_ Private Collection of _ Paintings of the late "Charles M. Kurtz The Fifth Avenue Galleries 46 Fifth Avenue New York CHARLES M. KURTZ Portrait by Joaquin Sorolla y Bastida (Not for sale) My, CATALOGUE OF OIL PAINTINGS, WATER COLORS, AND DRAWINGS OF THE LATE CHARLES M. KURTZ, Pu. D. DIRECTOR OF THE FINE ARTS ACADEMY ALBRIGHT ART; GALLERY, BUFFALO, N. Y. TO BE SOLD AT STRICTLY ABSOLUTE SALE BY AUCTION IN THE FIFTH AVENUE GALLERIES, 546 FIFTH AVENUE THURSDAY AND FRIDAY EVENINGS FEBRUARY 24 AND 25, 1910 AT EIGHT O’CLOCK ON VIEW DAY AND EVENING FEBRUARY 21ST TO FEBRUARY 25TH, INCLUSIVE, AT THE FIFTH AVENUE GALLERIES 546 FIFTH AVENUE NEW YORK é JAMES P. SILO, AUCTIONEER e si B3 Re a: Qe E D at the Art School, ing . Buffalo a N ’ CONDITIONS OF SALE 1. The highest bidder to be the buyer, and if any dispute _ arise between two or more bidders, the lot so in dispute shall be immediately put up again and re-sold. 2. The purchasers to give their names and addresses and to pay down a cash deposit, or the whole of the purchase money, if required, in default of which the lot or lots so purchased to be immediately put up again and re-sold. _ 3. The lots to be taken away at the buyer’s expense and risk upon the conclusion of the sale, and the remainder of the purchase money to be absolutely paid or otherwise settled for to the satis- faction of the auctioneer, on or before delivery; in default of which the undersigned will not hold himself responsible if the lots be lost, damaged, or destroyed, but they will be left at the sole risk of the purchaser. 4. The lots to be peken away and paid for, whether genuine and authentic or not, with all faults and errors of description, at the buyer’s expense and risk, within Two Days from the sale; THe Firra AVENUE ART GALLERIES not being responsible for the correct description, genuineness, or authenticity of, or any fault or defect in any lot, and making no warranty whatever. 5. To prevent inaccuracy in delivery and inconvenience in settlement of the purchases, no lot can on any account be removed during the sale. 6. If, for any cause, an article purchased cannot be delivered in as good condition as the same may have been at the time of its ‘sale, or should any article purchased thereafter be stolen or mis- delivered, or lost, the undersigned is not to be held liable in any greater amount than the price bid by the purchaser. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all lots un- cleared within the time aforesaid shall be re-sold by public or private sale, without further notice, and the deficiency, if any, attending such re-sale, shall be made good by the defaulter at this sale, together with all charges attending the same. This condition is without prejudice to the right of the auctioneer to enforce the contract made at this sale, without such re-sale, if he thinks fit. THE FIFTH AVENUE ART GALLERIES are in no ways responsible for the charges or manner of delivery of goods purchased at their sale. Jas. P. SiLo, Auctioneer. PREFACE “Pwourtan im eierect attaches to the collection of paintings made by Charles M. Kurtz, late director of the Albright Gallery of the Buffalo Fine Arts Academy. These canvases do not represent the excursion of an amateur into an unfamiliar field, where experience is dearly bought and lack of knowledge must be the apology for many pictures early acquired. Mr. Kurtz’ pictures are of unusually even merit. His means did not permit him to enter into competition with more ambitious collectors, but his taste, education, experience, and knowledge; his enthusiastic interest in and love for beautiful things, and his exceptional opportunities — this unusual combination rarely found in the equipment of a single individual — made him quick to appreciate merit, and enabled him to gather together these paintings which represent his personal taste and judg- ment. Nothing pleased him more than to visit an exhibition before the opening day, to select for himself some canvas by a little-known painter, and to have his judgment afterwards verified by an award given to his selection. And this was his experience more than once. So, in examining his collection, one is not surprised to find the almost uninterrupted merit of the pictures bought by him and the many names which stand high among our most successful painters, bearing testimony to his natural and trained intelligence in estimating, without regard to name or fame, the excellence of contemporary artistic production. His sudden death while happily and busily engaged in the work which he so dearly loved, his patient suffering, his resig- nation, his courage when brought face to face with the end, lend added interest to what must necessarily be a brief descrip- tion of his full and interesting life. Dr. Charles M. Kurtz was for thirty or more years actively associated with art interests in America and enjoyed an acquaint- ance with leading artists of the principal art centers of Europe, as well as of this country. A native of Pennsylvania, he was graduated from Washington and Jefferson College in 1876, receiving from his Alma Mater the degree of A. M. in 1879 and [7] that of Ph. D. in 1902. For three years he was a student of the National Academy of Design, New York, and later was for several years connected with the New York Tribune. For nine years he was editor of National Academy Notes, an annual pub-— lication, giving illustrations and notes of the pictures in the spring exhibitions of the National Academy of Design. In 1884, he edited the Art Union Magazine, and from 1883 to 1886, inclusive, he was Director of the Art Department of the South- ern Exposition at Louisville, Ky. In 1889, he became art editor of the New York Daily Star, and subsequently had added to his duties the literary editorship and the direction of the Sunday Star. In 1891, he left newspaper work to become Assistant Chief of the Department of Fine Arts of the World’s | Columbian Exposition at Chicago, at the close of which he was tendered the Art Directorship of the St. Louis Exposition. In 1894, and during the five years following, he visited the art centers of this country and Europe in the interests of that exposition. During these years at St. Louis, was shown the © first organized exhibit of works by the famous painters of the “Glasgow School” to be seen in this country, and here also the painters of the German “Secession” made their début in America. In February, 1899, he was appointed Assistant _ Director of Fine Arts for the United States Commission to the’ Paris Exposition of 1900. He was appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition in August, 1901, and directed the installation of the paintings in the United States section, for which he was awarded a gold medal. For services in the interest of Bulgarian Art, he was created officer of the Order of Merit, by Prince Ferdinand. He became Director of the Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, in January, 1905, which position he held at the time of his death, March 21, 1909. The substance of numerous testimonials of affection and — esteem from many lands is well embodied in the following extract from a letter written by one of the leading Glasgow painters: ‘We have lost one of the finest men we have been privileged to know; and, as an Art Director, I am sure the world at large is the poorer, by one, of its foremost leaders in [8] our day. He was one of those rare men in the Art world that _ we think about but seldom meet — an enthusiast who had the inner instinct for what is fine in many phases of Art, and the energy and power to carry out public schemes for the good of — the world.” The Buffalo Express, April 26, 1909, says: ‘Since the death of Dr. Charles M. Kurtz, it has been a gratification to his friends _ to read the well-earned tributes paid to him in the leading news- papers throughout the country. Dr. Kurtz was a citizen of the world in the broadest sense of the term, and the influence he wielded is perhaps better shown by the eulogies which followed his sudden death than by any of the things written and spoken of him in life.” Recently, the Rochester papers have devoted much space _ to Dr. Kurtz and his work. “Rochester wants a man who will do for it the work which has been done for Buffalo by Dr. Kurtz,” says the Post Express. “He was an art connoisseur in the true sense of the word; not a man who had dabbled in canvases, painted a little, and then set up as a dilettante. He, _ it was, who, more than anybody else, awakened the people in this part of the country to a recognition of the fact that art is not a matter of a single school; that it is something more than a fad; that it is the expression of ideals which vary with race, with training, with individuality. He dissipated the false glamour which had collected about the Barbizon School and proved, by demonstration, that good examples of the Glasgow School or the works of modern Germany are infinitely prefer- able to imitations of Corot or Millet.” In gathering together the collection of pictures now offered for sale, Dr. Kurtz showed that catholicity of taste which characterized all of his work. During a period of twenty-five years, he gradually collected pictures which he thoroughly loved and enjoyed. To appeal to him a picture must possess absolute genuineness and reveal something sincere and attract- _ ive in the personality of the artist. His first rule was never to buy anything that he was unwilling to live with; and, although his pictures do not possess an equal degree of importance any more than did the numerous friends whom he gathered to his [9] heart, yet they each and all have some quality that laid claim to his affection. Alert enthusiastically to recognize new phases of artistic development, he never lost appreciation of pictures which earlier attracted his attention, any more than in alias new friends, did he ever forget old ones. With absolute independence of judgment, he bouche? pic- tures for their merit alone, usually of contemporary artists, leaving to more prosperous men the privilege of acquiring famous names at fictitious prices. He lived to see his most sanguine convictions realized in the reputations of many of the artists whose works he acquired in the beginning of their careers. The few pictures bought from his collection, while lent to various exhibitions, amply verified his ability as a connoisseur of discernment, whose pictures increased in value with the passing years. Among the pictures by American artists are: A Cluster of Grapes A study of two bunches of grapes. The yellow-gray tones of the wall on which the grapes are growing and the warm green of the leaves make an agreeable contrast to the color of the fruit. Signed at the left. Height, 9 inches; width, 124 inches. [ 26 ] CHARLES REIFFEL 28 ae? Stet Low Tide on the Thames sett f the distance, the buildings of the city. The water in the middle distance is light, and against it the hull of a single-masted vessel shows as the strongest dark of the composition. Part of a row- boat is visible at the extreme left; stranded, as is the sailing vessel, by the receding tide. The shallow water and river bottom of the foreground are in shadow. Signed at the right. _ Height, 8% inches; width, 10 inches. E. M. SCOTT 29 : | a Pinks (Water Color) At the right, a bowl with pinks, their red flowers and green stalks showing brightly against a warm, gray background. Signed at the right. Height, 94 inches; width, 12% inches. 30 8 8) ’ MAX WEYL In the Kaloramas Hills near Washington, D. C. A windy day, with cloudy sky, and the land in sunlight and shadow. In the middle distance, on high ground, are trees, their foliage dark against the sky; below them, rocky ground, where cows are grazing. A path leads into the picture through the fore- ‘ground shadow, directing the eye to the distant horizon at the right. Signed and dated at the right. Height, 16 inches; width, 24 inches. [ 27 ] g 0 ’ 31 eo CHARLES LIVINGSTON BULL és Where the Little Fawn Came Down to Deas Fe (Water Color) ~— Ee NEiie hi On the dead trunk of a tree, facing to the left toward its plier ee: roots, a large member of the feline tribe is lying, its face and attitude eloquent of repletion and contentment. Below the tree trunks and ~ beyond it, blue water flows around the rocky shore. The whole very simply treated with a careful management of the decorative sal lines of the composition. | tae Signed at the right. Height, 12) inches; sidthy 205 aiea tem 32 f) Q ) J. W. CASILEAR, N. A. | The Genesee Meadows A quiet stretch of water in which the trees of the banks are reflected. In the middle. distance, cattle are coming down to drink, and beyond them the meadows stretch away to the trees at the horizon. Above, is a sunlit, summer sky with light clouds. Initials at the right. Height, 10 inches; width, 16 inches. QO. 33 : 4 RALPH ALBERT BLAKELOCK es Going to the Spring 3 In the lower left-hand corner is a spring, to which, from the evening gloom of the woods, an Indian maiden comes down for water. She carries a jug in her left hand, her right, across her breast, holds a bead necklace she is wearing. The upper part of the picture is dark with the foliage of great trees, their trunks and lower branches’ patterned against the evening sky, which, at the left, gives to the canvas its brightest light. Signed at the right. . Height, 9 inches; width, 53 inches. [ 28 } SSC Bo A> goles Fa®. 26h 19H, ; 34 W. De LEFTWICH DODGE Mid-ocean A broad expanse of blue water, above which float clouds tinged with the warm light of a declining sun. The violet of the clouds and the blue of the sky, turning to a delicate green as it nears the horizon, form a very agreeable color combination. ; Signed -at the left. Height, 394 inches; width, 20 inches. 7 peas 14 f) , A. VAN CLEEF DODGSHUN _A New Jersey Landscape (Water Color) From the center of the foreground a road leads back into the picture, a stream to the left, and meadow land to the right. In ‘the background tower great elms, their trunks light against a mass of willows. To the left and right are houses, and above, a light, cloudy sky. Signed at the left. Height, 8 inches; width, 10 inches. 36 : a) \ Cc. C. GRISWOLD, N. A. A View in Italy At the right of a grassy foreground with rocks, trees rise from ~ the hillside. A path leads into the picture. In the middle distance is a lake with houses on the opposite shore, and. beyond, a wooded, hilly country. Monogram at the right. Dated. Height, 8 inches; width, 64 inches. [ 29 ] 37 0 \ CHARLES J. HAGBERG Moonlight After Storm at Sea — In the front part of the picture the waves:are breaking in foam, 4 and washing far over the sandy beach. The moon, near the center of the canvas, makes a pathway across the waves and i is reflected with a softer light in the water of the foreground. At. either side the distant water is dark, and near the horizon are sailing vessels, ae dark also, against the clouds of the lower sky. Above, the clouds _ have broken, their detached parts hurrying across a clear oat Those near the moon are edged with its light. : Raise Signed at the left. Height, aT eas: i 474 inches. O J. WHITELAW HAMILTON — (Glasgow School) Venice . seg Nati At the left of the picture, ffee up, rises fhe Companit bith the Church of San Marco, showing above a line of houses. The sunlit parts of the Palace on the right are reflected in the wide stretch of undulating water. To the left gondolas are moored. A beautiful, delicate color scheme. Signed at the right. Height, 20 inches; width, 24 te 7 39 oe. b \ CHILDE HASSAM, N. A. Waverly Oaks (Pastel) A breezy, summer day. Between the trunks of the trees are seen great, white clouds forming a background for them, and from above, through their branches, the sun throws a pattern of light and shadow on the green grass. Evidently a quickly made picture, — but conveying a strong impression of the swaying of the branches of these stately old trees in the summer airs that blow about them. Signed at the right. Height, 18 inches; width, 22 inches. [ 30 ] Ss a: é ‘ = - omen es sd, WHITELAW HAMILTON: VENICE * ie -~LEE LUFKIN KAULA Girl in Red (Water Color) A little girl in a red coat and a red hat trimmed with black, seen against a gray background, on which, at the left, her shadow _iscast. She is turned slightly to the spectator’s left, the figure seen to the elbows. At the throat, a little of a white dress is visible. The hair, worn in a plait at the back, is a light brown, and the eyes, which are looking out of the picture, blue. The head is unusually well modeled for a water color. Signed at the left. Height, 18 inches; width, 22 inches. J | 7 41. » NY AUGUSTUS KOOPMAN % Street Scene A rapidly painted view of an old street, fresh in color. The buildings on the right and the church tower rising near the center of the picture sunlit above, with their bases in the shadow that bathes the street. Figures moving to and fro make variegated coloring in the shadow. On the left, a house, forming the corner of the street, its brown roof reaching above the top of the canvas. - Signed at the right. Height, 15 inches; width, 18 inches. 42 6) JERVIS McENTEE, N. A. A Tributary of the Delaware An autumn landscape, the red and green foliage of the trees on~ the right bank of the stream reflected in its calm surface. On the left, the trees are almost leafless, their branches showing dark against the sky and the hill beyond. Signed at the right. Height, 11 inches; width, 154 inches. [ 33 ] 43 | | | CORNELIA F. MAURY A Chorister (Water Color) | A brown-haired boy in cassock and surplice seated ” on. a Sate He holds in his hands a book, which, with his surplice, reflects Tight into his face as he bends his head to read. : son Signed at the right. Height, 114 inches; width, 16 inches. ¢# Tae nas LOUIS R. MIGNOT, N. A. On the Orinoco River, Venezuela A tropical landscape, with a bright, hazy, sunlit sky, cloudy — near the horizon at the left. To the right, beyond a wide stretch of flat country, are gray-blue mountains; and, in the — center of the picture, dark against mountains and sky, a mass of trees. Toward the left a rowboat, on the calm waters of the river, leaves behind it a trail of light across the dark reflection the trees. ; Signed at the right. Height, 104 inches; width, 173 inches. 45 : \ 4 \ EUGENE SPEICHER An Opalescent Sky A foreground of uneven pasture land. At the right and left in the distance are trees, and a little to the left of the center a tree at the edge of a rise in the ground makes a dark. note against the sky. Above, float summer clouds, their warm lights and violet shadows pleasant with the greenish-blue of the sky aia them. Signed at the left. Height, 22 inches; width, 18 inches. [ 34 ] 46 p0 FREDERICK J. WAUGH | Something in the Woodpile In the center of a clearing, grown up with weeds and wild flowers, a man in a blue smock is encouraging a white bulldog in its efforts to get at some small animal in a pile of spruce. Beyond them, near the top of the picture, are the pine woods. The figures of the man and dog are particularly well drawn ‘and the effect of light good. Height, 13 inches; width, 16 inches. AT OD MAUD MASON An Old Brittany Road (Water Color) Near the top of the picture, sunlit beneath a bright blue sky, are the gray roofs and red chimneys of old stone houses. Back of the foreground, the road, where it leads out of the picture at the right, is dark with a shadow which also falls upon a low garden wall of light-colored stone. In the garden, at the left, a man with a blue shirt is working. At his left and at his right, a tree, that at the left with red fruit showing in the sunlight. Signed at the left. Height, 174 inches; width, 24 inches. 48 | Or - GEORGE W. MAYNARD, N. A. Marblehead, Massachusetts, Low Tide The picture shows the rocky shore line of this old New England town. The water a slaty blue in which the rocks, covered with wet seaweed, make dark reflections. At the left are two figures, one upon a large rock exposed by the low water, and the other near him, standing in a dory. A little to the left of the center is Old Fort Sewell. Above the figures, at the right, is a schooner in the distance, its mainsails set. pe Signed at the right. Height, 74 inches; width, 15 inches. [ 35 ] 49 winding through it, ie meshes in ray die ee ground are trees, and on a road which 1 runs from Monogram at the right. =| Height, 14 inches 50 LENA KENNEDY 9 (Glasgow School) Cat A gray-brown Persian pussy seated by a saucer of milk. She is fronting to the left with her head turned, looking directly out of the picture. The shadow is cast at the right on 1 ray background. The blue-rimmed saucer is partially visib 2 at right. . hd Signed at the right. Height, 124 mene width, 10i i fh‘ 51 DuBOIS F. HASBROUCK Sunset, October the horizon. The fields are brown, but greener near the roreboann G where there is water which reflects the evening light. A little back of the foreground is a young tree, its branches, almost bare, showing - against the sky. ue Signed at the left. Height, 10 inches; width, As jnehent™ [ 36 ] > gc AD ara a ps Seer a0! 52 if | _M. F. H. De HAAS, N. A. rf Old Wrecks at High Tide Beneath a stormy sky, through which the sun throws a gleam of light upon the sea, the breakers are curling in past an old wreck. The stumps of its masts and bowsprit are silhouetted against the clouds. At the right, in the distance, is a schooner, sailing. Signed at the left. ; Height, 14 inches; width, 22 inches. sa or HILDA BELCHER Sibyl — Girl in Yellow Dress (Water Color) A charming water color of a girl seated upon a couch, which is covered with drapery of the same tone as the background. Her brown hair and the shadow of her head upon the wall make the darkest note of the composition. She wears a soft yellow dress, to which the gray-blue note of the magazine, at her left, and the collar and trimming of the upper part of the dress give a delicate contrast. The carpet is red with a gray-blue pattern. - Signed at the left. Height, 143 inches; width, 194 inches. 54 08: M. DEFOREST BOLMER The Last of the Sunlight A hillside, warm with the rays of the setting sun, which flushes also the few light clouds in the sky. The moon is rising, its pale light reflected in the shadowed pool in the foreground. Height, 144 inches; width, 12} inches. [ 37 ] pen 55 7 | ! ELEANOR A. HOLMES Pond Lilies (Water Color) On a polished table-top lie three pond lilies with: eras” The fully opened flower near the middle of the picture showing — its yellow center, which, with the colors of the table-top, — forms a delicate color-contrast with the gray-blue : tae coe ose ground. 2 | eye Signed at the right. Height, 10} sneha ane 15 sis: pee EASTMAN JOHNSON, N. A. Ruth Tey i hoes. Ba f= - i. on, oo ; - ot + - a : a “ . = = +. ee \ 5 4 . A ; : 56 ay ‘ =a jie = : ery j = ae 4 =a : 3 1 A young woman in a gray-brown dress, seated atin her right arm over the back of her chair, her hands clasped. Her head, — which throws a shadow on the gray wall behind her, is turned 252 the right towards a stove which stands in a recess, its side red with ae heat. tee | vy Initials at the right. Height, 18} inches; wie 16 i inches. Q ° 57 GEORGE W. MAYNARD, N. A. The Waves at Easthampton, Long Island | Waves breaking on the beach, one huge comber reaching right across the picture. In the foreground a little of the beach is visible. Signed and dated at the right. Height, 104 inches; width, 18 inches. | [ 38 ] | LIVINGSTON PLATT: EARLY WINTER oe j B oes ¥F: K. M. REHN, A. N. A. g 4 Fishing Boats, Evening (Water Color) — An evening sky, clouded at the horizon and in the upper corner at the left. The sails of the schooners at the right, dark and warm in color, make, with their darker hulls, deep reflections in the blue waves of the sea. In the distance are schooners, sailing; and the sunset light makes a pathway across the water, a little to the left of the center. . Signed at the left. Height, 13 inches; width, 1934 inches. | g9 | 6) LIVINGSTON PLATT | Early Winter Illustration A sweep of sloping foreground, covered with an early fall of snow, which also lies in patches between the trees on the bolder hillside beyond. The gray wrack of a late storm hurries across the sky, and through it the winter sun gleams here and there upon the snow. The shifting, transitory character of these lights has been admirably represented. _ Signed at the right. Height, 22 inches; width, 30 inches. P 60 j0 § ; JOAQUIN SOROLLA Y BASTIDA Leon Illustration A gray, cloudy sky and beneath it in the distance a hillside and green trees. On a meadow in the foreground are groups of people, ~ dark, with some touches of vermilion and white. A little panel, but expressing, to a surprising degree, the tremendous vitality and enthusiasm of the great Spanish painter. Signed at the left. Height, 4 inches; width, 7 inches. [ 41 ] ee 3 61 IRVING R. WILES,.N. A. A Morning Stroll In the foreground, at the edge of a field, a little child is gathering flowers. She wears a light sunbonnet tied with a large bow under the chin, and her left hand holds to her side a Japanese doll. To the right of the picture stands a lady in a pink dress, her left hand resting on her parasol. Behind her is a bank of green bushes, and to the left of the picture, trees. A gray, cloudy sky. Signed at the right. Height, 15 inches; width, 18 inches. 62 p : ELIZABETH CADY WHITE Still Life (Water Color) Against a dark, reddish background, at the left, is a large brass ewer, its polished surface reflecting the light. Behind it, on the table, are apples, and beside it, at the right, a black tray. Nearer the front of the picture, in strong light, is a yellow and blue vase with bright high lights, and beside it are apples. At the right isa green drapery. Signed at the left. Height, 30 inches; width, 22 inches. | 63 O i RALPH ALBERT BLAKELOCK. Evening Through an opening in the dark foliage of the foreground trees, one sees, across a wide field, the fading light of the sunset. A char- acteristic little canvas by this artist. Height, 4¢ inches; width, 8 inches. [ 42 ] «64 iS) : GEORGE H. BOGERT, A. N. A. g Moonlight, Etaples, France A canvas of colored grays; a play of greenish blue and rose with some darker brownish notes. At the right are the houses of a fishing village with a windmill in the distance. Above them the yellow moon, the sky about it rosy and greenish blue. Against its misty light the sails of the fishing fleet show dark. One of the boats has a light near the base of a mast. Astern of it, and a little nearer the observer, is a man in a rowboat. To the right, and nearer the foreground, another rowboat is moored, its bow where the reflections of the moon light the water. Signed at the right. Height, 18 inches; width, 26 inches. 65 7 E. A. HORNEL (Glasgow School) The Balcony, Yokohama, Japan Illustration 02 A decorative color arrangement. In the foreground the head and shoulders of a Japanese girl, nearly life size, holding a fan over which she looks out at the Japanese junks, at anchor in the blue water of the harbor. Signed at the left. Height, 16 inches; width, 20 inches. 66 l, & D. Y. MacGREGOR / (Glasgow School) Shoreham, England (Pastel) It is well on in the afternoon, and the houses on the left throw the broad street in the foreground into shadow. Little figures move to and fro, their dresses making pleasant notes of color in the low tone of the shade. In the middle distance some trees, rising higher than the roofs of the houses, catch the sun, and imme- diately beyond them the village church glows warm in its light. A delicate blue sky enhances the effect of this freely made pastel. Signed at the left. Height, 19 inches; width, 24 inches. [ 45 ] Mer 0. ALT. Van LAER, ALN. AL Across the foreground stretch broad fields, wl ere t ing snows give tones of yellow and gray. fc at their farther side, i is a river, and in the dista n country. Se ee a Signed at the right. Height, rat e353 Bo ES f at ¥ CARLETON J. WIGGINS, A. N., peaenaee to the top of the canvas. _ Signed at the left. DuBOIS F. HASBROUCK 2 5 69 p 0. A New Jersey Sunset From the foreground, at the left, a road leads into the picture. On it, near the middle distance, is a figure of a woman. A dark ee clump of trees beyond her and the dark line of the horizon are : accents that serve to enhance the delicate beauty of the taller trees: and the light of the evening sky. Signed at the left. Height, 84 inches; width, 12 inches. Ns [ 46 ] | 70° CHILDE HASSAM, N. A. 4 § : . The Stoop i in Winter A a with a light yellow shawl and her head wrapped in a blue fascinator sweeping the snow off the steps of a New York tene- ment. At the top of the canvas the lower half of a door is visible. The brick wall, which shows in the upper left-hand corner, adds a strong note of vermilion to the composition. Signed at the right. Height, 9 inches; width, 7 inches. 71 9,0 ' j JONAS LIE Rolling Clouds (Water Color) A dark foreground, and at the horizon, trees, blown by the wind, make dark patches against the sky. Above, the clouds of the late _ storm -hurry in disarray across the wind-swept sky. A well-composed little picture giving strongly the impression of the clearing of a storm. Signed at the right. Height, 73 inches; width, 92 inches. G2 GEORGE MICHEL Landscape (Water Color and Crayon) A wide expanse of country with trees to the left. In the sky, above the distant rolling land of the horizon, are clouds. Height, 14 inches; width, 22 inches. 73 f . HERMANN DUDLEY MURPHY Still Life ‘Japanese objects, bowl and jar, etc. The gray of the jar, the” yellow of the inside of the bowl, and the reds at the front of the picture being the color notes on a dark gray background. The frame designed for the picture by the artist. Signed at the right. Height, 14 inches; width, 10 inches. [ 49 ] ie a GEORGE HOUSTON — (Glasgow School) — The Shores of Iona to sandy beach, on which the sea, a beautiful pits of Silos sant wh green, is breaking in white foam. In the flower-strewn foreground, at the left, a man leans against the stern of an old boat that is drawn is high above the water. The shadow of a lanes rock ¢ on Le be adds a darker note to the composition. — ae aes LP -: Signed at the left. Height, 28 inches? width, 36 inches. g OQ ) 15 CHARLES H. MILLER, N. A. Springfield Valley, Long Island _ A cloudy sky. On the right, trees, with a farmsteading and __ figure with cattle. To the left a tree. The sun, shining through a ai rift in the clouds, gives a gleam of light in the foreground. = = - Signed at the right. Height, 12 inches; width, 22 inches. oa ery Prete ea: ees CHARLES REIFFEL A Street in Tangier A white-walled street; the left side with its doorway and win- — dows in sunlight. In the shadow of the house, on the right, is a figure, his back to the spectator. Further down the street more figures in sunlight, their Oriental costumes adding color to the little canvas. : Signed at the left. Height, 9 inches; width, 6} inches. [ 50 ] Pf a = | cae -. FREDERICK RONDEL 4 Summer in New England A verdant New England landscape beneath a blue sky. In an open space in the center of the picture, on the further bank of a stream, two ladies and a man are talking with a youth who wears a white shirt and carries a fishing rod over his shoulder. Boats are moored at the side of the stream, which reflects the figures above them, reproducing the white and pink notes of their cos- tumes. From the nearer bank, visible at the lower left-hand _ corner, a tree, with few branches and clumps of foliage, rises beyond _ the top of the picture. | Signed at the left. [ Height, 8 inches; width, 10 inches. 78 OD \ ISABEL L. ROSS A Bit of Venice On the right, the dome of a church, delicate in color, in the bright sunlight. To the left, the masts of boats. Nearer the observer, a bridge spans the canal, and gondolas are moored near a building of which just a corner is seen on the right; they and the _ mooring piles are reflected in the green water. ; Height, 114 inches; width, 14% inches. 79 i 3) 0 é EDMOND CHARLES YON Landscape, St. Auld, France ~ Beneath a summer sky with fleecy clouds, lies a river, its calm water reflecting the abrupt banks of itsfurther shore. On either side of the flat valley, through which the river winds, is a hilly country; the skyline broken here and there with the forms of tall poplars. At the nearer shore of the stream is a boat among the rushes, and in the immediate foreground, at the left, a woman, beside a wheel- barrow, washing clothes at the water’s edge. At the right, a break in the bank makes a pleasant variation in the green of the grass. Signed at the right. Height, 12 inches; width, 184 inches. [ 51 J LIST OF DRAWINGS TO BE SOLD AT THE CLOSE OF FIRST EVENING’S SALE OF PAINTINGS HESE drawings, done between the years 1880 and 1890, were made for reproduction in Mr. Kurtz’ ‘‘ Academy Notes.”’ Made by the artists themselves, after their pictures that were hung at the National Academy of Design during those years, they have | an unusual interest. ARTIST TITLE OF WoRK Baker, William Bliss Neds 2 1885, Solitude. Bridgman, iets ESS Tne eee . Waiting for Orders. Brown, J. G., 1888, ht eee Kiss Me. Chapman, Grea T., 1887, . . . Twilight, Coast of Holland. Chapman, Carleton T., 1885, . . . Through the Deep Purple of the Twilight. Chase, Harry (deceased), 1882, . . The Departure. Curran, Charles C., 1885, . . . . . An Autumn Day. DeHaas, M. F. H., 1884, ... . . A Stormy Day. DeHaas, M. F. H., 1889, . .. . . A Moderate Breeze, Coast of Maine. | Dewey, Charles Melville, 1884, . . . At the Ebb of the Tide. Dielman, Frederick, 1888, . . . . . Study Head. Dolph, J. LISS 2 see . . . Humble Life. Eaton, Charles Harry, 1885, . . . Autumn Days. Eaton, Charles Warren, 1887, . . . Night Cometh On. Eichelberger, R. A. Gerescade 1889, The Harbor River in Winter. Fitz, Benjamin R. (deceased), 1886, A Moment’s Respite. Fitz, Benjamin R. (deceased), 1888, Taking in the Clothes. Fitler,: Witham: C.5 0203). oe eee A Showery Day. Foster, Benjamin, ... ..°. . . . Im Picardie. Gaul, Gilbert, 1883, . . . . Silenced. Gibson, William Hamilton, 1884, . A Reminiscence of the Housa- tonic. Gifford, R. Swain, 1886, .. . . . Autumn in New England. Huntington, Daniel, 1884,. . . . . The Goldsmith’s Daughter. Inness, George (deceased), 1885, . . A Sunset. Inness, George (deceased), 1882, . . Under the Greenwood. shurtletf iss sce Clee ee . “When Forest Leaves are Bright.” Wiles; Irving’ Rijn &. sao eee A Costume Study. Eaton, Charles Harry, ... . . . Morning in the Meadows. Parton, Arthur, ..... .. . . A Winter Morning. Bristol, abs; tee . . . . . Shadows on the Hills. Miller, Charles H., 1888, ... . . The Emblem of Universal Peace — Ending of a Tem- pest in Tyrol. [ 52 ] . ARTIST Satterlee, Walter, Cox, Kenyon, 1887, Ward, Edgar M., 1886, Woodward, J. D., Chapman, Carlton T., 1888, . . . Brown, J. G., 1887, Moran, E. Percy, 1883, Barnsley, J. M., 1889, Casilear, J. W., Van Elten, Kruseman, Paton, Co uamry, <<. 5 a Weldon, ©. D.,_ . Eaton, C. Harry, . . . . . . . . . . . . . . . . . . . . TITLE OF WorRK A Confidential Friend. The Pier. Resting. . Afternoon on the Avon. . February Rain — East River. Professional Pride. An Old-Time Melody. . Twilight, Gloucester Harbor. [ 53 ] Genesee Valley. Sunset After Rain. The River. “The Wedding Dress.” The Shiawassee River. CATALOGUE SECOND EVENING’S SALE, FRIDAY, FEBRUARY. 25,1910. 3 80 0 \ | TONY NELL In the Hallway A little NS child in the light of a hall lamp, the upper ee of her face shadowed by the black hat she wears. Her shadow is cast upon the wall, near which she stands. With her left hand ee! she holds an umbrella. pkce % ner “ Signed at the left. | Height, 30 inches; width, 17 inches. e < Se . ADELAIDE, DEMING “‘Moon Shadows’? (Water Color) e- Of this picture Rhoda Holmes Nicholls in Pallette and Bench for December, 1908, writes: “We hail with pleasure the picture that takes the Beal Prize, ‘Moon Shadows,’ by Miss Adelaide © Deming. It is the gem of the exhibition; view it from far or near, __ the charm is the same. The subject is a field with hills at the back and lighted cottages in the mid-distance. A tall tree casts its shadow across the middleground. The effect is neither of blue nor green moonlight; it is gray with a suggestion of both those colors, an effect so familiar that it convinces at once. . ... There is light enought to suggest local color, the foreground is strong and rather detailed. The shadow of the tall tree is trans- parent, and the whole effect ethereal and dreamy. A beautiful picture to live with.” The International Studio, January, 1909, also contains a repro- duction of this picture, and Minna C. Smith writes: “All shapes in nature have somewhat which is not of themselves; the best pictures give at least ‘vague outlines of the Everlasting Thought.’ This quality, always in pictures with any modicum of permanence, is [ 54 ] not less definitely found in ‘Moon Shadows,’ by Adelaide Deming, than those merits of method and clarity which helped to win for this one of her pictures the annual William R. Beal Prize.” This picture was purchased by Mr. Kurtz before the opening of _ the exhibition at which it received the Beal Prize. Signed at the left. | Height, 24 inches; width, 36 inches. G. R. FOUACE Still Life Illustration A still-life study with the light falling from the left. At the right is a large, brass pan, its inner surface polished and brilliant with reflections. Below it are strawberries on a large, green leaf. One of the strawberries has rolled onto the table, near a great bunch of asparagus, which shows light against the rich brown background at the left. 82 , 2 6? Signed at the left. Height, 18 inches; width, 26 inches. 83 j Af DUBOIS F. HASBROUCK (ou Indian Summer A blue sky in which float soft clouds. Beneath it a farming country, with farm buildings near the horizon. In the middle dis- tance is. a fence across the picture, with two trees on the right and in the foreground a creek. Signed at the right. Height, 124 inches; width, 10 inches. 84 b ; WILLIAM KENNEDY ‘ (Glasgow School) Farmyard A view of an old Scottish farmyard in strong sunlight. In the shadow at the left, where a ladder leads to a loft, a young [ 57 ] woman stands near an open | door. She wears a dark skirt ss the farmyard, and over the back of the hone through a wide d a way, the distant sky makes a delightful note of blue.) sa a saue Gare Signed at the right. Height, 12 inches; width, 15 inches. 85 M. DEFOREST BOLMER ~ Looking Toward the Sea A wide stretch of marsh land with trees in the middle distance. se - Beyond, a glimpse of the sea with a gleam of the breakers. ae are great, soft clouds with patches of blue sky. Signed at the right. Height, 214 inches; width, me inches. S600 eS ELEANOR A. HOLMES Pink Roses eres be i * Pink roses lying on a polished table, beside a glass bowl, which is to the left. At the right, two petals, detached from the flowers. Signed at the left. Height, 10 inches; width, 14 inches. | 87 7, - ELEANOR A. HOLMES A Bowl of Roses Against a gray-green background is a glass bowl with a pink © rose. Beside it, to the right, a second rose lies on the table. Signed at the left. Height, 10 inches; width, 14 inches. [ 58 ] 88 | , “JERVIS McENTEE, N. A. 5 O. A Mountain Brook In the foreground, the water, and the rocks and pebbles sur- rounding it, are in shadow. Beyond, are the woods in sunlight, _the trunks of some of the nearer trees showing dark against the warm autumn foliage. Signed at the right. ; Height, 11 inches; width, 154 inches. 89 STUART PARK 0. (Glasgow School) - White Violas A particularly successful example of this artist’s work. The flowers are beautifully arranged, and painted with an astonishing ease and directness that makes one feel the artist’s joy in their delicate beauty. The canvas of a beautiful tone. Signed at the right. Height, 12 inches; width, 15 inches. 90 O. J. ALDEN WEIR, N. A. The Court of Honor, World’s Columbian Exposition (Water Color) A water color drawing of this architectural triumph. The flags are flying on the white palace at the left, across the lagoon, and in the distance on the right. In the foreground, crossing a bridge, the crowds of sightseers come and go. The warm tones .of the pavement and the yellow of the statue in the distance make a delicate contrast for the blue of the sky and water. Signed at the left. Height, 15 inches; width, 204 inches. [ 59 |. | | 91 y p ; HENRY B. SNELL, N. A. | Sails in Sunlight In the center of the picture, in charge of a tug, is a schooner, its sails warm in the sunlight and contrasting beautifully with the violet quality of the sky beyond, its hull adding a needed note of dark to the composition. The water smooth, with a gentle swell, reflects the sails. be : Cs a Signed at the right. Height, 12 inches; width, 14 inches. Fa 92 5 ‘ YETO GENJIRO Serving the Guests Through a doorway, in the screen-like partitions of a Japanese house, comes a figure. Her kimono beautiful in color, against the tones of the floor and background beyond. In her hands, held high so that it obscures the face, she carries a tray with entertain- ment for her guests. At the right, on mats, kneeling in Japanese fashion, are two figures, the nearer one drinking tea. The whole — done in the Japanese manner, though with evidences of a western — influence. Signed at the left. Height, 104 inches; width, 15} inches. | | 93 &é - CHARLES REIFFEL | A Bit of Tangier A side street in Tangier. The warm tones of the uneven street pleasant in color, with the plastered masonry of the houses and ~ garden walls. At the left, above a wall, through which leads a half- open door, a tree showing adds a note of green to the composi- tion. Signed at the left. Height, 72 inches; width, 6 inches. [ 60 ] GEORGE W. MAYNARD, N. A. es - | SG Rain, Easthamton, Long Island Meadow land, through which flows a stream; and in the back- ground, rising ground with trees and houses breaking the line of the horizon. The drenched land showing dark against a light sky that is fast clearing of clouds. Signed at the right. Height, 10 inches; width, 14 inches. 95 b HERMANN DUDLEY MURPHY The Lavender Shawl (Water Color) The figure of a girl, standing against a simple background of gray-green drapery. Her hair is the only dark note in the picture. She is turned a little away from the spectator, her face seen almost in profile. She wears a white dotted muslin frock cut low at the neck. Her shawl, hanging from the right shoulder, is held to her side by the left fore arm. She holds flowers in her left hand. Monogram to the left. Height, 184 inches; width, 10 inches. 96 O : ARTHUR PARTON, N. A. Summer Skies A cloudy, sunlit sky. In the foreground, water, with rushes and lily pads. ‘To the right, a figure with a pole. Beyond a rolling country are mountains, gray-blue through the moist atmosphere, their outlines broken on the right by the tops of the foreground bushes, and on the left by the larger trees of the middle distance. Signed at the left. Height, 16 inches; width, 25 inches. [ 61 ] 7 ‘ 97 EASTMAN JOHNSON, N. A. Captain Folger of Nantucket A portrait, to about the waist, of a fine old sea-captain, the head, with its gray moustache and beard, full of character and beautifully painted; the handling reminding one of a Rembrandt. He is turned slightly to the observer’s left and wears a dark tie. A very interesting canvas. Signed at the left. Height, 26 inches; width, 22 inches. % : LENA KENNEDY (Glasgow School) Light at Evening Time In the middle distance, in the gloom of the twilight, a bridge crosses a stream. At the right is a tree and, dimly discernable, beyond the bridge are houses. Beneath large trees, at the left, more clearly seen, is a house with white walls and red roof. The sky is gray with a gleam of light near the horizon, at the middle of th picture. Signed at the right. Height, 12 inches; width, 16 inches. CHARLES J. HAGBERG Moon Rise at Sea A full moon rising in a clear sky and lighting a wide stretch of tossing sea, its waves rolling toward the observer to where, in the foreground, they break and run far up the beach. Signed at the left. Height, 244 inches; width, 42 inches. [ 62 ] GEORGES BELLENGER: THE SHORES OF BRITTANY FRANCIS C. JONES, N. A.: THE VILLAGE BOTANIST eo a Savi ee whe eh ak Ae ihe Si eee - - : a tat 100 | FRANCIS ©. JONES, N. A. | ' a Oe The Village Botanist | Illustration A figure of an old man seated near a window. ‘The light falls strongly on his head as he consults a book regarding a specimen he holds in his right hand. On the bench near the window, boxes and dried plants. The lower part of the picture, and the wall behind him, are bathed in shadow. Out through the window are ‘sunlit trees, and summer clouds float across the sky. _ Signed at the left. Height, 20 inches; width, 14 inches. 101 0: GEORGES BELLENGER Shores of Brittany Illustration In the middle distance, beyond the great rocks of the foreground, lies a reef, on which the waves are breaking as they roll in from the wide expanse of the Atlantic. Above them the gulls are flying. The gray of the sky, the blue of the water, and the color of the rocks make a rich, low-toned harmony. Signed at the left. Height, 214 inches; width, 284 inches. 102 O J. B. BOTTO . ‘«The Shadows Steal Out of the Twilight Land ’”’ The sun has set, but its light still flushes the sky, throwing into relief the branches of the elm trees in the foreground. Between the elms in the middle distance is a house, its lighted windows and the smoke from the chimney adding the suggestion of comfort to the sense of the stillness of evening, so admirably given in this little canvas. Signed at the right. Height, 84 inches; width, 12} inches. [ 67 ] 103 J. H. DOLPH, N. A. An Interesting Tale An ably painted little picture of a kitten, ready to pounce on a mouse, which has been caught in a trap, the kitten with white nose and paws, and an expressive face. Signed at the left. Height, 74 inches; width, 10 inches. 104 a 0 . CHARLES H. DAVIS, N. A. The Edge of the Woods, ‘‘ Twilight ”’ Illustration A quiet evening scene, with pine trees showing dark against a sky flushed with the last rays of the sun. Beyond the broad field, to the right, a line of trees form the horizon. A path, barely visible in the gloom, leads from the foreground pace throes the center of the picture. Signed at the right. Height, 13 inches; width, 18 inches. & 105 y r ‘ H. GORDON GRANT The Spook (Water Color) Illustration A graveyard in the moonlight, the gravestones casting shadows upon the snow. A family, father, mother, and three children, passing by, look, with terror-stricken faces, through the bars of the iron fencing. The light of a street lamp above them throws their faces into greater relief against the dark of the trees behind them. A deep blue sky completes a picture in which the effect of light is represented as admirably as the incident is portrayed. Signed at the left. Height, 284 inches; width, 22 inches. [ 68 ] CHARLES H. DAVIS, N. A.: THE EDGE OF THE WOODS, ‘‘TWILIGHT”’ Pe a) THE SPOOK GRANT: GORDON H ~ 106 i -.. J. B. BRISTOL, N. A. | ; bs An Inlet at Moose Head Lake > A wide expanse of country with hills and mountains in the distance. The left foreground in deep shadow and beyond it a stretch of water, its distant surface reflecting the sun in a line of light. At the right, near the foreground, is a small house in shadow, its light smoke curling upward. The sunlit corner of the canvas reveals a path, which leads into the picture. The sky is bright and very delicately gradated. _ Signed at the right. Height, 14 inches; width, 22 inches. 107 | 3 O ‘ DuBOIS F. HASBROUCK : A Winter Morning in New Jersey In the middle distance of a snow-covered landscape is a farm- steading. The house on the left and the trees about it showing dark against the delicate sky, flushed with the light of the rising - sun. In the foreground is a frozen stream, its polished surface reflecting the tree tops. Signed at the left. Height, 14 inches; width, 24 inches. 108 Rs A DuBOIS F. HASBROUCK October Afternoon in the Catskills ¥ A woodland scene. The cool and shadowed foreground reflects the autumn sky. The warm foliage of the trees beyond the creek golden in the hazy, autumn sunlight. Beyond them is a field with trees in the distance. Painted in a freer manner than was usual with him. Signed and dated at right. Height, 14 inches; width, 20 inches. [ 73 ] @) : 109 ) 0 THEODOR HUMMELL Sleeping Child (Gtidginneee and Green) : Illustration A little ne asleep in a large chair, her head on her left her hands still in a black muff that lies in her lap. She - in a green coat trimmed withfur. The cornerof the red li shows, is a pleasing contrast to the green, and the g plete the picture make a pleasant combination. done with a pallet knife to obtain greater purit: picture was bought from the Exhibition of Conten Artists brought to America by | Mr. Kurtz in 1906. Signed at the left. Aa ‘Height, 332 inches; Be. 110 ees GEORGE, W. MAYNARD, N. A. The Breakers Sabet A wide expanse a sea ees in surf on, | the beach. In the te distance a sail. Si mS : ise eee ay Signed at the left. yack 10 inches; width, 244 inches. Se eu id bgt ny 4 y “a as yt ee 111 ae ee ee GEORGE PIRIE pee opera 0 0 : (Glasgow School) : A Cock Illustration An interesting canvas. The warm gray green of the back gees ht the color of the comb, the warm reds of the back feathers, and the darks of the breast and tail form a beautiful combination, to which the peacock blue note in the wing adds a delightful contrast. The — manner in which it is painted shows the accomplished technique of | the artist. Signed at the right. Height, 164 inches; width, 20 inches. [ores THEODOR HUMMELL: SLEEPING CHILD, STUDY IN GRAY AND GREEN GEORGE PIRIE: A COCK 112 ’ O: LEO PUTZ | Washerwomen, Verona A broadly painted picture of four Italian women at the public washing place. They kneel over, washing clothes in the water of the river. Beyond them, the piers of a bridge cast shadows on the water. Behind them is piled the washing. A pleasant scheme of colored grays, to which the figures of the women at either side of the composition add darker notes.— From the Exhibition of Contem- porary German Artists. — Signed at the right. Height, 223 inches; width, 264 inches. | 113 ( O y F. K. M. REHN, A.N. A. Old Wharves, Gloucester Harbor, Morning On the right, the old wharves, with schooners, still indistinct in the gloom of the departing night; their masts and sails against a morning sky. A little to the right of the canvas is a figure in a - dory silhouetted against the light water, where it reflects the glow of the rising sun. Signed at the right. Height, 16 inches; width, 26 inches. 114 g IRVING R. WILES, N. A. In the Garden A path leads straight from the foreground of the picture, sunlit, excepting where the branches of the apple trees on the left throw a pattern of shadows. In the middle distance, and near the center of the canvas, is seated a young girl in a white dress. Her elbow rests on the back of a red garden seat and, with her cheek resting against her hand, she looks out of the picture at the spectator. Her attitude expressive of the peace of a pleasant summer’s day. Signed at the right. Height, 19 inches; width, 13 inches. [ 79 ] 115 . MAX WEYL On Rock Creek Near Washington, D. C. The upper part of the canvas is a mass of foliage and tree stems. In the distance, at the turn of the creek, and nearer, at the left, on a rocky point, which forms one bank of the stream. Upon the right the bed of the creek is bare. The distance and the left bank are flecked with patches of light where the sun shines through the foliage. si Signed at the right. Height, 18 inches; width, 27 inches. 0 116 CHARLES WARREN EATON, N. A. Twilight After Rain Low in tone, with the gloom of the coming night. Under the clouds of the late storm, the light of the sunset makes a rosy line at the horizon, against which the trees of the middle distance show dark. In the foreground, meadow land with a small stream, and the slender trunks of two trees reaching from the bottom to the top of the canvas. ; Signed at the right. Height, 7 inches; width, 104 inches. 117 £ | 0 SIR JAMES GUTHRIE, P. R.S. A. Street in Oban, Night The sky is clouded, excepting where, at the left, one sees beneath them the dying light of the day that is gone. The house roofs here show strongly dark against it. At the right of the center, a great tower rises nearly to the top of the picture, and beneath it in the gloom of the wide street below, a gloom modified here and there by the lights from doors and windows, figures are moving to and fro. Signed at the left. Height, 16 inches; width, 12 inches. [ 80 ] LUIGI LOIR: THE EVENING’S’ , . 5 GLEANINGS £ 118 % - | | o/ _ CHILDE HASSAM, N. A. Evening — Return From the Fields Something less than half-way up the canvas, the horizon, a line — of rounded tree tops and the red roofs of a large house, extends | across the picture. The afterglow flushes the expanse of clear sky; brightest and rosy near the center of the picture, and gradated __ with a beautiful color change to the delicate blue of the upper sky. — At the right is a great gray house with a walled garden, and leading — to it from the left a road makes a narrow line of light. Along the road a group of laborers are riding home, one of them on a white horse. Their forms, and those of the haystacks beyond them to the left, but softly visible in the evening light. The picture is thinly painted on a wooden panel, which has served to add warmth to the color of the broad fields of the foreground. A quiet sense of the stillness of evening pervades this admirably painted picture. Signed at the right. Height, 124 inches; width, 16 inches. 119 0 - WILLIAM KENNEDY | (Glasgow School) Moonlight | The moon is rising behind the thatched roofs of the old Scotch barns. In the farmyard are a number of black pigs, and nearer the immediate foreground two ducks are swimming in a pond, from which one of the pigs is drinking. The color of the sky and the thatched roofs, of the gray walls of the buildings, and the warmer color of the yard itself, make a most agreeable color scheme. Signed at the right. Height, 12 inches; width, 15 inches. 120 : LUIGI LOIR 4 The Evening’s Gleanings Tilustration A dark mass of trees against a beautifully gradated evening sky, with long straight clouds near the horizon; and through the [ 82 ] trees the red of the sunset. In the wide fields, which stretch from the trees to the foreground, are figures gleaning, dimly seen in the failing light. In the foreground is a pond, reflecting the light of the sky. A beautiful composition, pervaded by a sense of peace and quiet. Signed at the right: Height, 12 inches; width, 16 inches. 121 | 0) 0 t GEORGE W. MAYNARD, N. A. Old Windmill, Dordrecht, Holland From among trees and bushes rises a Dutch windmill, its sails showing against a clear sky. In the foreground, to the left, a girl standing, with linen bleaching on the grass. To her left, a plank bridge across a narrow stream. Signed at the left. Height, 12 inches; width, 15 inches. 122 FREDERIC MONTENARD The Mediterranean, near Toulon Illustration Beneath the blue sky, with scarcely a cloud to disturb its beauti- ful gradation, is the deeper blue of the Mediterranean. Beyond, are the mountains at the right, and in the foreground, rowboats, with redeapped sailors plying long oars. On the left, separated from the water by a grassy place with weeds and flowers, is a road leading into the picture along the coast. In the distance, a covered wagon lumbers along in the heat, and nearer, just passing the gateway in a wall which separates from the roadway the trees and garden of a house at the extreme left, is an empty cart, its shadow dark upon the bright sunlit road. The picture is beautifully composed and painted and conveys a sense of the heat and quiet of Southern France. , Signed at the left. Height, 19 inches; width, 30 inches. [ 83 ] 128: | gU" HERMANN DUDLEY MURPHY — ‘The Portiere (Water Color) =A. Hee in a white dress with reddish belt, at cae a lilac curtain, which contrasts with the green walls of the room. At the left, a large jar and, at the right, high up, a bowl and small vase. Lower, at the right, is a Japanese kakimono. This picture was awarded a bronze medal at the Universal Expo St. Louis, F 1904. Monogram at the right. Height, 20 inches; width, 12} inches. 124 & | sages = 2 Gp 2 - ERNEST PARTON, N. A. Saas fi An Old Road in Wales a pea aaae: Illustration Beneath an old stone bridge runs a creek, its brown oe “ reflecting the rocks and pebbles of its banks. Crossing the bridge is a white farm horse, on which is a man, seated sidewise. Above tower great trees, their luxurious foliage patterned against the light clouds of the sky. On the left, the side of the road, which © coming from the distance leads out of the picture, is banked with stone, and below, on the grass of the foreground, are a, tree branches. Signed at the left. - Height, 42 inches; width, aL nee 125 ‘ CHARLES REIFFEL eat ; 4 The Lightning oe Above a wide expanse of water, on the further side of which is a distant shore line, are great thunder clouds, their towering forms reaching up into the clear sky. At the right, a flash of lightning illuminates them, forming the largest light of the compen an and giving light reflections in the water beneath it. Signed at the left. Height, 104 inches; width, 11? inches [ 84 ] ERNEST PARTON: AN OLD ROAD IN WALES FREDERIC MONTENARD: THE MEDITERRANEAN, NEAR TOULON - * GEORGE WETHERBEE: MUSIC OF PIPE AND BROOK 126 f GEORGE WETHERBEE 4 Music of Pipe and Brook | % Illustration An idyllic picture, presenting an effect of landscape and sky that at once brings to mind the masterpieces of Corot. In the fore- ground, a foaming brook makes its way through a mass of large stones and spreads out in a pool below them. At the right, a nude shepherd, under the shade of a large tree, plays upon his pipe. Near the top of the hill, in the middle distance, are several sheep. The sky is wonderfully luminous, and the sunlit clouds actually appear to be suspended. The work, as a whole, is individual and masterly. This represented Mr. Wetherbee at the Universal Exposition, St. Louis, 1904. ‘Signed at the left. FS Height, 29 inches; width, 36 inches. 127 : GEORGE H. BOGERT, A.N. A. ZL 0 Sunrise, Coast of France A light canvas. A few clouds in the sky and the sails and hulls of the fishing boats of Etaples making the darker notes of the picture. The sky about the sun is rosy, and brightest in its upper parts, with a good suggestion of atmosphere. At the right are the houses of the village, the lights in some of the windows still burning. The water of the foreground reflects the dark boats and the colors of the sky, and, near the horizon, the rising sun. Signed at the left. Height, 22 inches; width, 36 inches. 128 CHARLES LOUIS COURTRY A French Farmyard In the background, at the left, a farm building with white walls and red roof, and about it, trees. In the foreground, on the right, a shed with thatched roof, in front of which are barnyard fowls. At the left is a trough. Signed at the left. Height, 94 inches; width, 12? inches. [91 ] | 0 0 J. WHITELAW HAMILTON (Glasgow School) i Sa The Ebbing Tide from mre which a little stream wine Pe ta ee tide is nearly out, and back of the high tide line sita r from which, racing across the wet sand toward the children, to wade in the salt water. Very delice in color. : . | : Signed at the left. : Helen 18 inches; width, E. A. HORNEL (Glasgow School) @ 2) ; 130 ca | ro . : Street Scene, Tokyo, Japan fro. Their kimonos and variegated parasols forming interest colors and patterns in connection with the great streamers, which, from the tops of long poles, swing in the breeze. Reds, greens, blues, and yellows, with some black notes, combine to make a most pleasing pat color scheme. . us Signed at the right. Height, 30 inches; width, 19 ticlien: a WILLIAM MOUNCEY The Mill Pond | if ¢ ae. a At the left are trees overhanging the pond, and beyond, gray- $ roofed buildings, their light walls reflected in the water below. In — the sky above float summer clouds. This picture reminds one in ; subject and treatment of the English master Constable. Signed at the left. Height, 14 inches; width, 16 inches. : [ 92 ] 132 ; ie 3 2 RHODA HOLMES NICHOLLS yi Fisherman Returning (Water Color) | Along a path, in the moonlight, a white-bearded fisherman comes toward the spectator. On his right shoulder he carries a pair of oars. His left hand clasps that of a little girl who walks beside him, looking up into his face. Her figure is light against the dark trees beyond her. ‘To the left is a white house with a light in the window, and above in the sky one star. Signed at the right. Height, 194 inches; width, 131 inches. . & | 133 0) ) : JOAQUIN SOROLLA Y BASTIDA Playa de Biarritz The observer looks down upon a beach, where, in the foreground in, the shadow of the rocks and buildings at the right, holiday makers are enjoying the seaside. In the upper corner of the sketch, at the left, the beach is in bright sunlight, out into which the line of figures emerge. . Signed at the right. Height, 64 inches; width, 9 inches. 134 ee 0? GROSVENOR THOMAS (Glasgow School) A Summer Night Illustration This picture was described in Academy Notes by Mr. Kurtz as follows: ‘‘A picture of exquisite poetic feeling. It is a moonlight effect. The sky is suffused with the influence of the full moon — the mere rim of which shows from behind a dense clump of trees in the middle distance. A river flows into the fore space, reflecting the tender luminous sky and the dark mass of trees at the left — among which one discerns an old mansion, half hidden, with a light in one of the windows. There isa red light, also, down by the shore, which is reflected in the water below. The tall feathery trees on the [ 93 ] right bank of the stream suggest, in a measure, the trees of Corot. — One feels that the slightest breeze might stir the branches. “There is a majestic quality in the composition of this picture. — It has great dignity, simplicity, and wonderful pervasive charm. It is full of refinement and is an expression not only of truth, but of deep poetic feeling. It is a work to which one may go again: and again without exhausting it. It continually ‘grows upon one,’ developing new sources of charm as one learns to know it better.” Signed at the left. Height, 38 inches; width, 26 inches. 135 DOUGLAS VOLK, N. A. Puritan Maid Head of a young girl turned three-quarters face, the eyes sie out of the picture at the spectator. The head covering hiding part — of the forehead. ; Sh epee Signed at the right. Height, 10 inches; width, 8 inches. IRVING R. WILES, N. A. Baby’s Holiday A? 136 é In the summer house in the foreground, two figures are seated, the one nearest the spectator with her back turned. She holds a fan in her hand. The other is seated by a table, at the opposite side of which, near the center of the picture, the baby is standing. A dog looks up into the baby’s face. Beyond a railing, the grounds about a large house are dappled with sunshine and shadow. The dark door and the white frames of the windows of the house make strong notes in the background. A path leads away at the right of the picture, down which, under the trees, comes a figure. — Signed at the left. -- Height, 26 inches; width, 20 inches. [ 94] ¥ - £ ¥ GROSVENOR THOMAS SUMMER NIGHT ~ “ 7 . A. HERVIER: LANDSCAPE NEAR[BARBIZON ae eS ie Wal ta we wi ~ ARTZ: A DUTCH BABY DAVID ADOLF CONSTANT 137 40° RALPH ALBERT BLAKELOCK Autumn Beyond a dark foreground, between the trunks and foliage of large trees, is an open space, on the further side of which are trees with warm, autumnal foliage. At the right, from the distant horizon, the sky gradates upwards to a deep blue. Signed at the left. Height, 16 inches; width, 24 inches. i | 1388 DAVID ADOLF CONSTANT ARTZ 0 be A Dutch Baby Tilustration In an old-fashioned, closed-in chair with a high-carved back a little baby is sitting with plate and spoon. The baby, who sits _ fronting to the left, wears a white woolen cap, a white dress with short sleeves, and a blue shawl over its shoulders; its fresh-colored head and chubby arms glowing in the light against a rather dark, greenish background. Signed at the right. Height, 8+ inches; width, 5§ inches: 139 | if A. HERVIER Se , Landscape Near Barbizon Illustration ~ In the center, massive trees rise against the gray, cloudy sky; their branches and foliage beautiful in quality. Beneath them stands a young woman with a red skirt, a note of color delightfully related to the rest of the canvas. Beyond her, and beyond the trees, are houses, their roofs dark and light. At the right is a pond in the foreground, and to the left a pile of wood beside the road. A picture requiring quiet contemplation for a proper appreciation of it, and to be lived with to be thoroughly enjoyed. Signed at the right. Height, 13 inches; width, 16 inches. [ 101 ] 140 a | 2, O CHILDE HASSAM, N. A. A Girl in Pink A girl in a pink dress, seated out of doors, busy with fancy work. She faces to the left. Beyond her on a low parapet are great pots of scarlet geraniums, and in the distance a garden with trees. — Signed at the left. Height, 24 inches; width, 18 inches. 141 0 0 N CHARLES MELVILLE DEWEY, N. A. Moonlight A dark land with trees rising on the left, showing at the edge of their dark mass a soft pattern of trunks and foliage against the sky. On the right their branches, scantily clad with autumn leaves, reach nearly across the canvas, warm, against clouds lighted by the rising moon. The contour of the moon is obscured at top and bottom by the long lines of the clouds near the horizon. Directly below it are houses, dimly discernible, and in the foreground, water, lying in the cart ruts, reflects the light of the sky. Signed at the right. Height, 17 inches; width, 22 inches. 142 DAVID GAULD OQ. ' 2 (Glasgow School) The Haunted Chateau Illustration In the foreground are trees with scant, autumn foliage. Beyond them a moat, and at the left an old stone bridge crossing it. At the right, through their slender gray trunks, one sees the gray walls and dull red roofs of the haunted chauteau. The sky is gray and the whole picture, beautifully composed in its arrangement of line and form, is a harmony of colored grays, becoming more definite in color on the roofs of the castle and in the green of the foreground. Signed at the right. Height, 16 inches; width, 24 inches. [ 102 ] my CA aL Bootes eee ac, DAVID GAULD: THE HAUNTED CHATEAU WILLIAM M. CHASE, N. A.: GIRL IN JAPANESE COSTUME 143 Q WILLIAM M. CHASE, N. A. 4 Girl in Japanese Costume Tilustration ___A brown-haired, blue-eyed girl in a blue kimono with bright, red sash. She is seated a little to the right of the canvas and, fronting towards the left, is seen to the waist. The head, tipped a little to the right, is turned toward the spectator, the eyes looking out of the canvas. The background is simple, and against it the coloring of the head and the blue of the flowered kimono, its dashes of red supplementing the color of the sash, form a most agreeable combination.— From Thomas B. Clarke Collection. Signed at the left. | Height, 24 inches; width, 16 inches. 144 0. D. Y. MacGREGOR 3 / (Glasgow School) On the Stour A delicately colored picture of a Scotch landscape. In the humidity of the atmosphere the smaller details are lost and one sees only the soft shapes of the larger masses. In the distance a tower rises, breaking the horizon line, and coming down to the immediate foreground is the river, its light banks gleaming through the moist air, and its waters reflecting the blue sky. Signed at the right. Height, 153 inches; width, 204 inches. é 145 0 Ae THOMAS SULLY l Study of a Woman’s Head A head of a young girl, slightly turned to the right. She wears a white head dress, from under which her brown hair, parted in the middle, curls at either side of her forehead. Her face, with blue eyes, fresh complexion, and full lips, is pleasant in expression and beautiful in color. Coming one day toa favorite pupil, at work from the model, Sully, sitting down, said, ‘Let me show you how to [ 107 ] fr etre > paint a head,” and completed at one sitting this charming portrait. He thereupon presented it to the student as a memento of his friendship. . It was from the pupil that Mr. Kurtz pa the picture. : Mr. Kurtz wrote this note regarding it: “Painted about 1845, in a single sitting — only the head approximately ‘finished.’ For freedom in handling and irae and purity of color an | unusual example of the painter’s wor Height, 20 aoe width, 17 Sha. . 0 A: 146 = 9 CARLETON J. WIGGINS, A. N. A. Evening — Street in the Village of Grez, France Illustration Under a most tender and luminous blue sky in which one feels the influence of the sunset, the street is in shadow except where the last rays of the sun linger upon the upper portions of the houses, the thatched roofs, chimneys and the gabled church tower. The soft contrast of the weak sunlight and the blue-gray shadowed ee is expressed with artistic feeling. One notes the truth of the “‘values”’ in this work, and must ade the exquisite harmony in its color. Signed at the left. Height, 20 inches; width, 26 inches. - : 147 9. EASTMAN JOHNSON, N. ie | Winter Fronting the spectator with a frank expression is a young girl, holding in her right hand, which is bare, the rope of a sled which is a little behind her. Her cheeks are rosy, and her forehead is nearly hidden under her brown hair, which is cut straight across in a bang. She wears a dark hood, a light woolen cloud or muffler, and a dark green coat, its cape thrown back over her shoulder. Her left hand is mittened and her legs encased in gaiters, on which the snow shows in white patches. Behind her is a great bank of — snow forming a light background for her little figure, and beyond [ 108 ] SWEETEN he coe ee Cee CARLETON J. WIGGINS, A. N. A.: EVENING, VILLAGE OF GREZ, FRANCE *NOSUALVd SANVS NUIVA AILSVO i a at NT Oa Rr es DAVID ERICSON: THE MORNING OF LIFE (FRAGMENT) gl“ 9 et ates the snow bank, to the left, are people skating. At the top of the picture, in shadow, with here and there a patch of sunlight, is a hillside with trees. . Signed at the left. Height, 51 inches; width, 32} inches. 148 a JAMES PATERSON 2 0 (Glasgow School) ’ Castle Fairn Tilustration A fine sweep of rolling country, partially wooded. In the dis- tance Castle Fairn on the edge of the hill. Above float great cumulus clouds, their colored grays beautiful against the delicate blue of the sky beyond. _ Signed J. P. at the right. Height, 18 inches; width, 36 inches. 149 v] O PK M.REHN, AN. A. - % Glowing Sunset Illustration Back of the immediate foreground a large tree rises, its branches spreading across the top of the picture. Below the sky is yellow, changing to red at the horizon. At the right, on a stream that winds through a low, flat country, is a sailing barge, its mast and sails silhouetted against the sky. Signed at the right. Height, 12 inches; width, 16 inches. 150 | 625: DAVID ERICSON ** Morning of Life ’’ Tilustration -This picture was described by Mr. Kurtz in Academy Notes as follows: ‘‘‘Morning of Life’ represents an expanse of water under an early morning sky, with a portion of a rowboat in the immediate forespace, with a beautiful little flaxen-haired boy of about five years seated in the stern, looking wonderingly at something which ALETa) attracts his attention beyond the observer, at the right. The first rays of the rising sun — not very strong, coming through the © haze — touch the child’s face and illuminate the tousled hair. The little boy wears a white blouse and blue knee breeches, and the figure and costume represent only intensified notes of the delicate colors pervading the canvas. A small boat, tied to a stake rising from the water in the middle space, is painted as Whistler would have painted it. Away off in the far distance, at the left, is. dimly discerned the hull of a larger boat, giving a faint accent exactly where such an accent is needed. In the upper sky are drifting masses of rosy cloud and these are reflected in the ripples — of the water in the forespace. “In sentiment the painting is exquisite and appealing. te may imagine the child, just embarked on the voyage of life, regarding the world about him with wonder and with just a suggestion of timidity, yet expressing the unconscious joy of life without care or trouble; reflecting in his face the sunshine in his soul. — “The work is restful in feeling, refined, and harmonious in its soft, opalescent coloring. It is a picture to captivate at first sight and ‘to grow upon one’ as he comes to know it better.” Re ae Signed at the right. Height, 43 inches; width, 36 inches. O 151 ‘ 2 Q THOMAS COUTURE Head of a Woman ' Illustration * A beautiful commento The simple pattern of Liphi*s and aa. admirably arranged. The whole done in the very best manner of the painter of “‘Les Romans de la Decadence.” Mr. Kurtz in one of his articles describes this picture as follows: ‘This head, which represents a dark-eyed, dark-haired woman of perhaps thirty years, has the fine color and tone one is accustomed to find in the ' work of the old masters. The view is three-quarter face turned to the left, the neck and shoulders bare except for the suggestion of a white chemise. There is a red ribbon in the hair. The eyes look straight at the observer and follow him. ‘There is strong character in the face which is said to be a portrait of the wife of Couture.” This picture is undoubtedly one of the finest examples in America of this master’s work. — From George I. Seney Collection. Initials at the left. Height, 21 inches; width, 17% inches. [ 118 ] THOMAS COUTURE: HEAD OF A WOMAN bay + te 152 0 § JOAQUIN SOROLLA Y BASTIDA O Playa de Valencia | _ In the foreground a beach, with a great rock at the right, and beyond the blue water of the sea, in which a group of children are bathing. ; Signed at the left. Height, 53 inches; width, 10 inches. 1538 ( g ANTON MAUVE b 4 EN Sheep on the Dunes GO ane | Iilustration In the middle-ground a shepherd drives his flock to a narrow stream which finds its way among the sparsely grass-grown hum- mocks of sandy soil. The landscape stretches beyond to a far hori- zon, the line of which is broken at intervals by clumps of trees. Over all is a tender and very luminous sky. This picture was painted some years before the artist’s death, is unusual among his works for the exceptional strength and richness of its color. In this respect it resembles more the work of Troyon, than the usual work of Mauve — particularly the latest work. This picture was considered by the painter Artz as one of the finest productions of his friend; his admiration of it caused him to become its owner, and it was purchased from his widow shortly after the death of Mr. Artz. It is painted on a panel. Signed at the left. Height, 123 inches; width, 18% inches. 7 Q 154 4 7, R. MACAULAY STEVENSON (Glasgow School) Rhapsody A delicate and beautiful composition. Above a mass of trees at the right is the pale moon, its soft light diffused throughout the picture. In the center, tall trees rise gracefully, their upper branches reaching above the top of the canvas, their delicate trunks and foliage beautiful against the moonlit sky beyond. Signed at the right. Height, 204 inches; width, 124 inches. [ 123 ] EK. A. HORNEL (Glasgow School) f 0 155 i Reverie Illustration “Reverie” painted at Kirkcudbright presents a tired — but not exhausted — child, lying stretched at full length on the beach, in the bright sunshine, free, careless, happy — beautiful! The joy of living beams from the bright eyes and sweet childish face. Such an expression is calculated to drive away the blues and to make even the suggestion of pessimism impossible. Signed at the left. Height, 303 inches; width, 364 inches. DuBOIS F. HASBROUCK bs: ie Morning in the Catskills A woodland scene with large trees, the distant ones bright in the morning light. Down a pathway, leading through the center of the picture, comes a woman with a little girl. Signed at the left. Height, 10 inches; width, 12% inches. D. Y. MacGREGOR (Glasgow School) 5; a Study of Trees (Crayon) An interesting study of two large pine trees done in crayon on a tinted paper. Beyond them to the left, and seen through their lower branches, is a stream, with fields on the further bank and hilly country to the horizon. Signed and dated at the right. [ 124 ] ; | 158 | 2), -DvuBOIS F. HASBROUCK | Autumnal Sunset After Rain A light clouded sky, brightest near the horizon. A little to the right, where the sun has set, the autumn trees show dark and warm. Just to the left of the center the gable roof of a house is visible, the smoke from its chimney blown southward toward a clump of trees. In the foreground, at the right, a stream reflects the trunks of the larger trees and the warm light of the sky. Signed at the right. Height, 14 inches; width, 20 inches. | LIST OF DRAWINGS TO BE SOLD AT THE CLOSE OF SECOND EVENING’S SALE OF PAINTINGS ARTIST Inness, George (deceased), 1883, Johnson, Eastman, 1883, Jones, Francis C., 1887, . . . Jones, Francis C., 1888, . . Koeher, Robert, 1885, Maynard, George W., 1887, Moran, Thomas, 1882, . Murphy, J. Francis, 1887, . Nicoll, J. C., 1885, ae Palinee. Walter L., 1888, Pauli, Richard ieeased), 1889, Quartley, Arthur (deceased), 1886, ‘True oF WorK . A Summer Morning. . “And So He Married the Princess.”’ . The Unexpected Visitor. . The Favorite Grandchild. . The Socialist. . An Amateur. . The Pueblo of San Juan. . Neglected Lands. . A Summer Morning. . On the Bozen Kill. . A Breezy Day. . The English Channel Off Hastings. Rehn, F. K. M., 1883,. . Sundown, Gloucester Harbor. Post, Ernest C., 1885, . . Nightfall. Richards, William T., 1889, . High-Tide. Sarony, N., . The Vase. Schilling, Alexander, 1: 1887,. Schilling, Alexander, 1889,. Shurtleff, R. M., 1883, Stark, Otto, 1888, Tyler, James G., 1887, . Ulrich, Charles F., 1884,. Volk, Douglas, 1882, . . Midsummer on_ the Aux Plaines. . After a Shower. . In the Wild Wood. . The Farmer’s Boy. . The Fortunes of War. . Study Head from “‘The Land of Promise.”’ . “Just One Year Ago.” aed ARTIST Walker, Horatio, 1888, . . . -Woodbury, Charles H., 1887, . Ochtman, Leonard; -..4 (|) ae Blakelock, Ralph A., . oe Eaton, C. ‘Harry, eae Dewey, Charles Melville, Brenner, Carl C., Melchers, Gari J., Davidson, JOR Ss Butler, Monard: Russell, Parton, Arthur, Melchers, Gari J.,. . . Chapman, Carlton T., 1888, Gay, Edward, 1888, ‘i McCord, G. H.,. Chase, Harry, . Fitler, W. C., amen Long sian ¥: Brown, J. G., 1885, . . . . . . . The Monopolist. = Parton, Ernest, 1885,. ......A Wooded Vale z went, Derbyshi Ward, Edgar M., 1886, . . . . . . The Blessing. ie Curran, Charles C.,. . . . .. . . A Pumpkin Fie [ 128 ] GRAPHICAL = + ‘ BIOGRAPHICAL DAVID ADOLF CONSTANT ARTZ ORN, The Hague, Holland, 1837; died, 1891. Pupil of - the Amsterdam Academy, and of*Mollinger and Israels. Bronze medal, Vienna, 1873; honorable mention, Salon, Paris, 1880; gold medal, International and Colonial Exposition, Amsterdam, 1883. Vice-president of the International Jury of Award, Exposition Universelle, Paris, 1889. Knight of the _ Oaken Crown, 1879. Chevalier of the Legion of Honor, 1889. Member of the Société Nationale des Beaux Arts, Paris. — -“Yike Israels, he is interested in human character and sentiment, and like Israels, he has sought and found his material in the types and circumstances of his native environment. _ At his best, he is a good craftsman, with a real gift of color, feeling for light and air, and that directness of touch which marks the painter.” — W. E. Henley. . MISS L. C. ATKINSON ISS ATKINSON’S flowers have that crisp vitality which is the subtle charm of successful painting of this class of still-life. —Chicago Graphic, 1892. GEORGES BELLENGER EORGES BELLENGER was born at Rouen, 1847; died, 1883. ry A came much in contact with John Pettie, R. A., from whom he ~ a received advice; subsequently he studied in eects He received — honorable eae at the Salon, Paris, 1889, and a gold medal. po a in 1891. He also has been awarded medals at exhibitions in — aa Munich and Berlin. He was early made a member of the Royal ai Scottish Academy, and in his thirty-ninth year was made its : president. He is a member of the Royal Scottish Water Color Society, the Société Nationale des Beaux-Arts, Paris, and an | : honorary member of the Bavarian Royal Academy, Munich. — Mr. Guthrie always has a scholarly and dignified conception of what is before him. Whatever he does, he does well, but in his pictures he goes beyond that, for he conveys a depth of thought and grasp of character which reveal far more than mere accomplishment. Both in portraiture and landscape this powerful characterization is apparent. His technique is broad, simple, and most competent. His unerring touch, fresh, pure — color, and the decorative quality involved in his work, both in — line and mass, combine to effect results not peli by the 7 efforts of any other living painter. CHARLES J. HAGBERG ORN, Stockholm, Sweden. Pupil of Spangeberg, Frankfort, Germany. Studied also in Venice. Painted for several years in California. J. WHITELAW HAMILTON Bo in Glasgow, Mr. Hamilton studied for a time in his native city and, later, in Paris, under Dagnan-Bouveret and Aimé Morot. He has achieved success both in oils and water colors, and is represented in many important public and private collections, including the New Pinakothek, Munich; [ 142 ] the Municipal Gallery of Weimar; the Museum of Fine Arts, St. Louis; the Carnegie Institute, Pittsburg, and the collection of Queen Margherita, of Italy. He is a member of the Royal Scottish Society of Painters in Water Colors; corresponding member of the Secession, of Munich; associate of the Inter- national Society of Sculptors, Painters, and Gravers, London, and member of the Society of Twenty-five English Painters. _ “He has developed a fine sense of the use of paint to express his motif, whether it be the beautiful effect of a landscape ablaze with sunlight, or the more reticent one of a stretch of moorland under an expanse of cloudy, gray sky, in a treatment of sea and shore, or in the movement of a busy street scene. His color always strikes a true note, being decorative without any straining after peculiarity of contrast or oddity of effect. * #& %* Every picture he paints is artistic; nothing from his brush is commonplace or uninteresting.” — The Glasgow School _ of Painting, by David Martin. ELIZABETH R. HARDENBERGH XHIBITED in United States Section Art Department, “ Universal Exposition, St. Louis, 1904, and since then in water color exhibitions at the St. Louis Museum of Fine Arts and at the Albright Art Gallery, Buffalo. Studio now in New York. DU BOIS F. HASBROUCK ety Ulster County, New York, 1860. Self-taught. First exhibited, 1884, at the National Academy, New York, and for many years following his landscapes of characteristic Cats- kill scenery attracted much attention in the annual Academy exhibitions. His pictures show keen observation, combined with a tenderly sympathetic and enthusiastic enjoyment of Nature in her varying moods. His studio is in the Catskills, where he is surrounded by the scenery which he so charmingly portrays. [ 143 ] CHILDE poise ies N. A. ORN, Boston, 1859. Studied in Boston, nae ee a ee langer and Lefébvre, Paris. Bronze medal, Exposition- — Universelle, Paris, 1889; gold medal, Munich, 1892; gold medal, Philadelphia Art Club, 1892; medal, World’s Columbian. Exposition, Chicago, 1903; prize, Cleveland Art Association, 1893; Webb Prize, eee of American Artists, 1895; prize, _ — Bost Art Club, 1896; medal, Carnegie Institute, Pittsburg, a 1898; Temple Gold Medal, Pennsylvania Academy of the Fine _ Arts, Philadelphia, 1899; silver medal, Exposition-Universelle, — Paris, 1900; gold medal, Pan-American Exposition, Buffalo, 1901; gold medal, Universal Exposition, St. Louis, 1904; Thomas B. Clarke Prize, National Academy, 1905; gold medal, Carnegie Institute, Pittsburg, 1905; Carnegie Prize, Society of American Artists, 1906; Walter Lippincott Prize, Pennsylvania Academy of the Fine Arts, 1906. Member of the National Academy; American Water Color Society; New York Water Color Club; ‘‘The Ten” American Painters; associate of the — Société Nationale des Beaux Arts, Paris; and corresponding — member of the Secession, Munich. Represented in Carnegie Institute, Pittsburg; Cincinnati Art Museum; Boston Art Club; Corcoran Gallery of Art, Washington, D. C.; Pennsylvania Academy of the Fine Arts; Telfair ‘headers Savannah, Georgia, and Buffalo Fine wee Academy. ADOLPHE LOUIS HERVIER ORN in Paris, 1871; died, 1879. Studied under Eugene Isabey and was a pupil and friend of Theodore Rousseau. He etched several plates of landscape and marine subjects. The International Studio for February, 1909, says: “At the exhibition of the Société Internationale des Aquarellistes M. Maurice Guillemot, the president of this interesting association, had the idea of doing homage to Hervier by organizing a special exhibition of his work. Nothing could have been more praise- worthy, for Hervier, who died obscurely in 1879, was one of the masters of water color in the nineteenth century. * * * [ 144 ] “Though, in his life time, Hervier failed to win success among collectors and dealers, and though his works were not acquired by our Art Galleries, as was the case with those of many of his contemporaries, this charming artist yet had his . admirers, both famous and far-seeing.” * * * Baudelaire, who, from the very first, understood Meryon, _ Fantin, Whistler, and Guys, was fond of Hervier, of whom Theophile Gautier wrote that he was eereey inferior to Theodore Rousseau.” | ELEANOR A. HOLMES 5 pipes Boks, Columbus, N. Y. Pupil of H. F. Spead and Annie C. Shaw, Chicago. ‘‘ Miss Holmes shows in all her work that intimate knowledge of nature and deep love for it which pre- cludes the possibility of at any time painting merely to show her skill, or, indeed, for any reason but to faithfully interpret that which has appealed to her as worthy of interpretation.”— Chicago Graphic, 1891. EDWARD A. HORNEL (Glasgow School) Born at Bacchus Marsh, in Australia, but at an early age was brought to Scotland, the land of his parents, who settled in the picturesque town of Kirkcudbright, where he now has his studio. He went to Edinburgh in 1880, and entered the art school there. Later, he went to Antwerp and entered the atelier of Verlat, with whom he studied for two years. After leaving Antwerp, Mr. Hornel returned to Kirkcud- bright, where he painted landscapes and figure compositions. He found material for his fast-developing powers and sym- pathies among the field workers in the pastures and woodlands surrounding his home, and in the rustic children playing by | river bank and hedgerow — inspirations for many charming _ pictures, instinct with moving color almost riotous in its bril- lianey. His pictures from the first attracted great attention. During the eighteen months Mr. Hornel spent in Japan, he painted between forty and fifty pictures — wonderful, glowing [ 145 ] works full of the influence of the country, full of its charm, yet unlike any product of Japanese art, or, indeed, the art of any other country or painter. Ignoring the long-established, artistic conventions, Mr. Hornel simply set out to paint com- positions in color — based upon the suggestions he obtained from nature but worked out in accordance with the impulses of — his exuberant passion for color. He did not, and does not, work from the standpoint of the conventional painter of pic- tures, but rather from that of the weaver of rugs, the designer — of jeweled glass or mosaics. Beauty of color and its infinite combinations is the chief aim of his expression. Despite the storm of controversy aroused by the exhibition ‘of Mr. Hornel’s Japanese pictures, every work in the collection was sold, and the artist’s work was in greater demand than ever before. He painted no more Japanese subjects, but, returning to Kirkcudbright, resumed the painting of landscapes, principally with figures of children at play. His pictures have been purchased for the Royal Scottish Academy, Edinburgh; the Corporation Gallery, Glasgow; the Corporation Galleries at Leeds, Bury, and Bradford; the Walker Art Gallery, Liverpool, and the Albright Art Gallery of Buffalo. He is represented also in the collection of Mr. Andrew Carnegie. GEORGE HOUSTON (Glasgow School) EKORGE HOUSTON is one of the younger artists whose work has come into relationship with “the Glasgow move- ment.’”’ For several years he has held a prominent place in Glasgow as a newspaper artist, but during that period he has embraced every opportunity to work in color directly from nature, out-of-doors. His work is suggestively realistic, broad and simple in technique, and truthful in color. He has been represented in the most prominent exhibitions in Great Britain during the past few years, his pictures receiving much favorable ~ comment in the recent Royal Academy exhibitions. His “Ayrshire Landscape” was purchased for the Corporation Gallery, Glasgow, 1904. [ 146 ] THEODOR HUMMELL BORN at Schliersee, 1864. Pupil of Professor von Loefftz. Awarded medals at Barcelona, Paris, Chicago, and Berlin. Member of the Secession, Munich. Represented in the Museum of Barcelona, Spain. ELIZABETH C. HUNTER DORN in California. Member of the New York Water Color ~ Club and New York Woman’s Art Club. Her studio is in New York. . | DAVID JOHNSON, N. A. Roee: New York, 1827. Pupil of J. F. Cropsey. Mainly self-taught. Medal, Centennial Exposition, Philadelphia, 1876; medal, Massachusetts Charitable Mechanics’ Association, Boston, 1878. Member of the National Academy since 1861; and Artists’ Fund Society, New York. He is a landscape painter, notable for fine color and excellent drawing. ~ EASTMAN JOHNSON, N. A. Bo at Lovell, Maine, in 1824; died, 1906. Pupil of Pro- ~— fessor Lutze, in Dusseldorf, and also studied at The Hague and Paris. He was one of the best known and most successful of American portrait painters and was equally well known as a painter of genre. His work in this field always possesses fine color quality and realizes with sympathetic feeling the spirit of his subject. He was elected a National Academician in 1860 and received a medal for his work exhibited at the Paris Expo- - sition of 1889. He was a member of the Society of American Artists. In the quaint region of his summer home on the Island of Nantucket he found many interesting subjects for his brush. [ 147 ] HARVEY JOINER ORN, Charlestown, Indiana, 1852. Member of the Louis- — ville Art League. Self-taught. His pictures are mostly _ landscapes. Sige FRANCIS C. JONES, N. A. ORN at Baltimore, Md., 1857. Studied in l’Ecole des Beaux — Arts, Paris, in the studio of Lehmann; later, under Bou- langer, Lefébvre, and Yvon. Awarded the Clarke Prize at the National Academy, New York, 1885; silver medal, Pan- American Exposition, Buffalo, 1901. Member of the National Academy, the Society of American Artists, the American Water Color Society, the New York Architectural League, and the Society of Mural Painters. Member of the Jury of Selection for the United States Section of the Department of Art, Louis- iana Purchase Exposition. LEE LUFKIN KAULA ORN at Erie, Pa. Pupil of Charles Melville Dewey in New York, and Colarossi Academy and Aman-Jean, Paris. Medal, Colarossi Academy, Paris, 1897. LENA KENNEDY (Glasgow School) [es A KENNEDY (Mrs. William Kennedy) has her studio in | Glasgow, Scotland. Her pictures are painted in a free, simple manner, are fine in color, and are imbued with refined poetic feeling. [ 148 ] WILLIAM KENNEDY (Glasgow School) ILLIAM KENNEDY is a West of Scotland man who has _"*" had the advantage of a thorough artistic training. He studied in Paris, first under Bouguereau and Tony Robert Fleury and, later, under Bastien-Lepage, Collin, and Courtois. In his pictures he has ever sought for the realization of an ideal. While his works have the effect of having been painted with perfect ease and spontaneity, they present evidence to the - critical student that they are the result of much serious study and close observation. The tonality of his work is always fine, whether he paints in a high or a low key. Correctness of tone, rightness of “values,”’ and fullness in color-scheme are felt in all his productions. _ Mr. Kennedy has painted landscapes, figures, and has suc- cessfully introduced animals into his pictures. For some time _he devoted himself almost entirely to the painting of scenes of military life, maintaining a studio at Stirling Castle, where a garrison is quartered. His pictures of the highland soldiery in their brilliant uniforms were most effective and successful. Mr. Kennedy, however, found himself drawn to resume the painting of landscapes, and during the last few years, has found several picturesque localities in the south of England, which have furnished him subjects for some of his most artistic pro- ductions. _ 7 When, for a time, the men of the Glasgow art movement were united in a formal organization, Mr. Kennedy was . elected president of the society. J. F. KENSETT, N. A. ORN, Cheshire, Conn., 1818; died, 1873. For many years a resident of New York. Studied bank-note engraving in his youth and practiced painting in his leisure hours. Exhibited at the: Royal Academy, London, in 1850, a picture which attracted favorable criticism. Mr. Kensett spent seven years [ 149 ] abroad, painting in Rome, Naples, Switzerland, Germany, etc. é Elected member of the National Academy, New York, 1849. — One of the best-known landscape painters of the last generation. AUGUSTUS KOOPMAN ORN, Charlotte, N. C., in 1869. He studied at the Penn- sylvania Academy of the Fine Arts and at l’Ecole des Beaux _ Arts, and under Bouguereau and Robert-Fleury, Paris. Awarded the Second Wanamaker Prize by the Paris-American Associa- tion in 1898, and the First Clarke Prize by the same in 1899. He received a bronze medal and special silver medal for decora- tion at the Paris Exposition of 1900. Bronze medals, Pan- American Exposition, Buffalo, 1901, and Universal Exposition, — St. Louis, 1904. JONAS LIE_ ORN in Norway, 1880. Pupil of National Academy of | Design and Art Students’ League, New York. Awarded silver medal by Universal Exposition, St. Louis, 1904. He is one of the most sincere and vital of the younger artists. LUIGI LOIR ORN, Goritz, Austria, of French parents. Pupil of the School of Fine Arts at Parma, Italy, and of Pastolet. His home was in Paris for many years and his pictures attracted much attention at the annual Salon exhibitions. His work shows the influence of the Barbizon men, but is too individual to suggest imitation. He was awarded third-class medal at the — Salon of 1879; second-class, 1886. Gold medal at the Exposi- tion-Universelle, Paris, 1889. Member of the Société des Artistes Francais. [ 150 ] JERVIS McENTEE, N. A. ORN at Rondout, N. Y., 1828; died, 1891. Pupil of Fred- erick E. Church, N. A. Elected associate of the National -Academy, New York, 1860, and was made a member in 1861. _ He was prominent among the early American landscape painters, his work being characterized by great sincerity, poetic feeling, and rich color. His pictures at the Centennial Exhibition of. 1876 received commendation for their artistic qualities and a picture exhibited at the Royal Academy in 1872 was favorably received in London. He was especially fond of depicting the rich colors of autumn, and all his pictures were faithful trans- scriptions of characteristic American scenery. W. Y. MacGREGOR (Glasgow School) . ONE of the most influential men in the development of the ~ Glasgow art movement was W. Y. MacGregor. Such was his strength of character and his knowledge gained by study that he was able to impress upon his intimates in art the neces- ity of striving for greater things than had been the quest of the popular artists of the time, in regard to choice of subject, form of composition, selection of details, technique, color, and tone. Mr. MacGregor first studied painting with James Docherty, and, later, with Robert Greenlees in Glasgow. But Professor Legros, in the Slade School, London, was his real master. He spent three years in the Slade School, and there he developed that seriousness of intention, largeness and dignity of design, wonderful charm of color, and that indefinable “style” char- acterizing all his work. He is an indefatigable worker, yet he is a most exacting critic of his own work and produces very few pictures. And, like the late George Inness, of our own country, he has the dreadful habit of returning to his finished works and repainting them — often with the result of making entirely new pictures and losing precious old ones. He works in oil, water color, and pastel, and he knows the resources and limitations of each. He has painted in Scotland, England, Spain, and in [ 151 ] South Africa, and his interpretations of Nature are so true in character that one is impressed with a realization of the very atmosphere of the region of the representation. Few artists have approximated in their work the majestic dignity, sim- plicity, and power pervading the productions of MacGregor. He is represented in the Scottish National Gallery, Edinburgh; in the Corporation Gallery, Glasgow, and other notable collec- tions, but his pictures are more rare, perhaps, than are those of any other living artist. HARRINGTON MANN BoEN in Glasgow, Scotland, in 1864. He studied painting in Glasgow, later in the Slade School, London, under Pro- fessor Legros, and in the Julian School, Paris, under Boulanger and Lefébvre. He has made numerous visits to France, Italy, Spain, and other countries, where he has studied the works of the old masters and has painted the life and scenes of to-day as they have appealed to him. Originally identified with the Glasgow art movement, during the last few years he has main- tained a studio in London, where he has achieved notable success in portraiture. He is a member of the Society of Por- trait Painters, and of the Pastel Society, London. CORNELIA F. MAURY ORN, New Orleans, Louisiana. Is now a resident of St. . Louis. Pupil of the St. Louis School of Fine Arts and of Jules Lefébvre, Raphael Collin, Benjamin Constant, Jean Paul Laurens, and Julien Dupré, Paris. Member of St. Louis Artists’ Guild, and of the Society of Western Artists. She is known for her charming and sympathetic interpretations of child life. FRANK C. MATHEWSON ORN, Barrington, R. I. Pupil of Laurens in Paris. Studio is in New York. [ 152 ] e 4 ANTON MAUVE , Oe of the greatest of modern Dutch painters, Anton Mauve, ; 2 was born at Zaandam, 1838, and died in 1891. He was a pupil of Pieter Frederich Van Os, but early developed individual traits that constituted him a figure in the landscape art of his country. His paintings of Holland are interpretations of the spirit of the country. His draughtsmanship was sound, his technique was simple and adequate, his color was his own — and Holland’s. He was a master in the representation of atmospheric effects and his work was permeated with poetic feeling. He painted animals with knowledge and affection — understanding, sympathizing with them. In certain of his works, Mauve suggests Troyon; if not always so powerful a painter, he was usually more sympathetic. He was a member of the Dutch Society of Arts and Sciences, the Société des _Aquarellistes Belges, and a Knight of the Order of Leopold. He received medals at Philadelphia, Amsterdam, Vienna, Ant- werp, and Paris; and his works are in the museums at The Hague, Amsterdam, Rotterdam, and many of the most impor- tant collections of modern pictures. ‘‘ For simplicity and purity of style, Mauve was hardly equalled by Corot. * * * The spirit of inspiration and genius enabled him to transfuse into his work that spiritual life of nature without which art is but a dumb show.”— A. C. Loffell, in The Art Journal, April, 1894. GEORGE W. MAYNARD, N. A. _ Tek at Washington, D. C. Pupil of the Royal Academy, Antwerp. Temple Gold Medal, Pennsylvania Academy of the Fine Arts, 1884; medal, Prize Fund Exhibition, New York, 1888; Evans’ Prize, American Water Color Society, 1889; medal as one of the designers of the Columbian Exposition, Chicago, 1893. Shaw Prize, Society of American Artists, 1897 ; silver medal, Pan-American Exposition, Buffalo, 1901. Mem- ber of the National Academy, the American Water Color Society, the Society of Mural Painters, and the Municipal Art Society, New York. [ 153 ] GEORGES MICHEL ORN, Paris, 1763; died, 1843. A strong painter, greatly influenced by the Dutch masters of landscape — Van Goyen and Hobbema in particular — and by the English artist Con- é a stable. He was the first among French painters to discard the — | academic conventions and paint nature as it was revealed to - his observant eyes — not nature crowded with details, but seen in a large, impressive way. Of him W. C. Brownell, in French — Art, writes: ‘And neither Daubigny nor Troyon nor, indeed, — Rousseau himself, often reaches in dramatic grandeur the lofty — landscape of Michel, who, with Paul Huet (the latter in a more strictly historic sense), were so truly the forerunners and initia- tors of the romantic landscape movement, etc.” LOUIS R. MIGNOT, N. A. ORN in South Carolina in 1831. He spent some years in study in Holland and then established a studio in New York, where, in 1859, he was elected a member of the National Academy. He traveled extensively in South America and was one of the first artists to portray the remarkably picturesque effects of the tropical and semi-tropical countries. In 1861, he went to London, where he resided until he died, in 1871. After his death, his collected works, exhibited in London, attracted much attention. ‘‘At home and abroad Mignot’s landscapes have won admiration. He is a master of color and his atmos- pheric effects are wonderful. * * * The absolute truth of his work is impressive.” — Tuckerman, in Book of the Artists. CHARLES H. MILLER, N. A. Bory, New York. Pupil of the National Academy of Design, New York, and of Adolf Lier, and the Bavarian Royal Academy, Munich. He has been awarded medals at Boston, Philadelphia, and New Orleans. And was elected academician in 1875. He is represented in many of the most important [ 154 ] collections in America. His landscapes are mellow in color and - full of vigor. Many of his pictures of the picturesque spots on Long Island have an historical as well as artistic value. FREDERIC MONTENARD RORN at Paris. Pupil of Lambinet, Dubufe, Mazerole, ~ Delaunay, and Puvis-de-Chavannes. An officer of the French army, his predilection for art caused him to abandon a military life and take up painting. He received honorable mention at the Salon, Paris, in 1881; medals: Salon, Paris, 1883, third class; 1889, second class; gold medal, 1889, Expo- sition-Universelle. He was made Chevalier of the Legion of Honor in 1890. Member of the Jury, Paris Exposition, 1900; member of the Société des Artistes Francais. He loves the land of the sun and adores the sea. Many of his most successful pictures have been inspired by the Mediterranean in the region of Toulon. ANNIE L. MORGAN Eee at Brooklyn, N. Y. Studied under her father, William Morgan, A. N. A., and in the National Academy, New -York. Instructor in the Ladies’ Art Association of New York and Brooklyn. WILLIAM MOUNCEY (Glasgow School) ae AM MOUNCEY was born in Glasgow, but lived mostly at Kirkcudbright, in the south of Scotland, where he died some years ago. He had a strong feeling for dignity of composition and rich color. Some of his works suggested Constable, though his color was more robust than that of the earlier master. His technique was broad, simple, and full of charm. [155] > HERMANN DUDLEY MURPHY ERMANN DUDLEY MURPHY was born at Marlboro, Mass., in 1867. He studied at the school of the Boston ~ Museum of Fine Arts, and at the Academie Julian, Paris, under Jean Paul Laurens. He was awarded a bronze medal at the Pan-American Exposition, Buffalo, 1901; a silver medal for oil painting, and a bronze medal for water color at the Universal Exposition, St. Louis, 1904. He is a member of the eek Society, Boston, and the New York Water Color Club. TONY NELL ER work attracted attention in the New York Water Color. Club exhibition, November, 1908, and she has since been represented in exhibitions at the St. Louis Museum of Fine Arts and Albright Art Gallery, Buffalo. RHODA HOLMES NICHOLLS Se was born in Coventry, England, coming to America in 1884. Pupil of the Bloomsbury School of Art in London; of Camerano and Vertunni in Rome. Queen’s Scholarship, London; gold medal, Competitive Prize Fund Exhibition, New York, 1885; medal, World’s Columbian Exposition, Chicago, 1893; medal, Atlanta Exposition, 1895; medal, Nashville Exposition, 1897; medal, Boston, 1898; medal, Charlotte, N. C., 1899; bronze medal, Pan-American Exposition, Buffalo, 1901; bronze medal, Charleston Exposition, 1902; bronze medal, Universal Exposition, St. Louis, 1904. Member of the American Water Color Society, the New York Water Color Club, the Woman’s Art Club, New York, and Societa degli Aquarellisti and Circolo Artistico, Rome. [ 156 ] é STUART PARK (Glasgow School) TUART PARK was one of the original members of the “Glasgow School” and has his home at Kilmarnock, Scot- land. As a painter of flowers he is preéminent, though he has painted some portraits in a most sympathetic and charming manner. He is one of the most accomplished technicians in the world. With a single stroke of the brush he paints the petal of a flower — with all its freshness and crispness, its fragility, its unsullied purity, its delicate gradations of color, and its | vitality. In beautiful arrangement, in truth of color, and rightness of tone, his compositions are exceptional. One is impressed by the unerring accuracy, spontaneity, and the apparent ease of his expression; by the joy which he seems to involve in his work. Yet these qualities have been gained as the result of long and indefatigable study and painstaking practice. The single touch that produces the perfect petal — with its faintest blush of color, analogous to the bloom on the grape or the plum — may be the successor of a hundred attempts to realize the quality sought for. And sometimes the failure of the single touch may mean the casting aside of a picture. Mr. Park interprets the soul of the flower and suggests its short but lovely life; its mission of beauty. One misses the perfume, but his flowers have the advantage of retaining their freshness and purity long after the originals from which they have been painted are withered and gone. . ARTHUR PARTON, N. A. ORN, Hudson, N. Y., 1842. Pupil of the Pennsylvania Academy of Fine Arts and of William T. Richards, Phila- delphia. Gold medal, Competitive Prize Fund Exhibition, New York, 1878; Temple Silver Medal, Pennsylvania Academy of the Fine Arts, 1889. Honorable mention, Exposition-Uni- verselle, Paris, 1889; Lotos Club Purchase, National Academy, 1896; bronze medal, Universal Exposition, St. Louis, 1904. piterae Member of the National Academy and the ‘American Water Color Society, New York. Represented in the Metropolitan Museum of Art, and many of the most important collections of America. ERNEST PARTON ca TN ORN at Hudson, N. Y., in 1845. First exhibited at the National Academy, New York. He was awarded a medal, — Boston, 1883. He has lived in London for many years and is a member of the Royal Institute of Painters in Water Colors, - London, and of the Artists’ Fund Society, New York. His picture, ‘‘The Waning of the- Year,” was purchased by the Royal Academy for the British Government in 1879, and is now in the South Kensington Museum, London. JAMES PATERSON (Glasgow School) a NATIVE of Glasgow, James Rajarean early in life received instruction in drawing and painting at the Glasgow School of Art and from A. D. Robinson. Later he went to Paris, where he studied for two years under Jacquesson de la Chev- reuse and in the studio of Jean Paul Laurens. His specialty is landscape, and he has worked both in oil and in water color with eminent success. For some years he has resided in Hdin- burgh. He is represented in the Scottish National Gallery, and in many of the prominent public and private collections of modern pictures in Scotland, England, and Germany. Several of his paintings are owned in the United States. Concerning Mr. Paterson’s works, a writer in the Glasgow Cvtizen has — remarked : “One of the most individual and poetic landscape painters is James Paterson. Seldom, if ever, concerning himself with what is termed the picturesque or romantic in scenery, attempt- ing no striking pictorial effects, Mr. Paterson nevertheless, succeeds, and succeeds to admiration, in his attempts to seek out and transfer to canvas some of the more fleeting of the [ 158 ] a) ~ ‘ 7 - - he ar i \ * z = 4 ie be . r 1 a. oe A > ae = . Ay, * P ee - 2 ‘ 7 on r 4 — e r r sl . we oA: ew eit Py oe Teen se i i - ne ee od . ce ee a Pe OT ot ME ee ee ~ ey at cre ae 77 - a "> ae s) = elf 20 we on oe Ne ey 2 Ss — bis 7 ee Ls roe a a — i ——_ = ow, ™ hittatin aie = ul t e mt £ 7 : oe 4 te hy 7 4 as ye a mat , e , re . . er = . Pe ae 5 ” : , a ere © ae me Rainer eS ie ‘ (eg atl ; ct ae + = a -- - ce ne 4 EES TE ee ae ee . A al, mitt) es ae 4 Megat NM erties Maal deter SC as Neal Me more delicate aspects of nature. * * * Mr. Paterson’s _ style combines reticence, tenderness, and truth -- truth at once to nature and to art.” GEORGE PIRIE (Glasgow School) BORN at ee pas, Mr. Pirie early was drawn to an artistic — career. He studied at the Slade School in London, and in Paris under Lefébvre and Boulanger. Mr. Pirie is devoted to the interpretation of animal life, and he paints with keen sympathy, insight, and appreciation the incidents and moods characteristic of the lives of animals and birds. While his technique is notable for its simplicity and breadth, no artist is more conscientious in his study and expres- sion. In addition to the realization of the texture of hair or fur or feathers, he must realize anatomical proportions and muscular development, and must strive for the expression of _ vitality — of nervous energy, arrested or in motion. Owing to the difficulty of exercising control over the movements of his model, perhaps the animal painter essays the solution of the most difficult problems in the domain of art. Mr. Pirie is a diligent student and an indefatigable worker. Yet he is so severely critical — so exacting in his demands — that his technique shall express all that he would have it express, that his finished pictures are few in number. LEO PUTZ EO PUTZ is a member of the “ Munich Sholle,”’ a title under — which many of the younger and more individual of the German artists gathered themselves together a few years ago. In the catalogue of the Exhibition of Contemporary German Art, held at the Metropolitan Museum of Art a year ago, Paul Clemen, in commenting on this group of powerful, original painters, says: “Leo Putz possesses perhaps the most powerful talent among them; he is sometimes almost too tremendous in the broadness of the strokes of his brush, but masterly in a [ 159 ] wonderful simplification of form and color; at the same time enchanting in his warm, rich, luminous, and yet finely harmon- ized tones.” FRANK K. M. REHN, A. N. A. ORN, Philadelphia, Pa., 1848. Pupil of the Pennsylvania Academy of the Fine Arts, Philadelphia. First prize, St. Louis, 1882; prize, Water Color Competitive Exhibition, New York; gold medal, Prize Fund Exhibition, New York; honor- able mention, Paris Exposition, 1900; bronze medal, Pan- American Exposition; silver medal, Charleston Exposition. Associate of the National Academy; member of the Society of American Artists and the New York Water Color Club. CHARLES REIFFEL ORN, Indianapolis, Ind. Studied for a short time under Professor Carl Marr, at Munich. He has traveled and studied in France, Germany, Holland, England, Italy, and Morocco. Awarded the Fellowship Prize, Buffalo Society of Artists, 1908. a FREDERICK RONDEL, A. N. A. Bos in 1826 in Paris, France; died in New York, 1892. Studied under Auguste, Jugelet, Theodore Gudin, in l’EKcole des Beaux Arts, and in the Gobelins, Paris. First exhibited, 1848, in Paris, and in 1855 at the National Academy, New York. He was elected an associate of the National Academy in 1860. Was a member of the American Water Color Society. ISABEL L. ROSS Boks in Buffalo, N. Y. Studied in New York at the Art Students’ League with Carroll Beckwith, and in Paris with Raphael Collin and Carl Delance at the Collarossi atelier, and [ 160 ] at the Delacluse School, taking at oF latter place the scholarship for painting from life. She has lived much abroad, residing in France, Italy, and Spain. Her studio is now in Granada, Spain. MRS. E. M. SCOTT j bveal Springwater, N. Y. Pupil of the National Academy and the Art Students’ League, New York, and of Collins, Paris. Medal, Atlanta Exposition, 1895. Honorable mention for water color, Pan-American Exposition, Buffalo, 1901. Water Color Prize at, Exhibition of the Women’s Art Club, 1902. Member of the American Water Color Society, the New York Water Color Club, and the Women’s Art Club of New York. HENRY B. SNELL, N. A. ORN, Richmond, England, 1858. Pupil of Art Students’ ' League, New York. Gold medal, Philadelphia Art Club, 1896: first prize, Tennessee Centennial Exposition, Nashville, 1897; honorable mention, Exposition-Universelle, Paris, 1900; silver medal, Pan-American Exposition, Buffalo, 1901; silver medal, Universal Exposition, St. Louis, 1904; first prize ($300), Worcester, Mass., Art Museum, 1905. Member of the National - Academy, American Water Color Society, president of the New York Water Color Club, and Officer de l’Academie et de |’In- struction Publique, France. Instructor in School of Design, Philadelphia. Represented in Boston Art Club, Philadelphia Art Club, Pratt Institute, Brooklyn, and Buffalo Fine Arts Academy. JOAQUIN SOROLLA Y BASTIDA a IN SOROLLA Y BASTIDA was born at Valencia, Spain, February 27, 1863. Left an orphan at an early age, he was adopted by his aunt, Dona Isabel Bastida. When sent to school, he made little progress in the studies assigned to him, but showed great persistence in making embryonic drawings [ 161 ] in his copy book. Fortunately, one of his masters was discern- — ing enough to recognize his precocious talent, and overlooked his inattention to regular studies, even surreptiously supplying him with drawing material. At the age of fifteen, having manifested such decided talent, he was allowed to pursue his art studies uninterruptedly, and almost immediately after entering the Academie de Bellos Artes of San Carlos at Valencia, he won the triple prize for coloring, drawing from the model and perspective. He remained at the academy for several years, going to Madrid where he studiously copied the master- pieces of Velasquez and Ribera in the Prado. In 1884, he won the scholarship offered by his native town for art study in Rome. While in Italy he spent much time copying the old Italian ~ masters. Sorolla’s first introduction to the art lovers of America was through his picture ‘Another Marguerite.” This picture was exhibited at the World’s Columbian Exposition at Chicago, 1893, and was purchased by Dr. Halsey C. Ives for the St. Louis Museum of Fine Arts. It so won Mr. Kurtz’s admiration that in 1894, he visited Senor Sorolla’s studio in Madrid with the idea of sometime exhibiting in America the work of this modern master. However, it was Mr. Archer M. Huntington who was able to overcome all obstacles to such an enterprise, and rendered his country great service in bringing to the Hispanic Society, New York, the exhibition so fresh in the mind of the public. Through his courtesy and codperation, Mr. Kurtz’s ambition of years was realized in the Sorolla Exhibition at the Albright Art Gallery a year ago. Camille Mauclair in writing of Sorolla’s facility and swiftness of workmanship says, ‘‘L’eclat subit dissimule la longue préparation.”’ An infinite power of taking pains together with many years of laborious, diligent application has given him the ability to deal with all technical difficulties. without apparent effort. EUGENE SPEICHER ORN, Buffalo, N. Y., 1883. Pupil of the Art Students’ League, Buffalo, where, between the years 1903 and 1907, he took many prizes, and in the latter year the New York Art [ 162 ] Students’ League Scholarship. At the league in New York he was awarded the Spencer Trask Prize in 1908, and the Kelly Portrait Prize in 1909. He is now an instructor at the Art ‘Students’ League, New York. + N. STEFFELAAR ORN, The Hague, Holland. Pupil of Israels. Professor in the academy at The Hague. i R. MACAULAY STEVENSON _ (Glasgow School ) MACAULAY STEVENSON was born at Glasgow. He is ~* entirely self-taught. During a number of years he lived away from people, like Thoreau, and studied and sketched incessantly. He shows wonderful ability in selecting the essentials of a subject, and of eliminating the non-essentials. The intensity of feeling which he involves in his work and the truth to nature which pervades it, reflect his personality and devotion. He is never an imitator of nature, but always an interpreter. No matter what the theme of his expression, it always reveals his poetic inspiration — whether it be a land- scape suffused with the noonday sun, permeated by the silvery light of a gray day, in the romantic shadows of evening, or under the witching effect of moonlight. Stevenson, like Mac- Gregor and Pirie, is a diligent and rapid worker, but a slow pro- ducer. He strives always to surpass what he has done before, and is the severest critic of his own work. Though his pictures give the impression of having been painted with the greatest ease, nearly all are the result of long consideration, many tenta- tive studies, frequent changes and repaintings. Few artists have enjoyed wider recognition than has been accorded Mr. Stevenson. He was awarded a gold medal at Munich in 1898, a diploma of honor at Barcelona in 1894, a gold medal at Brus- sels in 1897. His ‘‘ Fairies’ Pool” was purchased by the German Government and is in the National Gallery at Berlin; “A [ 163 ] Nocturne ” Weimar, Germany; “A Dream of Twilight ” is in the National Gallery, Brussels; ‘‘Nocturne, Bardowie Loch” is in the col- — lection of Prince-Regent Luitpold, of Bavaria; ‘‘The Turnip Gatherers ” is in the collection of Count Andrassy, Buda-Pesth, Hungary; “Evening” is in the New Pinakothek, Munich, Bavaria; “A Pastoral” is in the Museum of Fine Arts, St. Louis; and ‘Early Morning on the Seine” lately has been — purchased for the Municipal Gallery at Glasgow. Mr. Stevenson is a member of the International Society of Sculptors, Painters, and Gravers, of “The Secession” of Munich, and La Cercle Litteraire-Artistique, Belgium. “Macaulay Stevenson’s pictures are full of the ccutinens of a mind that keeps very close to Nature. In his work one feels the influence of Corot, Dupré, Daubigny, and — back of them are Constable and Hobbema. Yet, over and above all, one feels Macaulay Stevenson—an intensely individual, as well as poetic, nature.” — Modern Art (Boston, April, 1896). THOMAS SULLY ORN at Horncastle, Lincolnshire, England, 1783; brought to America, 1792; died, 1872. He was one of the most prominent of the American artists of the first half of the present century. He lived and painted in Charlestown, 8. C., New York, and Philadelphia. He studied for a short time with Gilbert Stuart, in Boston, and later, in 1809, with Benjamin West in London. He visited England again in 1837, and in 1838, he painted from life a full-length portrait of Queen Victoria. Other notable portraits by him were of Lafayette, President Thomas Jefferson, Commodore Decatur, Reverdy Johnson, Charles Carroll, George Frederick Cooke, Charles and Fanny Kemble, and Bishop White. His ‘‘ Washington Crossing the Delaware,” one of his most familiarly known works, is in the Boston Museum. ‘“‘Keenly alive to the more refined phases of life and Nature, [ 164 ] is in the National Gallery of Bohemia, at Prague; “Moonrise” is in the Municipal Gallery at Barcelona, Spain; ‘A Dewy Morning on the Forth” is in the Municipal Gallery, © ae DEE ee, ee = { = SNe a SP EAE eee eM ss et 7 2 ; a me ee ae A 2 ! Be HR ne eh OR me Sn ROE a ie ae eee Saree a ERIN: PE PA ee se - ; ; 5 pa : a ie x = a - : : i ; x a . =a Ra Nae af Yas Sd AS je shen of eas iss ie as ont od & 3 Lhe hes ley ‘ : ee (\. * 4 age ; ‘ “aah 3 , ape seta ir - a RO Fat asaa ah ‘\ AW a re] ; a zn ee en <) '% : A , ae. pat f t Lae hii Ne " RR Wl ENS pos , ‘J Ae Prox % ee) SAY ¥ hs eA i % is BIN AN (sak a py | 7 % S* Ahk a OP ne Fh nl ve Ba 3 RS — RT. 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