatest marine painter of the Dutch school, but also one of the greatest in the whole world.” As he was born in Holland, and did most of his work in England, the two countries disputed over him, after his death, each claiming the artist as belonging to herself. Signed in the lower right-hand corner, W. VG eke Purchased from George H. Bull, Esq., Dorchester, England. . 5 f L see ene No. 85 AART VAN DER NEER DutcHu: 1608—1677 DUTCH ANGLERS IN MOONLIGHT RIVER SCENE Height, 18 inches; length, 15Y% inches Awonc the old masters, Van der Neer was the prince of moonlight paint- ers, and they are the most esteemed and more eagerly sought for, but he also painted woody landscapes and skating parties, and even historical sub- jects. He and Aelbert Cuyp were evidently well acquainted, for there are several paintings in European galleries bearing their joint signatures, Cuyp having painted in the figures. In the present example the figures are probably by Van der Neer himself. | Signed, with monogram, in lower left-hand corner. From the collection of the late Albert Bierstadt. wth = Sar SN RNS gree ee es = nica Se ac at ae dale No. 86 JAN FYT FriemisH: 1611—1661 PHEASANTS AT HOME Height, 28 inches; length, 341 inches Tare fact that Rubens, De Crayer, and J ordaens employed Fyt certain things in their pictures shows the high opinion his co had of his talents. Three of his paintings are in the New York M “yh tan Museum of Art. es “He renders the fur of quadrupeds and the plumage of birds 9 truth. His touch, in full marrowy color, is as masterly as it 1 —Crowe. a Signed (indistinctly) in the lower center, Joa: Purchased from J. Spratt, Esq., Exeter, England. yer siren | re . Ax No. 87 CORNELIS BEGA Dutrcu: 1620—1664 A GROUP OF SMOKERS Height, 16 inches; width, 13 inches BrGa was a pupil of Adriaen van Ostade and studied to advantage the charming works of his master. “His interiors are full of subject, and skill- fully arranged; his figures never appear to come in front of or crowd each other, so that there is always a nice breadth and perspective about his pic- tures.” The example in the National Gallery, London, was purchased at the Law- rence sale in 1892 by the late Martin Colnaghi, Ksq., and presented by him to the nation. Signed on the shoe, on right foot, C. Brea. Purchased from Weitemeyer Bros., Brooklyn, N. Y. AMERICAN ART ASSOCIATION, MANAGERS THOMAS E. KIRBY, AUCTIONEER. % \ P F y = ‘a > 3 od ‘ e - bs ; 3 —s . pt el a Ss tae wie LIST OF ARTISTS REPRESENTED AND THEIR WORKS tees LIST OF ARTISTS REPRESENTED AND THEIR WORKS BARTLETT, Wittiam Henry New York City, from Weehawken Heights BARTOLOZZI, FRANcEsco Abraham about to Sacrifice Isaac BEGA, CorNeELIs A Group of Smokers BLAKELOCK, RatryH ALBERT Indian Encampment The Mountain Defile BRETTON, JuLes AboLPHE Head of a Peasant Woman BROUWER, AbRIAEN The Village Surgeon CALAME, ALEXANDER The Valley of Chamounix, Mount Blanc in the Distance CHALON, Atrren Kpwarp Baby’s Bath CONSTABLE, JoHNn A Passing Shower on Hampstead Heath COQUES, GONZALES Interior of a Flemish ‘Tavern CORREGGIO (reat Name ANTONIO ALLEGRI) Madonna and Child, with Infant St. John COTMAN, JouHNn SELL Moonlight on the Yare, Norwich in Distance CATALOGUE NUMBER 39 48 16 36 Al 24: 46 68 COX, Davin Across the Common CUYP, AELBERT A Traveler Bestowing Alms The Halt at the Inn DETAILLE, Jean Baptiste Epovarp A Change of Pace, Gong Up Hill Oo o DIAZ DE LA PENA, NARCISSE VIRGILE Diaz’s Traveling Easel, Brushes and Palette The “Picture-Palette” of Diaz In the Heart of Fontainebleau Forest DUFFIELD, WitiiaMm Game, Fruit, Etc. DURAND, AsHEr Brown New York City from Hoboken Heights ETTY, WituiAM The Bather, “at the doubtful breeze alarmed” EYCK, Husert van The Pieta FYT, Jan Pheasants at Home GEERAERTS THE YOUNGER, Marc Portrait of Henry Wriothesley, 3rd Earl of Southampton GILBERT, Joun GraHAm Portrait of James Watt GORDON, Sir Joun Watson Portrait of William Wordsworth CATALOGUE NUMBER 23 66 60 67 86 27 38 GOYEN, JAN vAn Fishing Boats at Mouth of the Meuse GREUZE, JEAN Baptiste Head of a Young Gil HART, Wii, N.A. An Autumn Melody HAYMAN, FRaAnNciIs Portrait of William Hogarth HOBBEMA, MEINDERT A Dutch Landscape in Sunshine HOGARTH, Wiuwi1aM Portrait of the Artist, by Himself HOLBEIN THE YOUNGER, Hans Portrait of an Unknown Ecclesiastic HOREMANS THE ELDER, Jan-JozZErF The Cockfight at the Forge HOWARD, Henry Portrait of John Philip Kemble as Coriolanus HUDSON, THomas Portrait of Charles Churchill HUGUET, Vicror Pierre Arab Horsemen at Drinking Pool INNESS, GEorGE A Sunshiny Autumn Landscape The Pond, in the Fields JEFFERSON, Joseryu A Louisiana Sunset CATALOGUE NUMBER 13 19 5A 20 bo JORDAENS, Jaxos The Peasant and the Satyr KNELLER, Sir Goprrey Portrait of John Gay McCORD, Grorcre HERBERT English Seaport Town MARTIN, Davin Portrait of Benjamin Franklin MESDAG, HeEnprixk WILLEM Dutch Fishing Boats Putting Out to Sea METSU, Gapsrier The Artist, painting His Mother’s Portrait MORLAND, Grorce Selling Fish (Freshwater Bay, Isle of Wight) MULREADY, WiLuiam The Fortune ‘Teller MURILLO, Barrotomr EstrBan Young Spanish Girl, Raising her Veil NEER, AaArt VAN DER River Scene by Moonlight Dutch Anglers in Moonlight River Scene NORTHCOTE, James Portrait of Samuel Northcote OSTADE, ApDRIAEN VAN Merry Peasants Outside a House PEALE, Cyarirs WILSON Portrait of Richard Henry Lee CATALOGUE NUMBER We 83 70 AT 34 i Me 50 78 74 lo) PEELE, Joun T. Such a Good Time! POTTER, Pavutus Man, with Cattle, in Landscape RAMSAY, ALLAn Dr. Johnson’s Visit to Flora Macdonald REMBRANDT HARMENSE VAN RIJN The Entombment of Christ REYNOLDS, Sir JosuHvua Death of Cardinal Beaufort RICHARDSON, JonatTHAN Portrait of Matthew Prior Portrait of Alexander Pope RIX, JULIAN Indian Encampment, Southern California ROBERTS, Davin Trafalgar Square, London ROMNEY, Gerorce Portrait of Charles James Fox RUISDAEL, Jaxon van Woodland Scene, with Sheep and Cattle RUYSDAEL, SALomMon van Old Church by the River-side SANZIO, Rarrartio (Attributed) Keece Homo SCHALCKEN, Goprriep Candlelight Comfort CATALOGUE NUMBER 79 40 10 49 AA: SHAYER THE ELDER, Witi1am The Return to the Farm STOTHARD, 'THomas Scene from Shakespeare’s “King Richard IT” SULLY, Tuomas The Young Artist at Work Portrait of George Frederick Cooke Head of Rembrandt TENIERS THE YOUNGER, Davin A Flemish Village 'éte The Card Players THOMPSON, THomas The Battery Promenade, and New York Harbor TROYON, Constant Cows and Sheep in Landscape TURNER, JoserpH Matiorp WituiaMm, f.A. North Sea, Off Lowestoft Light VELASQUEZ, Dirco Ropricurz DE SILvA Y Portrait of a Happy Spanish Beggar VELDE THE YOUNGER, WILLIAM VAN DE At the Mouth of the River VERNIER, Emute Lovts The Peasant in the Forest WILKIKE, Sir Davin Sir John Falstaff and Bardolph WYANT, Aexanpver H., N.A. Keene Valley, New Hampshire WYNANTS, Jan Small Landscape, with Figures Castle on Hill, overlooking Valley CATALOGUE NUMBER 18 31 37 71 84 61 30 32 $1 FOR INHERITANCE TAX AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE PUBLIG SALES ARE EPEEC EHD ATEN: OMG IGN TAU iis Gi He AG RIGr Ee OuN es You Vila le ome akon lee eke THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION, PRESSWORK AND BINDING BY . . > pe ‘ ’ z , id ° % \ ; 7. ered! A . . , i by ‘ . be . . * . Fr ’ , bed bl j i \ , ' P c « . “ 7 . a . 7 * ¥ 7 fin * a \ J p “ 5 oe THE PAINTINGS BY REMBRANDT, VAN EYCK AND RAPHAEL A MONOGRAPH BY Mr. JOHN ANDERSON, Jr. THESE PAINTINGS TOGETHER WITH THE OTHERS OF MR. ANDERSON’S COLLECTION WILL BE SOLD AT THE HOTEL PLAZA ON THURSDAY EVENING, APRIL 6th, 1916 UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK CITY REMBRANDT HARMENSE VAN RIJN 1606—1669 THE ENTOMBMENT OF CHRIST (Panel) Height, 3314 inches; width, 2614 inches Signed and dated, Remsrannr, 1661 (No. 62 in the collection of Mr. John Anderson, Jr.) Tuer subject of the entombment mnst have presented uncom- mon possibilities to Rembrandt’s vision, for he depicted it many times in drawings, etchings and paintings, covering a perod of thirty years. Of known representations, the generally accepted one has been that painted to the order of Prince Frederick Henry, Stadhouder of Holland, which was begun in 1632 or 1633, and finished in 1639. It is now in the Alteren Pinakothek, Munich, but in poor condition. Copies made from it by his pupils are in the Dresden and Brunswick galleries. Reproductions are usually made from the Dresden copy which was touched up in parts by Rembrandt himself. Rembrandt’s painting of the Entombment (Munich Pina- kothek) has never given a large measure of satisfaction to those who have so freely recognized and paid tribute to his genius. One of the ablest of his biographers, M. Emile Michel, while admitting that “the conception of the Entombment lacks neither grandeur nor eloquence,” criticises “its complexity, ugliness, and faults of taste.” He specifies, in particular, “the meagre and puny figure of the Christ, the repulsive ugliness of several among the by- standers, the multiplicity of episodes, and the complexity arising from the use of such various sources of light as the re- flection of the setting sun; the torch which Nicodemus shades with his hand, and the lantern to the right.” These same de- fects have been apparent to many others beside Michel. Was Rembrandt a less severe critic of his own work than they? Was he willing to have that painting accepted as rep- resenting his ablest accomplishment, on a subject so great in possibilities? In 1656, nearly twenty years after he had painted the Entombment for Prince Frederick Henry, Rembrandt was declared a bankrupt, and, later, his personal effects were sold at public auction. Among the items in the inventory appears the following: “A sketch of the burial of Christ, by Rem- brandt.” ; The Stockholm Museum is the possessor of a pen draw- ing of the Entombment of Christ by Rembrandt, which was formerly in the famous Crozat collection. M. Michel refers to it as follows: ‘The arrangement is much simpler here, but the sketch has the same upright form as the earlier work, and Rembrandt, no doubt, intended to paint it in this shape, for the proposed dimensions of his picture are in his hand- writing on the margin.” A study of the different types of the head of Christ made by Rembrandt, if taken in chronological order, will show that he used, virtually, the same type from the beginning of his career until the years 1658-1659. He then changed the type completely, and painted four or five different heads of Christ, very similar to each other, but all of them bearing little or no resemblance to those formerly used. Two of these paint- ings are now in America, one in the collection of John G. Johnson, Esq., of Philadelphia, and the other (from the Mo- ritz Kann Collection) is now owned by Isaac Dudley Fletcher, Esq., of New York. Among the lost paintings by Rembrandt, known only by the engravings made from them, Dr. Bode, in his great work © on Rembrandt (Vol. 8), includes the portrait of “Zeno, the Philosopher,” engraved after the original by Rembrandt by Bernard Picart, and published by him in 1699. Dr. Bode states: “It seems to have been made from an original study of a head painted by Rembrandt about 1656-1658.” The engraving had passed unchallenged for over two hun- dred years as “Zeno,” but Dr. Bode was brave enough to ex- press his doubts as to its identity. He says: “The so-called Zeno looks like a study for a suffering Christ.” While not al- together correct in his surmise, Dr. Bode was not far from the truth. It is the head of the dead Christ, and represents the type of 1658-1659. * * * * * The whereabouts and doings of Rembrandt in the years 1661 and 1662 have been a subject of controversy. This is due to the discovery of data in the manuscript diaries of an TSS a eet ae ee a George Vertue, in the British Museum (1713), showing that Rembrandt visited England during portions of the years 1661 and 1662, and lived at Hull, in Yorkshire. His stay is said to have embraced a period of not less than sixteen months, and a portrait painted by him at York, signed, and dated that year, was claimed to have been in the possession of Michael Dahl, the artist. Dr. Bode states, in confirmation of this, that no mention of Rembrandt can be found in any extant documents in the Amsterdam archives during 1661 and up to August 28th, 1662, and that only one picture by him is known as having been painted in 1662. A number of his paintings bear the date of 1661, and they include the “Syndics of the Cloth Hall,” considered as one of his masterpieces. Influenced, doubtless, by the discoveries in Vertue’s diaries, M. Michel writes: “It is in England that we may hope to find some of the lost works of the master, as well as some which have never been recognized.” It has now been shown that Rembrandt’s painting of the Entombment in the Munich Pinakothek has been criticised as being unworthy of so great a master on so great a subject; that Rembrandt, many years later, contemplated making an- other painting of it; that in 1658-1659 he brought into ex- istence a new type of the head of Christ, and that the claim has been made that he lived for over a year in Yorkshire, England. % * * # The painting of the Entombment of Christ, now offered, is believed to be one of the lost Rembrandts, and the Master’s final effort on that subject. It was purchased between forty and fifty years ago, at a public sale of a private collection, by Robert Ranshaw, Esq., of Louth, Lincolnshire, England; sold by him in 1890 to his brother-in-law, the late George Wrangham, Esq., of Sheffield, Yorkshire; retained by his widow, Mrs. Maria Wrangham, until her death, when it was purchased by its present owner, through Thomas Smith, Esq., of Sheffield. So far as is known, the painting has always been in Yorkshire and vicinity. * * * #* % The faults which proved so apparent in the Munich ex- ample are not to be found in this. No room now for criti- cism as to the “complexity of light effects.” No “meagre and puny figure of the Christ” now, but one that is regal, easily dominating the entire scene. The scheme and scene remain unchanged, but the treatment is different and altogether satisfying. At fifty-five years of age, Rembrandt could and did paint a far better Entombment than at twenty-seven. %* * # % What objections are likely to be urged against its ac- ceptance as an authentic example of Rembrandt’s work, and as being his final representation of the Entombment? We will discuss them in order: 1. It is not recorded in Dr. Bode’s work, or elsewhere. The picture had been for nearly half a century in the private collection of a single family, with no knowledge of Dr. Bode or his work, and no object in making known to the public their possession of it. 2. It lacks a prolonged pedigree. Barring the examples of Rembrandt’s work in the European galleries, which were purchased from the descendants of original owners, or at early public sales, the average pedigree of Rembrandt’s paint- ings does not extend beyond one hundred years. The justly famous Altman collection of his works averages even less. 3. It was painted by one of Rembrandt’s pupils or imi- tators. Which one? There were many, the most gifted — among them being Ferdinand Bol, Govaert Flinck, Gerard Dou, Gerbrandt van den Eeckhout, Nicolas Maes, Aart de Gelder and Jan Vietors. Good painters, all, but which of them can be singled out as possessing the genius and skill nec- essary to equal Rembrandt in work on one of his chosen sub- jects, often depicted by him, but never previously attempted by any one of them? For good reasons, all but two of them can be quickly dis- missed from consideration, Govaert Flinck and Gerbrandt van den Eeckhout. Flinck was Rembrandt’s pupil only until 1637; painted only large portraits and historical subjects in his later years, and no example of his work is known bearing a later date than 1655. He died in February, 1660, before this picture of the Entombment was painted. ‘When Rembrandt adopted his new type of the head of Christ, Flinck had already ceased painting. Van den Eeckhout imitated Rembrandt’s style closely and skilfully—but that is all that can be said for him. His pic- tures are in the Museums at Amsterdam and The Hague, in the National Gallery, London, and one is in our own Metro- politan Museum of Art. Another example was recently sold in the Lambert Collection. In all of them the lack of a mas- ter-hand is apparent. At his best, he was greatly inferior to Rembrandt. His last picture was painted before the death of Rem- brandt. If, therefore, he painted this Entombment, we are forced to the belief that, while the master was still alive and active, one of his pupils painted a distinctive and well-known Rembrandt subject, using the same scheme of composition, and produced results fully equal to those attained by Rem- brandt himself. A careful study of the work of these two artists, as shown in the foreign and American galleries, fails to reveal the slightest grounds for believing that either of them painted, or was capable of painting, the picture of the Entombment now offered. 4. It has too fine a finish for a Rembrandt. In the Lon- don exhibition of 1890 there appeared a male portrait by Rembrandt, dated this same year, 1661, belonging to Lord Ashburton. While accepted as a genuine example by Rem- brandt, it was questioned by a critic as having been painted in 1661 because of “its elaborate finish and sparing impasto.” Mr. Fletcher’s example of Rembrandt’s head of Christ (1659) has the same fine finish as this Entombment of 1661. Some people seem to cherish the belief that Rembrandt painted all his pictures alike, as regards finish and impasto. A study of the large collection in the Kaiser Friedrich Mu- seum in Berlin and those in Holland would quickly dissipate that belief. He accorded a painting the treatment the sub- ject called for, and an astonishing variety of treatment is, therefore, found in his work. He did not paint a group of small figures as he did a life portrait, and he painted neither of them in the same way at different periods of time. A paint- ing that has been carefully preserved in a single family, from generation to generation, and kept virtually free from restorations for centuries, will, naturally, present an open- ing for critical remarks, on the grounds of its having “too smooth a finish for a Rembrandt!” This example is in un- commonly fine condition, and doubtless for the reasons above given. # ce % % * A study of the types, models and costumes used by Rem- brandt in this painting of the Entombment is interesting. Some of the figures are distinctly Rembrandt’s models. The young man holding the right hand of the dead Christ ap- pears in many of the master’s paintings, doing service as Daniel, Joseph, an Angel, etc. In company with the man holding Christ’s left arm, he also appears in Rembrandt’s etching of the same subject, helping to carry the body. In nearly all of Rembrandt’s representations of the Pas- sion, the same model or type appears as Joseph of Arimathea. The head-covering of the Virgin is identical in color with that worn by her in the “Holy Family,” in the Louvre, while the figured cloth garments worn by Joseph and Mary Mag- dalen appear in one of the portraits in the Altman Collec- tion, and in other paintings. * * * * * But the incontrovertible argument in favor of the accept- ance of this painting as a genuine work of the great master is based on the fact that the head of Christ is identical with the original, by Rembrandt, which served as a basis for Picart’s engraving of “Zeno, the Philosopher,” in 1699, answering also to the type of the head of Christ, first used in 1658-1659. Rembrandt made the head. That is indisputable. How, then, could any one of his pupils or imitators have painted this picture of the Entombment, making use of Rembrandt’s head of Christ, which would have remained absolutely un- known if Picart had not engraved it in 1699? A rather hard nut to crack! HUBERT VAN EYCK FLemisH: 1365?—1426 THE PIETA. (Central panel of a triptych) Height, 48 inches; width, 38 inches (No. 67 in the collection of Mr. John Anderson, Jr.) Amone the unsolved problems in art is that of the work of the brothers Hubert and John van Eyck. On only one point have the authorities agreed, viz., that Hubert designed the famous Ghent polyptych, or Altar-piece, and painted the greater portion of it, while John completed the work, after Hubert’s death in 1426. The exact work done by each on the polyptych is still a mooted question, and the same uncertainty exists regarding the paintings made by the brothers during Hubert’s lifetime. This panel was purchased by its former owners about fifty years ago, presumably at Christie’s, in London, as their written sale figure of that period—before they adopted the stencil—appears on the back. They treasured it as a van Eyck, but evidently never made any serious attempt to find out which one of the brothers painted it. The reasons for imputing it to Hubert van Eyck can be stated in few words. They are primarily based on the belief of the writer that Hubert painted all—or virtually all—tne figures in the polyptych, while John painted the landscapes and accessories (backgrounds and inscriptions). The style, design, composition, impasto, etc., will need to be judged from an examination of the panel itself. 1. The uniform gold background, indicating its early period, before the introduction of landscapes by either of the brothers. 2. The colors are distinctly those of Hubert, as they ap- pear on the polyptych—reds and greens predominating. 3. The portrait of the donor—probably John of Bavaria. Evidently the work of the same person who painted that of Jodocus Vyts. 4. Compare the hands of the Virgin with those of Jodocus Vyts and his Wife, and then contrast them with the hands in nearly all the acknowledged paintings by his brother John. The treatment of the hands by the two brothers was distinct- ly different. 5. The characters of St. Christopher, Zachariah, and the one in the lower right in this panel (probably Joseph of Ari- mathea) were evidently painted from the same model—and it is generally conceded that the two former were painted by Hubert. 6. The peculiar folds of the drapery about the lower por- tion of Christ’s body indicate the work of Hubert, as will be seen by a comparison with the various figures in the polyp- tych. ”. The wide, ill-fitting sleeve of Joseph has its counter- part in those of Zachariah, Micah, and the foremost charac- ter of the Just Judges, in the polyptych, supposed to be a portrait of Hubert by himself. No such sleeve appears in any of John’s paintings. 8. From the date of the earliest known portrait (about 1360) to the time of Hubert van Eyck, heads were made in profile only. Hubert is credited with being the first to break away from the profile figure and head, introducing the three- quarters. It will be noticed that every one of the six figures in this panel shows the head in three-quarters. With a few notable exceptions, every figure in the polyptych possesses the same characteristic. It is a curious fact that in Mr. W. H. James Weale’s ex- » haustive work on the life and work of the brothers van Eyck (1908), he records no representation of Christ, living or dead, as having been painted by the elder brother, Hubert. 3 # 2 “ * Since the catalogue description of this panel painting had appeared in printed form, and the above more extended description was completed, a photographic enlargement of a section of the panel has revealed the fact that it bears both signature and date: 1421 IC D.G. HVE * * * * * From the collection of the late Lord and Lady Abinger, Corn- wall Terrace, London, and Brighton, England. RAFFAELLO SANZIO (Attributed) Trarian: 1483—1520 “ECCE HOMO” Height, 2414 inches; width, 1934 inches (No. 56 in the collection of Mr. John Anderson, Jr.) Axmost every phase and event of Christ’s character and life were pictured by the early masters, Raphael among the rest. He painted the Annunciation, the Adoration, the Nativity, the Infancy, “Pax Vobis,” The Transfiguration, Bearing the Cross, The Crucifixion, The Pieta, The Entombment and the Resurrection. Was he likely to have omitted “Ecce Homo”? About twenty paintings known to have been made by Raphael are recorded by his various biographers as lost. It is reasonable to suppose that a number have been lost that are not recorded. The facts and assumptions from those facts, which fol- low, may throw light on the problem as to whether a correct or incorrect attribution has been made of this painting. It has an old inscription on the back, reading as follows: “Raphael Xantius. Ecce Homo. Originally painted on panel, and recently transported on (transferred to) canvas in Paris.” On the sleeve, over the left wrist, appears a signature, xm, Rarrato 1509 (or 1519). It bears every evidence of being as old as the picture itself, and is deeply imbedded in the paint. Few of Raphael’s paintings bear his signature, and those few appear in unexpected forms and strange places: In the “Fornarina,” on the arm; in the Marriage of the Virgin, on the temple in the background; in St. George and the Dragon, on the trappings of the horse, etc. The left side of the garment and the lower portion of the picture show signs of having been repainted, but the essential parts,—head, face and neck,—remain virtually untouched. An inscription in old Greek is on the band encircling the neck. Translation is difficult, but it seems to commence with: “In the beginning was the Word,” etc. The painting is suggestive of Raphael’s work of 1509, when he had removed to Rome and was engaged on his first great Vatican fresco, “La Disputa del Sacramento.” It is well to compare the two Christs, bearing in mind that one is represented as the Man of Sorrows, and the other, Christ on the Throne, Triumphant. Notice the eyes, the hair, the in- scriptions, and particularly the rays of light. The latter are of a kind peculiar to Raphael, and are found in a number of his best authenticated works, notably in the “Deliverance of St. Peter from Prison.” Inscriptions on the neck-bands similar to the one in this painting, will be found in the large Madonna belonging to Earl Cowper, at Panshanger; the Virgin and Child, with St. John;” the Vatican fresco, “Triumph of Religion,” and in the “Madonna di Fuligno.” But beyond all this is the appeal made by the painting itself. It is the work of a great master, a painting of the sixteenth century, and the work of an Italian artist. By a process of elimination, it can be imputed only to Raphael, or his pupil and closest imitator, Lo Spagna. The garment sug- gests Lo Spagna, but the more important parts seem beyond his powers of portrayal. It has been suggested that the head and shoulders represent the work of Raphael’s own brush, while the remainder was done by a pupil, probably Lo Spagna. It is interesting to note that the former owner of this _ painting bears the unusual name of the Dutch painter of the seventeenth century who spent a large portion of his life in Rome, painting views of its ruins and other monuments of art. He made a painting of the interior of St. Peter’s, at Rome. From the collection of C. P. Rademacher, Esq., London, Eng. 7 | COMPOSITION, PRESSWORK AND BINDING BY \\ PS nc 1916 Apr.6NeAmA c.1 American /Old and modern painting 84-P19581 oh TA ee’ Vas * a ton ‘ Kus a 2 te