SOL EF Aa GLKA /) Ee K weed ley 6 as (¢ Last 57 Shuct Gallery a ‘by cthe Lita Henry I. Cox, of. Brooklyn, ‘Disposed of at’ an Auction ~ Sale in ‘Mendelssohn Hall, The Highest Priced Painting Called the "Banks of the . ls Bought by George Foster Peabody for $7, 050. Seventy-eight paintings ‘were sold at Men- jelssohn Hall last evening, by auction, for $69,120. They were the gallery formed by the late Henry T. Cox, of Brooklyn, in many years of artistic enthusiasm. - The auctioneer, Thomas BH. Kirby, of the American Art Association, said that enthu- siasm had been without thought of pecuniary profit. This came magnificently last even ing because it had never been courted. fortune is capricious. ; The highest priced painting at the sale was D’Aubigny’s ‘‘Banks of the Marne.” George Foster Peabody paid for it $7,050. The catalogue list with names of artists, subjects, prices, and, in parentheses, names of buyers, follows: 1—The Veteran (R. C. Veik), Kronberger.. 210 2—Chickens (H. Reisinger), Gar) Jutz. 210 38—The Little Cook (L. Weir), Meyer * “yon BreMen........ sce ee ecto ee ee nte 550 q—Swiss Scene (BF. W. McKissam), - FRGOKKOEK i) sie eee ccs ive sie eee ey 70 5—Hunting Scenes (a pair) (A. J. Boe) > a “John M. Tracy.....--sseceeeeeees 275 6—The Sutler’s Wagon, Breling.......-- 180 7—The Tinsmith (N. P. Golnend). Meyer Aes von Bremen.....eccee esc eceeeeeees 250 8—Little Chickens, Zuber- Buhler;......: “ 130 9—The Dancing Lesson, Baron..-. «+++. i 100 10—Statue of Coleoni, Venice (R. si6 Ba0 Woodward), Rico..-....csseesreeee 1i—The Pool unt M, Milliken), NGM este cre 410 “2 —Tandscape and Cattle, Voltz........: btex0) 13—Love’s ert W.. Rouss), Aubert. « 5 140 1d —Landscape pad Vaitle, Suan Dupre. - 280 35—Dogs (M. E. Reardon), OY areca snare 100 36—In the Hayfield (F Pied) Bhacyerhanne 200 17—Objets d’Art, Max Schodl...........5 500 18—A Clipse of Seville (#. D. Church), ‘ Sancnez- one Dae ia seaermohg NaNa ae 460 19—Tired (A. J. Roots D Munier 50U 20—HFirst Steps, Eichtler. 340 21—Hlead of a Young Gir’ (ES legen , Hdouard Bi Sete ida alah pic ae Todebenny saa ene 500 23—A fee Garden’ (Ww. He "Walters 4 anchez-Perrier ......+.+ seupoyehe stoce 780 24—The Hunters, John M. Tracy. Barina ae 150. 25—Moonlight on ees Coast (H. Rs Goldschmidt), M. F. H. de Lae 410 26—Four Hunting Scenes, James Ward....« 130 27—In the Tavern, Brouwer......... Tyee ene 220 28--The Pet Bird, Wilkie. ........2..4..-. Ki 200 29—Landscape and Figures, Wouwerman. 250 80—The. Water Carrier (Charles A. Schie- i ren), Boughton -+...-...s.eees eens 100 31—The Rendezvous (C.” ay Vibert 260 82—Watching the Birds, Leloir.......... +, 800 33--The Séntinel;»“Detailles yo ea ee 825 34—he ‘Cavaliec (F. L. J-oring), Domingo: ‘510 85--Young Italian Girl (H.. Meyer), Cot.. 110 86—Landscape and Cattle (Knoedler f & aS [ictahd Meael Chest hol Mae UM PrmeNe Lome Sac tcacee iris 650 31-—Marine (Sy ak: any 1), Jules Dupre 800 88—lontainebleau .(H., D, Church)... Diaz. . 625 39-—Landszape, Corot ....s.seeeee ses eene _ 1000 40—Tho Bather (i. Guggenheimer), J. F, oan bere eeogir mre ern ERS Ube oN acs aii . 240 41—Iandscape and Sheep (Joseph Metcaif), Ad AURIS aca te ee whan cle neg ean rege eee ae 1,500 42—Toilet vf Venus (Ff. L. Loring), Dioz.. 1,475 43—Banks of the Marne (Ges Peabody), Datibigny nc oie) oes eaieat ties em sree 7,050 44——Landscape ,and Cow (Knoedler & o.) BER YAS: jE ye ition OS Aiphone an Bueing edie 1,200 45—A, Child of the Vintage (B. G. Guen- PEt * wither) > DOUSUCTAAIL + ois en’niedel seaeistsae ermine 71,225 46—Foret. de Marly (J. Buckley), pa . 475 47—Landscape and Cattle (W. Horatio) Walker? coos) a4 sase s cieeieeees Rcaunariien on the | Sandal | AB. + Gri Gai a8 iosreas. (B. pele Le Parra : Bliss), 50—‘‘Spare. the. Wee Che ‘Hoppe, OPINED: nee Vat ear a aaa _ 420 5i—La Jardiniere au . Bon ‘Sctacur Cw. rel gu Van Antwerp), OT DAG cits nen ec eanees 575 52—Potato Harvest (J. we “Yrench), Lavoie: - 1,075 58—A Bcech Wood in Winter. (A. A. ASRS : SOn)< MOUNT erst os cir. whe seonctod eneeens 1,950 54—L Centenaire; Foret de Marly (L. B. : Woodr'ard),: Jaeomins oi ses ore 250 55—A Fisherman’s Retreat (Felix Field), CG} tsi: ER Pere OR NS acre ths S| 200 56—Lighting His Hive (Cottier .& Oe ); BRR AB ba eee OED) 57—Flowers, Diaz... 425 587-The Cotage on the Common (Knoedler & C Jiles: Dupre 2. teak we eee 1,025 es Eas ata (G. F. Peabody), Rousseau.... 1,550 60—The Fishing Pool (G. Hy pee ; Sanchez:Perrier, vs sia) + as bsiwieiece eee 240 61—The Missal (W. J. Walters), “Meyer * yon ey MSY OV CI yo isib ardices ne stbrarat te mabe: arene fetal oiataes 525 62—Chickens (C. F. Guthrie), Jacque...... 659 68—The Little Gardener, Charnay.. 3 120 64—A , Light, Mein Herr, (A. Deshong), (BORGR Hs ls loi inte cele 8 sass ate eae 330 65—TLhe Watering Place (M. H, Lehman), BOOM FL eos cies oe eiaice ope ete i 660 66—-Arrival of the Fisher Girls (BE. Whit- Milt lever | 6)8 5 se oie cae eee 450 67—Locking Over. Him (I. Gugeenlieimen), Wiatinas Aces acne ss, ae: «saan 700 68—Cows and Sheep (C.° Ss. Guthrie), Van 4 INBAL CK eb: 5 Feiss laual cay scsioi eS hens -earteeeeaeeee 5,800 69--Le Denier Quartier ‘G. ¥, i Peapedyie : ORIN Meee oe CURA aR ee ee 4,050 70—-Landscare (S. A. French), Wyant..... 1,850 71—The Widow’ s ~ Acre Oe . Hopper), Bonghvoni esas 6 voce a wtoenae aoe 650 T2-—A Bashi: Bazouk,’ Gerome 2. 0 ...a oe. » 1,665 738—In Danger (C. S. Guthrie)» Schreyer. 5,100 Tiles Becicts de VAmour (N. é s. Wiens) FOULIAN. Ces cc ee lee alee ater w ina See 470 75—An 01 Oviental Scene (C. W. Gould), Tif- 76--Whe ‘Diinking Bool, Velg oe ea T7—‘The Trysting Place of ‘Souls’ (H. R. Eckelheimer\) Cabanel_ ............. 1,025 78—A Wallachian Team . (©. §S. Guthrie), PBehrayer wyf eee 2 oe a 5 ke Sie eee 7,000 Makares eho eee BA ae sit Ole $69,120 The spectators were numerous and appre- ciative. Their most implacable critic could Say nothing mole grave against them than that they admired paintings that tell stories. — But even these story- -telling _ pic- of interest last night, and brought good es. The admirable paintings of the ‘ collection found. several bidders waiting ' for each one of them, and they, too, were prices. sent up to figures which cause the auction | to be pronounced a successful one. : One of the Daubignys, which always command a large interest, fetched the tep price of the sale, $7,050. ‘It was “On the Banks of the Marne ;” and was bought by George Foster Peabody. A revela- | tion of the sale was the return of Mr. Pea- ody from political shepherds to_ kindlier pastorals. j Besides the restful ‘Daubigny, -he pur- | chased an exquisite Cazin, one of the artist's | most reposeful and at the same ‘time most eloouent moonlight rural landscapes, “Le . Dernier Quartier,” and this he followed by ‘the purchase ef a poetic landscape of Wyant’s, in which a kindly haze partly | i | i { i 1 if | | gereens a little cottage in a birch grove | from a burly world. : ‘The pictures sold, with the names of the | artists and purchasers, and the prices, follow: hs DT “The Veteran,” Kronberger; R. C. Veit!... $210 210 | sonickens,” Carl Jutz; Hugo Reisinger...... | “Phe Little Cook,” Meyer von Bremen; Tees eed WEeEIP joker ets BAY Co iiat sinsa sitsaiecbie's ainialniahe ainsi earn le /650 “swiss Scene, ” Koekkoek: F. W. M. Kissam, 70 t “Little Chickens,” Fritz Zuber-Bubler; A. W. Thayer......-.--- HERE ; 5 «The Dancing Lesson,” Henri Baron; F.L. ; Gunther... ..-.+-s- se hd Srate Weaiaich aenaies ietedosaletpla - 100 “Statue of Coliconi, Venice,” Rico;RiB.Wood- |. ward... Peas eplatecaaistet ee Manas OTR ope vens ie) “7he Pool,” Voltz; J. M. Milliken....... Sree eae okt! ‘“Tandseape and Cattle,” Voltz; T. W. Kamm. 380 | | «Tove’s Offering,” Aubert; A. ‘Tooth & Sons. 140 | “Landscape and Cattle,” Julien ‘Dupré; T.. * “Dogs,” B. Engler; M. E. Reardon....... vee 100 “In the Hayfield,” Meyerheim; F. Field.... 200 “QOpjets d’Art,” Max Schédl; N. R. Ickel- 4 | [ieee Bs Geoennaee nein 460 A.J. BOOt... 0. cee. ee - 500 * A. Fichtler; blank............. 840 | oung Girl,” Henner; John A, i (ober aes ARE rs eee scrabeee Penis 1,025. ” Prere: FB, Fleitman...... Pat caea 500. » Sanchez-Perrier; W. J. AGA WALD WER hires. REE LO LOO Cs SCS 780. ’? John M. Tracy; J. A. Root...- poe { H Gold Duce a euraet Be beac skate aia sae rae Tae 130. 1 og ostlty Ga Re GALORE LVS E GN aa 600 TWO ROUSE ec et cise ces e cepa e patecselees “280 | “Wne Pet Bird,” Wilke; ©. Whitman. .-....... W200 “Landscape ‘and Pigines.” Wouwerman; TUBLA TIC Eee ee Gane Coker aire ee ate whale ne Ma neaS 250 “The Water Carriér,” Boughton; Charles A. SSGHIETON ag Sint ei vide Sheree eon Laldes high opeierotnlaen's 100 “The Rendezvous,” Vibert; C. Whitman.. 260 “Watching the Birds, " Lelolr; ne G. Lounsbury. 300 i “The Sentinel,” Detaille; D. Gunther...... $25 “The Cavalier,” Domingo; F. ne Loring...... 510 “Young Italian Girl,” Cot; Henry Meyer...... 110 pa pnaagare and. Cattle, * Jacque; Knoedler re MCR ek ge thc p asthenia #1 Weal oy mad) «abe e fap aiiene tab huey ida edu eaiaee: 19) } “Marine,” Jules Dupre; SOP MAVErYiid Tacca sine 800 “Fontainebleau,” Diaz; BP. Le Loring. ......8.. 625 ( “Landscape,” Corot; M: He behman.......-. 1,000 / “The Bather,” J. F. Millet; I. Guggenheim. . 240 “Landscape and Sheep,” Jacque; Joseph NMEPTORIEO Nao CA poo taste je aie er ecaieie de we gt ale Sia ep 1,500 “Toilet of Venus,” Diaz; BLS Lorine ai ok 1,475 “Banks of the Marne,” Daubigny; G. F. Pea- Oe Ris cl ROE A RON RN ata Cn ere SEE ,050 “Landscape and Cow, ” Mauve; Knoedler & Co. 1, "200 “A Child of the Vintage,” Bouguereau; 3 (eat irie les queer ph etree menarche rnr uel cere Rolin .. 1,225 “Foret de Marly,” Jacomin; J. Buckley...... 475 Sade oe and Cattle, ” Horatio Walker; W. Seay, od Ss: ae a me) So “lowers,” ” Darra; B. Griffin Hi a Are ine “Spare the Weeds,” G. B. O'Neill; T, , Opper.. 720 “La Jardiniere au Bon Seigneur,” Delort; Wie Gee Vane ANIWErDi iy... cote tee celebs © 575 | “Potato Harvest,” Lerolle; 8. A. PREDOMI 5. « «. 1,075 “A Beech Wood in Winter,” Munthe; A. A IAIN ELSON cents t toes erase eee eieaararelerabalotel Mal pial Aiatstintoee 1,950 “Le Centenaire, Foret de Marly,” Jacomin; RB WOOUWATUs iss cvah bie Beh sain ele me algal 250 “A Fisherman’s Retreat, ” Ciceri; A. J. Root.. 200 “Lighting His Pipe,” Goubie; F. Field.........5 575 | “lowers,” Diaz; Cottier MOOL Ais na eee see 425 “The Cottage on the Common,” Jules Dupré; Knoedler & Co..... eee “Sunset,” Rousseau; “The. Fishing Pool,” § IGA OOLW ra cuss oa dhs mo ynatt epi k kite wokip pd wie eee edi 24 “The Missal,’ *Meyer von Bremen; W.J. Wallet 525 “Chickens,’ "Jacque; C.S. Guthrie? ie tetahass “The Little Gardener,” Armand Charnay; L. BaMPSNGe ace CO ch euacien scene vei ee dna tinree me 120 ae TEM, Mein Herr!” Ernst Bosch; A.O.Desh- a ua Coase AAV ERLE TEA pi its erarsalowre nite piatelalgmtesarai oul are te bce) enegiery 660 vera ot the Fisher Girls,” Feyen; C. Whit- Breet cee yee ae oy taay Se Nach sua via oes “ej apahet ei est gent aon kets 450 “Looking Him Over, "Worms; I.Guggenheim, 700 “Cows and Sheep,’ Van Marcke; C.S. Guthrie. 5,800 | “Le Dernier Quartier,” Cazin; Gar Peabody... 4,050 “Landscape,” Wyant; S-cAVRrenchine. aiatenc 1,850 “The Widow's Acre,’ ’ Boughton; J. Opper.. 650 | “A Bashi- Bazouk,’ ’'Gerome; Si OU VEL eae aivike 1,600 ' “In Danger,” Schreyer; on S. Gubhries ois 5,100 | “Les Sécrets de l’Amour,” Jourdan; N.S. i AWA RT aed Gael SAL pets re See IOM ONE ya ASTD ABareurrstn ec) 470 “An Oriental Scene,” L. C. Tiffany; C. W. CHOU Wetec wads ee ae Fa tid eveiccas st araie eh hare eo “The Drinking Pool,” Voltz; Blank........... 1,100 “The Trysting Place of Souls,” Cabanel; H. R. Pelee hh G11 Or er oac cuss ease Niet ci ae se a ue aiseane oeeat rea 025 “A Wallachian yeas Schreyer; C. 8. Guthrie. 77000 id Way aa ata as LA pe a aN Saye ect ne ral $69,120 \ ry o4 a E ‘3 | 4 ] 00 f "3 5 SH Q q 3 5 OF » ©) > e| a : peices ~ § 4 ee ed A SUCCESSFUL PICTURE SALE. fe The sale ‘of the Henry T. Cox collection of paint- \ings.took place last evening at Mendelssohn Hall, | and netted $69,720 for the estate. There were sev- enty-eight paintings, water color. The auc- tioneer was Thomas. E.)Kirby. The highest price of the’evening was” by George Foster Peabody e Marne,” by C. F. Daubigny, 5050.. The bidding was: also brisk yer’s ‘‘A Wallachian, Team,’ which went to C..8. Guthrie for $7,000.. Mr.. Guthrie also obtained ‘‘Cows and Sheep,” by Ernie an Marcke, for $5,800, and Schreyer’s “In I ger,’’ for $5,100. “Tye Dernier Quartier’ of Jea sold to Mr. Pealbody for $4, dore Rousseau’s ‘‘Sunset’’ for i Mendelssohn Hall was filled oughout the sale, which lasted from 8:30 to 11 p. m. Among the other successful bidders were Felix Field, ‘Lighting His Pipe,”’ by Jean Richard Goubie;' A. A. Andrew, ‘A Beech ood in Winter,” by Ludwig Munthe; S. A, French, ‘A Landscape,”” by Alexander H. Wyant; S. P. Avery, jr., “A Marine,” by Jules Dupré; J. Opper, ‘“‘The Widow's Acre,” by George H. Bough- ton, and ‘‘A Bashi Bazouk,’’ by Jean Léon Gér6me, WorstEr mcr SEE SALE AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY FRIDAY EVENING, JANUARY I'7TH — AT EIGHT THIRTY O’CLOCK MODERN PAINTINGS COLLECTED BY THE LATE HENRY T2.CO] ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES From Monpbay, JANUARY 13TH, UNTIL THE MORNING OF THE Day oF SALE, INCLUSIVE 1 act one way~or ta ~-2 of doubt against her. CATALOGUE OF MODERN PAINTINGS COLLECTED BY THE LATE HENRY | COXx BROOKLYN TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF THEODORE OFFERMAN anp HORATIO S, WISNER ADMINISTRATORS ON FRIDAY EVENING, JANUARY 177TH BEGINNING AT 8,30 O'CLOCK AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY THE COLLECTION WILL BE ON FR BE yyy FROM MONDAY, JANUARY 13TH, UNTIL THE MORNING OF SALE, INCLUSIVE AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH THOMAS E. KIRBY AMERICAN ART ASSOCIATION AUCTIONEER MANAGERS NEW YORK 1902 Press of J. J. Little & Co. Astor Place, New York CONDITIONS OF SALE. ze The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay downa cash deposit, or the whole of the Purchase-money, zf reguzred, in default of which the Lot or Lotsso purchased to be immediately put up again and re-sold, 4. The Lots to be taken away at the Buyer’s Expense and Risk ufox the conclusion of the Sale, and the remainder of the Purchase-money to be abso- lutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold them- selves responsible if the Lots be lost, stolen, damaged or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity oj, or any fault or defect in, any Lot; and make no Warranty whatever, they will, upon recetving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary, failing in which, the object or objects in question will be sold subject to the declare ation of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale 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 AMERICAN ART ASSOCIATION, MANaAGERs, Tuomas E, Kirsy, Auctioneer. ther, certalniy | of doubt against her. wll act one way or tne o ES LISTE OF AKTISIS REERESENTED AND THEIR WORKS ARTIST SUBJECT CATALOGUE NO. AUBERT, E. J. Love’s Offering, BARON, HENRI The Dancing Lesson, BOSCH, ERNST A Light, Mein Herr! BOUGHTON, GEORGE H., N.A. The Water Carrier, The Widow’s Acre, BOUGUEREAU, W. A. A Child of the Vintage, BRELING, H. The Sutler’s Wagon, BROUWER, ADRIAAN In the Tavern, CABANEL, A. “The Trysting-Place of Souls,” CAZIN, J. C. Le Dernier Quartier, 13 45 27 77 69 0 ere Yaxct one way or the other, certainly ARTIST SUBJECT CHARNAY, A. The Little Gardener, CICERI, E. A Fisherman’s Retreat, COROT; J.-B: CG, Landscape, E€OT PAS Young Italian Girl, DAUBIGNY, C. F. Banks of the Marne, DE HAAS, M. F. H., N.A. Moonlight on the French Coast, DELORT, C. E. La Jardiniére au Bon Seigneur, DETAILLE, EDOUARD The Sentinel, DIAZ, N. V. Fontainebleau, Toilet of Venus, Flowers, DOMINGO, FRANCISCO The Cavalier, DUPRE, JULES Marine, The Cottage on the Common, CATALOGUE NO. 63 55 39 35 43 25 51 33 38 42 Gy 34 37 58 ARTIST SUBJECT DUPRE, JULIEN Landscape and Cattle, ECHTLER, ADOLF First Steps, ENGLER, E. Dogs, FEYEN, E. Arrival of the Fisher Girls, FRERE, EDOUARD The Prayer, FROMENTIN, EUGENE The Watering Place, GEROME, J. L. A Bashi-Bazouk, GLAIZE, PP P_L. Putting on the Sandal, GOUBIE, Jeg. Lighting His Pipe, HENNER, J. J. Head of a Young Girl, JACOMIN, M. F. Forét de Marly, Le Centenaire, Forét de Marly, CATALOGUE NO. 14 20 15 66 22 65 72 48 56 21 46 54 act one way or the other, certainly ~ >°e.of doubt against her. { ee ARTIST SUBJECT CATALOGUE NO. JACQUE, C. E. Landscape and Cattle, 36 Landscape and Sheep, 4I Chickens, 62 JOURDAN, A. Les Sécrets De l’Amour, 74 JUTZ, CARL Chickens, 2 KOEKKOEK, B. C. Swiss Scene, 4 KRONBERGER, KARL The Veteran, I LELOIR, L. A. Watching the Birds, 32 LEROLLE, HENRI Potato Harvest, 52 MAUVE, ANTON Landscape and Cow, 44 MEYERHEIM, F. E. In the Hayfield, 16 MEYER VON BREMEN, J. G. ’ The Little Cook, 3 The Tinsmith, 7 The Missal, 61 ARTIST MILLET, J.-F. SUBJECT CATALOGUE NO. The Bather, 40 MUNIER, E. Tired, 19 MUNTHE, LUDWIG A Beech Wood in Winter, 53 O’NEILL, G. B. “Spare the Weeds,” 50 PARRA Flowers, 49 RICO, MARTIN Statue of Bartolommeo Colleoni, Venice, 10 ROUSSEAU, THEODORE Sunset, 59 SANCHEZ-PERRIER, E. A Glimpse of Seville, 18 A Spanish Garden, 23 The Fishing Pool, 60 SCHODL, MAX Objets d’Art, 17 SCHREYER, ADOLF In Danger, 73 bisa A Wallachian Team, 78 TIFFANY, LOUIS C., N.A. } An Oriental Scene, 95 a act one way or the other, certainly of doubt against her, ARTIST SUBJECT TRACY, JOHN M. Hunting Scenes, The Hunters, VAN MARCKE, E. Cows and Sheep, VIBERT, | C The Rendezvous, VOERZ FRIBDRICH The Pool, Landscape and Cattle, The Drinking Pool, WALKER, HORATIO, N.A. Landscape and Cattle, WARD, JAMES Four Hunting Scenes, WILKIE, SIR DAVID The Pet Bird, WORMS, JULES Looking Him Over, WOUWERMAN, PHILIP Dutch Landscape and Figures, WYANT, A. H., N.A. Landscape, ZUBER-BUHLER, FRITZ Little Chickens, CATALOGUE NO, 24 Sys II I2 76 47 26 28 67 29 70 SALE AT MENDELSSOHN HALL ForRTIETH STREET, EAST OF BROADWAY FRIDAY EVENING, JANUARY 17TH BEGINNING AT 8,30 O’CLOCK CATALOGUE KARL KRONBERGER Born at Freystadt, Upper Austria, in 1841, Kronberger studied at Munich under Anschutz. Many of his pictures are in private collections in America. Oy ea 2 oO o(. THE VETERAN The veteran sits smoking a clay pipe; the light, as he turns his head, shining on his fresh-colored features and gray hair and mustache. He wears a black military over- ie coat with red tabs on the collar, and a black hat of the period of Frederick the Great; a gray strap being buckled across his chest. Signed near the left. Height, 7 inches: width, 5} inches. act one way or the other, certainly “—-aa of doinht acainst her. a CR O12 97-4 Ss ie 2e3 Z L272 ODE. Be i r) : A pupil of the Munich and Diisseldorf Academies, Jutz ; ¢ \¥ is known by the microscopic accuracy of his renderings of iy small domestic animals and poultry, sometimes combined with humorous suggestion. 2— CHICKENS On a straw heap stands a rooster with golden-brown plumage on his neck and back, and greenish-blue tail- feathers. A hen sits near him, and on the ground stands a speckled hen, while another sits close by, with her chickens round her. Signed at the left. Height, 5 inches; length, 6} inches. MEYER VON BREMEN Tage, ieee 1813-1886 : i. a, Cri : Johann Georg Meyer, called Von Bremen, after his birth- place, was a pupil at the Diisseldorf Academy under Karl Sohn and Schadow. He began by painting biblical sub- jects, from which he passed to peasant genre, drawn from the valleys of the Bavarian and Swiss mountains, among which he was a constant traveller. The reputation of his work at length secured him a professorship at the Berlin Academy. 3— 2 THE LITTLE COOK H Ay 4g ee ie Wee ‘tT i ih. ~~ Water Color Sitting on a stool near the centre of the kitchen is a little girl in a red skirt, black bodice, and buff apron, who turns her head to look at us while peeling potatoes. By her side, on the floor, are a basket and jug ; high up on the left is a window with oval panes, and on the right isa fire burning on a high raised hearth. 5 ies Signed at the right. Height, 6 inches; width, 4} inches, fact one way or the other, certainly ~—~aa nf Aaiwiht acainat har BAREND CORNELIS KOEKKOEK 1803-1862 JL : Dy J) won * rad e 0) f Born at Middelburgh, Zeeland, this painter was the son vA of Johannes Hermanus Koekkoek, from whom he received if his first instruction in art, proceeding later to the Acad- emy of Amsterdam. After extensive travel, he finally set- tled down in Cleves and established there an art school. While his work is characterized by old-fashioned formality, it shows more than a little of that intimate study of nature that the next generation of Dutch painters were to bring to such perfection. i SWISS SCENE Water Color Alongside the quay sail-boats are being unladen into carts. Beyond, on the right, is a building with spire-shaped roofs, and an archway through which horses and pedes- - trians come and go. Across the lake appears a range of faint gray mountains, Signed in the centre. Height, 63 inches; length, 8 inches. _ JOHN M. TRACY i (oe 1844-1892 Born in Rochester, Ohio, Tracy first studied with a Chicago painter, A. L. Ransom, and then entered the Ecole des Beaux Arts in Paris, becoming also the pupil of Isador Pils and Carolus Duran. Returning to America he devoted himself to subjects connected with sport, which secured him considerable reputation both in this country and abroad. He was an excellent draughtsman, and his pictures have the true flavor of the hunting field. = HUNTING SCENES A Pair In the left picture, a sportsman in drab suit holds his gun in readiness over his shoulder, while the setter at his feet points ; and another, to the left, stands looking at his master. In the other picture, the man is shooting, while the dogs rest. Behind the group is a wall and a hedge of reddish foliage. Signed respectively at the right and left. In each case: Height, 6 inches; length, 10 inches. ie Pee a i / @ iia act one way or the other, certainly s bas acai { } —-na of daonht acainat har \3 f ») 6O— H. BRELING .. / fr cnhife (o> : 2240), COL LS ~ Since his student days at the Munich Academy, Breling has secured no little reputation for his representation of country scenes, i i. THE SUTLER’S WAGON A low cart, filled with barrels, moving from us along a road, is stopped, and the driver looks round as a woman draws off some wine for a young gallant on a dapple-gray horse. He wears a red coat, and his hair is tied in a bag under his three-cornered hat. To the right are some bushes and a silver birch. Signed at the left, and dated 1876. Height, 8} inches ; width, 6 inches. Soe MEYER VON BREMEN oa 1813-1886 => See 2 a Js — Lola - fa f Johann Georg Meyer, called Von Bremen, after his birth- place, was a pupil at the Diisseldorf Academy under Karl Sohn and Schadow. He began by painting biblical sub- jects, from which he passed to peasant genre, drawn from the valleys of the Bavarian and Swiss mountains, among which he was a constant traveller. The reputation of his work at length secured him a professorship at the Berlin Academy. = THE TINSMITH Water Color This drawing in indigo and sepia shows the interior of a workshop in which an old man is sitting before a trunk of wood which serves as a bench. Set in this is an anvil, on which he holds a piece of metal, pausing, with his mallet in the air, to look at a little girl at his side. She draws his attention to a small boy with a satchel, who holds his cuff tohis eyes. Beyond the workshop appears a small kitchen in which a woman is cooking. Signed at the left. Height, 54 inches; width, 4} inches. 1) SU act one way or the other, certainly rots Soe Pe FRITZ ZUBER-BUHLER _ m, “ Anative of Locle in Switzerland, Buhler went to Paris ~ ey if and studied at the Ecole des Beaux Arts and under Picot \ ¢ } He is known as a painter of portraits and of historical and genre subjects, 8— LITTLE CHICKENS A girl lifts a shawl from a basket of chickens which rests upon a chopping-block, to show them to a little child. There is a barrel at the back of the gray-walled room, and the light streams in from a window on the right, fall- ing upon a red earthenware pitcher. Signed at the right. Height, 8 inches ; width, s} inches. eae - oe ¥ A é ENRI BARON FON tah When Baron came up to Paris from his native town of Besancon, he put himself under the guidance of Gigoux. He made his first appearance at the Salon in 1840, and received the Legion of Honor in 1859. o— THE DANCING LESSON A young girl, in white robe and creamy shawl, with a plum-colored drapery floating behind, lifts her skirts and pirouettes to a little child, who holds up its brown skirt and sets its toes in imitation. Behind the figures is a bank of foliage. Signed at the right. Height, 10 inches ; width, 7} inches. act one way or the othe Lig certainly | MARTIN RICO “) ee A? Je Po ee By temperament a strollef, light hearted, and of simple tastes, Rico has travelled constantly, though it is by his pictures of Venice that one seems to know him best— transcripts of her brilliant color seen under cloudless noon- mt day skies. A Spaniard by birth, and a pupil of the Madrid | Academy, he came to Paris and secured the first Prix de Rome ever given for landscape. On his return from Italy, he enjoyed the companionship of Zamacois, and was helped in his studies by Daubigny and Meissonier. 1o— STATUE OF BARTOLOMMEO COLLE- { =@NI, VENICE The bronze-green statue of the horse and its rider rears sharp against the clear, pale-blue sky. By the railings at the base of the pedestal stands a girl in a scarlet shawl, with a child near her. Around a carved well-head on the left are pigeons, and across the narrow canal is a row of houses, the gray and white of their architecture showing crisp in the bright light. a 2 eer | Signed at the left. Height, 133 inches ; width, 8} inches. FRIEDRICH VOLTZ a (A LL (Ae i Born at eee in 1817, Voltz received his art in- struction at the Munich Academy, and in after years became one of its professors. His favorite haunt for study was among the valleys of the Bavarian Alps. 1I— THE POOL Companion to No. 12 In a pool of water stand a white cow, stooping to drink, and a reddish bull calf. At the back is a steep, shadowed bank, on which sits a shepherdess, looking away towards the open sky. On the right is a mass of willows and other trees. Signed at the left, and dated 1877. Height, 6} inches; length, 93 inches. meee: act one way or the other, certainly SS = wo Ym geen 22 te a eee a : FRIEDRICH VOLIZ Pa | . <= ws by? J Se z ‘UA ptadt _ Born at Nordlingen in 1817, Voltz received his art in- eS struction at the Munich Academy, and in after years became one of its professors. His favorite haunt for study we “was among the valleys of the Bavarian Alps. 12— LANDSCAPE AND CATTLE Companion to No. 11 A fine reddish colored bull stands on the left of the pic- fo || ture, the light falling from behind his back, on a white cow that lies under his head. Further back is an oak tree, and in the middle distance a group of five cows. Signed at the nent, and dated 1877. Height, 64 inches ; length, 9} inehes. ERNEST JEAN AUBERT ae Le Kv t— Go pupil of Delaroche, Aubert won the Prix de Rome in 1844 for an engraving, and during and after his stay in Italy pursued that branch of art until 1853. Then he passed to lithography, aan later ‘9 pfeipting. . aa 13— LOVE'S” OFFERING Clad in a white robe, with a blue drapery across her knees, a girl sits on a rock under the trees, arranging her pale yellow hair, while a cupid on his knees presents her a bunch of flowers. A little glimpse of water appears below the rock on the right. Signed at the left. Height, 93 inches; width, 8 inches. corm ; " sawentee te by, eee uc euler, Pe o St E 4 a wi ‘ | JULIEN DUPRE + <=) bay Za) qe fr / LE é / OF f ; oa ‘5 ie A nephew of the great Jules Dupré, Julien has won a tor himself a distinguished position among the landscape : painters of France. He reveals a true love of the country ‘ p : jp and knowledge of its forms, and in his rich-toned pictures, where figures and cattle take their places in the com- position, there is generally a mellowness of feeling that is most persuasive, 14— LANDSCAPE AND CATTLE Beneath a breezy April sky the distant hills show pur- ple, and the pasture is moist green, barred with yellow in the shifting light. Cows are seen in the distance, and a brown and white one stands near the foreground, with a tawny and white one lying by her side. To their left is a milkmaid in a brown skirt, and a dark bodice with white sleeves, a red handkerchief being tied over her head, which she turns towards the cows as she passes them. Her buckets are suspended from a yoke. Signed at the left. Height, xo inches; length, 154 inches. | ] LE. ENGLER Ay A German painter of animals. i DOGS A St. Bernard, white, with black markings on the stern, shoulders, and head, stands looking towards us. Beside him, in profile, lies a white and tawny one, on which an- other of darker brown color is resting his head. Beyond the group are bushes, with an opening to the left. Signed at the right. Heigth, 94 inches; length, 13 inches. 7. act one way or the other, certainly FRANZ EDUARD MEYERHEIM PD Wd 1838-1880 (\/ ogee FZ. et tof After studying in the Academy of Berlin, his native city, Meyerheim passed to Diisseldorf, afterwards travelling much and painting from nature. He is best known by his pictures of scenery and peasant life in Hesse and the “valleys of the Tyrol. e 16— IN THE HAYFIELD A bank of trees borders the flat meadow in which the hay left by the carriers has been raked into little wreaths and cocks. In the middle distance, a girl, resting on her rake, is talking to a young man; while in the foreground another girl stops from her work to lift the shawl from her head and look out of the picture. She wears a white shirt, and a slate-gray skirt looped up over an olive-colored petti- coat, Signed at the left, and dated 1871. Height, 114 inches; width, 9 inches. Ope CAE G AtC421 6 yee MAX SCHODL This brilliant painter of genre and still life was born at Vienna in 1834 and became a pupil of its Academy under por i hee Friedlander. His skill in the precise rendering of beautiful ») f ht yo" surfaces can hardly be surpassed. ce OBJETS D’ART Upon a table is spread a blue, white, and red rug, over which, on the right, is laid a silk drapery with dull crimson and gold embroidery. In the centre stands a cup formed of a nautilus shell mounted on the upright tail of a bronze dragon, on one side of which is a metal vase of gilded bronze inlaid with enamels, and on the other a box of tor- toise-shell and mother-of-pearl and a gold cup. Signed near the right, and dated 1896. Height, 12 inches ; width, 9 inches. act one way or the other, certainly ? af s ,® made their home in Paris, Sanchez-Perrier made his first EMILIO SANCHEZPERRIER ee oe — ee a Oe 6 Letae One of the brilliant group of Spanish painters“Wwho ave appearance at the Salon of 1886, receiving an Honorable Mention. His landscapes are not only distinguished by purity of color and deft craftsmanship, but interpret the character of the scene with much quiet feeling. 18— A GLIMPSE OF SEVILLE In front is a smooth sheet of water on which lie the leaves of'lilies and reflections of the tender green foliage which grows profusely on the banks. Beyond it, to the left of the picture, rises a low hill on which, among the greenery, appear the white walls and pale yellow tiled roofs of cottages and villas ; conspicuous on the right, at the foot of the slope, being a group of buildings around a church. Signed at the left. Height, 9 inches; length, 134 inches. Va EMILE MUNIER y : esc ter pantel of genre subjects. wy. / / f L93-F ra if 8 ( & eG ei dy ok 4 at # & vnly in a white chemise, with hands placed behind her black curls, is leaning back in a high chair on the arm of which hangs a trumpet. On a table behind are a decanter and tumbler, a cake and fruit, the white cloth having a broad border of lace. Signed at the left, and dated 1879. Height, 16 inches; width, rz inches, act one way or the other, certainly ADOLF ECHTVER 2. Oe eee Though a native of Goritz in Austria, a a pupil of the Vienna Academy, proceeding later to the one at Munich, Echtler eventually made his home in Paris, devoting him- self to portraits and genre subjects. 20— FIRST STEPS In the centre of the picture is a brown shallow brook emerging from a tangle of bushes. On the edge of the water, hugging a blue doll, is a little child in a gray frock, whom two girls on the other side are trying to coax across. They are clad in red and blue, and a third is lying on her back, a little farther up on the bank, which is backed with trees. Signed at the left. Height, 12 inches ; length, 22 inches. JEAN JACQUES HENNER L ; 4 y 7 Vee Le Henner’s early career is an example of the thrift of the French peasant and of what France will do to advance a likely pupil. The father saved from his small earnings to give the boy an art education, and upon his deathbed be- queathed this legacy of self-denial to his elder son, and in due course the municipality sent the promising student to Paris. Here in time he won the Prix de Rome, and five years later came back from Italy with the style he has ad- hered to ever since, and that secured him instant recog- nition. No painter of modern times has idealized the nude with such exquisite individuality or given to his studies of young girls a more imaginative charm. | gee ¥ Bi I hina ede ae Ae { Pei HEAD OF A YOUNG GIRL A study in cream and gold and brown of a young girl’s head swathed in rich brown drapery, crossed beneath the chin, and seen against a creamy golden background. The brown eyes look straight forward ; the color of the face is a delicate creamy white, and the crimson lips are slightly pursed. Signed near the left. Height, 11 inches; width, 9 inches. Tt act one way or the other, certainly ? EDOUARD FRERE 1819-1886 __ oe - ma é e Le le_CC414céE-2L- Y Born in Paris in 1819, Frére became a pupil of Dela- ri fe roche. About the time that the nature students were mov- ing to Barbizon, he settled in the village of Ecouen, a little to the north of Paris, whither many painters followed him, attracted by the simple sincerity of sentiment in his pic- tures of domestic genre. These secured him a wide popu- larity both with the public and his brother artists, who, at his death in 1886, paid tribute to his memory, Bouguereau pronouncing a noble eulogy. 22— THE PRAYER In an olive-toned cottage interior, a mother sits holding the hands of her child, who is on a chair facing her. She wears a russet-gray jacket and blue apron, the little one having a green skirt and white cap. Against the back wall is a brown wood press with green curtains, and through the window, on the right, is a view of a cottage and the sky. d Signed at the left, and dated 1861. Height, 16 inches ; width, 13 inches. 23— A SPANISH GARDEN ie" EMILIO SANCHEZ-PERRIER One of the brilliant group of Spanish painters who have made their home in Paris, Sanchez-Perrier made his first appearance at the Salon of 1886, receiving an Honorable Mention. His landscapes are not only distinguished by purity of color and deft craftsmanship, but interpret the character of the scene with much quiet feeling. ian, ik a re 3" % 4 Rising out of a profusion of greenery appears the upper part of a villa, the parapet decorated at intervals with acorn-shaped ornaments, the roof surmounted by a cupola. The garden is enclosed by a plaster wall in which there is a wicket gate leading into a vegetable garden, which forms the foreground of the picture. In it are two men working and one resting. Signed at the right, and dated 1860. Height, 14 inches; length, 21} inches, RET NN ae TTI SE SEN, EINE - 2 lact one way or the other, certainly ? JOHN M. TRACY / ] ey fe y Se 7 eee A jj 1844-1892 | a Born in Rochester, Ohio, Tracy first studied with a Chicago painter, A. L. Ransom, and then entered the . 2 Ecole des Beaux Arts in Paris, becoming also the pupil of Isador Pils and Carolus Duran. Returning to America he devoted himself to subjects connected with sport, which secured him considerable reputation both in this country and abroad. He was an excellent draughtsman, and his pictures have the true flavor of the hunting field. fe THE HUNTERS In the foreground of a rolling landscape backed with woods stands a sportsman, beside whom sits his com- panion, lighting a pipe. A little to the rear is a pointer, and another is pointing on the left of the group. Signed at the right. Height, 133 inches; length, 24 inches. mal Z}- 4, Zz M. F. H. pe HAAS, N.A. JA = 1832-1895 = SP A pupil of the Keates Rotterdam, in which city he was born sixty-nine years ago, de Haas continued his studies with Louis Meyer, at The Hague, and painted on the Dutch coast. In 1859, he came to this country and set- tled in New York. His marines are vigorous and sincere, showing a particular liking for the picturesque phases of nature, 25— MOONLIGHT ON THE FRENCH COAST A smack is grounded on a flat shore spotted with pools and rocks. In the lee of it the fishermen have lighted a fire around which they sit. On the right, the ripples of shallow water gleam pale gold and silver in the light of a full moon. Figures are paddling near the front, and in the distance sail-boats are running for the shore. Signed at the right, and dated 1879. Height, 19} inches ; length, 294 inches. ER SANE CIT = 4 SIP REE Pay EE os pitas: exe ESET act one way or the other, certain. ly ,JAMES WARD me YA 1769-1859 Pe CG KOS — j The brother-in-law of George Moreland, Ward was an ; ra engraver as well as painter. His earlier pictures of ani- mals were full of knowledge and power, but during the latter part of his life his broad and manly style changed into one of extreme minuteness. = FOUR HUNTING SCENES The two upper pictures, reckoning from the left, repre- sent, respectively, duck and woodcock shooting ; the lower ones, pheasant and, apparently, snipe. In the last the dogs are spaniels; in the others, setters. Signed on the back. In each case: Height, 3} inches; length, 4} inches, ADRIAAN BROUWER 1606-1638 Brouwer ranks with Teniers as the foremost of Flemish genre painters. Depicting subjects of low life, and often with much coarseness of humor, he is a fine technician, his pictures being prized for their rich quality of brush- work and beautiful color. Ji IN THE TAVERN In a dim brown interior, a man holds up a tumbler, while his left hand rests on a pitcher which stands on the table at his side. He wears a gray felt hat, with the wide | brim looped up on the right side, and a feather sticking up from the crown. His olive-gray jerkin is partly open, showing the shirt, and a clay pipe is sticking in the belt. Behind the table sits another man, who turns to look at his companion, at the same time blowing a thin thread of smoke from his lips. were Signed at the left. Height, ro inches ; width, 7} inches. et one wav or the other certainiv o- H = 0 Tia 28— SIR DAVID WILKIE 1785-1841 “i? ~2 ; é L SA a= In the first quarter of the nineteenth century, David Wilkie was the chief genre painter of the world. Born in the little village of Cults in Scotland, the son ofa clergy- man, he entered the Edinburgh School of Art at the age of fourteen. Five years later he sold his first picture, “Pitlessie Fair,” for $125, on the strength of which he went to London, and next year showed the “ Village Poli- ticians.” Its success was immediate, and was followed by a series of pictures of country life that have much of the charm of the best Dutch genre. He died at sea, and his funeral has been commemorated in one of Turner’s noblest pictures, THE PET BIRD A man in red waistcoat and white shirt-sleeves rests his arms upon a round table, whistling to a jackdaw in a wicker cage in front of him. The latter stands on the cut- off end of a barrel in the centre of the table, on which lies - a flute near a jug and a tumbler of beer. Height, 64 inches ; length, 9} inches. \ PHILIP WOUWERMAN 4% fe > / eas 1619-1668 y LS 4fLP fy» f y S A contemporary of the Dutch landscape and cattle painters, Paul Potter, Adrien van der Velde, and Aelbert ) Cuyp, Wouwerman preferred subjects of horses and riding parties—spirited groups in bright landscapes. He had a particular fancy for introducing a white horse in the foreground, with the light concentrated upon it; but de- spite such mannerisms and a somewhat precise manner of brush-work, he is reckoned an interesting painter. 29— DUTCH LANDSCAPE AND FIGURES : Blue hills and a woody plain are seen on the farther side of a river in which some figures are swimming, and a laden ferry-boat is crossing. In the foreground, on the right of the picture, a man in a red coat, riding a brown horse and leading a gray one, is trying to coax the latter to enter the water. Another horseman and some figures complete the group, in front of which is a mother sitting E on the ground, nursing her child. Height, 11} inches; length, 14 inches. aaAt nna wav ar tha nthar rartainiv q ate he I ea A SA POM PERS PER. eas, BRO ALS TTT LI Sous i | | | | | GEORGE H. BOUGHTON, N,A. v d CLO reer A vA Born in England, and brought to this country when he was three years old, later studying art here and making his first successes under the patronage of the old American Art Union, George H. Boughton returned to the country of his birth, and has made his home there. He has gained a reputation by landscapes and by his pictures of Knicker- bocker, Puritan, and Huguenot subjects. 30— THE WATER CARRIER Water Color Coming through the gray-lighted meadow a peasant balances an earthenware pitcher above her white cap, knitting the while at a stocking. The short white sleeves of a chemise appear from under a black sleeveless jacket ; cuffs of blue gingham are drawn up to her elbows, and an apron of the same material is looped up so as to form a pocket. Signed at the right. Height, 12 inches; width, 7 inches. JEHAN GEORGES VIBERT Y A brilliant wit, author of some plays, and a skiltul painter of character and satiric genre, Vibert is one of the most individual of Parisians. He works with equal facility in oils or water colors, and was one of the leaders in the formation of the Society of French Aquarellists, aio THE RENDEZVOUS Water Color A man’s face looks out from the bushes that fringe a path, as a lady approaches, holding a bunch of roses. She wears a bow and streamers of pale yellow ribbon on her fair hair ; a white silk skirt, with a pompadour body and overskirt of amber and wine-colored stripes, and over her shoulders a lace fichu, the long ends of which are tied behind her back. Signed on the right, and dated 1872. Height, r4 inches; width, 10 inches. t Wet One wav ar the oathar erartainiv 2 RR ONERETITE: oN Ne en fee mae ‘o) oo ~~ — —_ a ae ‘ = , #1 & oie. Wi LOUIS ALEXANDRE LELOIR 1843-1884.) = sd ¢ fr} eZ A painter first of scenes from Bible history, Leldir eventu- _allfy turned to genre subjects, chiefly from the life of the seventeenth and eighteenth centuries. He received many honors, and was as good a; painter in water colors as in oils. : we 32— WATCHING THE BIRDS Water Color On a divan of dark blue cushions, set against a pale blue arabesque wall, reclines a young girl in white robe and yellow silk sash. Her right arm is stretched in front of her upon a raised mass covered with a dull red rug on which are a bird with bright blue and brown plumage, and a smaller one with green wings. The girl, whose fan hangs listlessly from her hand, leans her head over her right shoulder and watches them. Signed at the left, and dated 1872. Height, ro4 inches; length, 15 inches. ae ta tee a ae EDOVARD DETAILLE sai ney Sf [gee if q LO y LZ. ies eal Since the death of De Neuville, Detaille has been undis- puted leader among the military painters of France, though : of late years his time has been much absorbed with large official canvases of a ceremonial character. He was a | favorite pupil of Meissonier, and in all his studies of mili- tary life there is a stirring actuality, as of one who knows it thoroughly, | THE SENTINEL i Water Color Beside the wall of a redoubt made of bags and baskets full of earth wattled down stands a sentinel in black over- coat and drab gaiters.. Snow covers the ground, and still falls from a sky filled with flocks of gray cloud. Signed at the left, and dated 1872. Height, 12 inches ; width, 10 inches. = dct one way or the other. certainiv ss a I a ORT NE RS gy ceaeae are patents am 3 aS _ ~ y FRANCISCO DOMINGO , it~ Y ee, te ) . .# Often called the Spanish Meissonier, Domingo, who lives v) in Valencia, paints little pictures of horsemen before an fe ee - ad att % q ie 5 a Pa ° . . Wt inn, soldiers, newspaper-readers, and philosophers of the ate time of Louis XV., with the daintiness of color that is asso- at ciated with the French master; although a huge canvas, “The Last Day of Sagunt,” has the reputation of being his chief performance. 34— THE CAVALIER In front of a gray wall, hung on the left with drapery, stands a cavalier beside a drum, pointing his rapier to the floor. Above the wide flaps of his boots are plum-colored breeches, and a pink sash crosses his brown laced doublet, over which falls a collar of lace. Signed at the right, and dated 1897. Height, 44 inches; length, 6 inches. PIERRE AUGUSTE COT / We ; 1837-1883 3 J a é ee C S g 4_- This painter of graceful and attractive portraits and genre subjects was a pupil successively of Cabanel, Léon Cogniet, and Bouguereau. He was awarded the Legion of Honor in 1874, 35— YOUNG ITALIAN GIRL f A young girl, with her back towards us, seen as far as the waist, is looking over her right shoulder. Over a full- q sleeved white bodice she wears gray silk stays stitched | with a little pattern of lighter thread, and a yellow drapery hangs from her left shoulder. Signed at the left. Height, 12 inches; width, 94 inches. fact one way or the other, certainl a eT a I 30— CHARLES EMILE JACQUE 1813-1894 y, Before he made a serious study of painting, Jacque by his etchings had already gained a reputation which still places him among the foremost modern masters in that medium. To his skill with the needle is due his knowledge of form and construction, and the remarkable drawing of his oil paintings. Sheep and poultry, particularly, he de- picts with a comprehension that has never been surpassed. His use of color is less profound and fluent, yet he often reaches harmonious effects of great dignity ; for, although he chooses simple and sometimes commonplace subjects, he treats them with an elevation of purpose that lifts them to a high level of pictorial beauty, and often of poetic feeling. 4 7. ow s . LANDSCAPE AND CATTLE The sky, broken up into slaty-gray clouds, is threatening storm, and a strip of cold light crosses the pasture. Cows are standing in a pool at the right, two sniffing the water, while on the bank sits a shepherdess in blue apron. Be- n hind her is a clump of oak trees; ‘ gr ang ® z a er fies Bisa Signed at the left. Height, 7} inches; length, 13 inches. JULES DUPRE <7 }. — Ay, 1812-1889 From being an apprentice in a porcelain factory at / Nantes to becoming one of the founders of the modern school of French landscapists is a long journey, and its way lay through nature. At a time when landscapes were being put together out of the painter’s head in a manner, grandiloquently unreal, Dupré and: Rousseau set themselves to study the facts of nature, and to render them as they felt them. Dupré's feeling has in it usually a preference for the stern and solemn aspects of nature ; his pictures are distinguished by elevation of thought and a grand ‘seriousness of color. His fine poise of character was as little disturbed by fortune and rewards, when they came his way, as it had been by his early hardships, 37— MARINE Upon the low horizon the sky is of a dull steel gray, which grows more vapory above, mounting through creamy streaks to blue. In the distance is a white speck ! of sail, and brown ones show nearer and nearer; on the left is a fishing smack with dark hull and drab sails. The ; water is a pale greenish blue, with silver spray and brown rien, Lad S My i a fa 4, Ming eS Height, 8 inches ; length, 14 inches, in the hollows of the waves. EE Signed at the right. ly act one way or the other, certain NARCISSE VIRGILIO DIAZ 1808-1876 oS Snare a is a f Ny RSs Se @ 5 ; nN ME Cire i & # The son of a Spaniard who for political reasons had ‘ taken refuge in France, Diaz in all his pictures shows the / ardor of his Southern temperament. He has been called the virtuoso of the palette, and both in his little figure subjects—mere excuses for a charming embroidery of light and color—and in his grand studies of the mysterious tangle of sun and shadow in the recesses of Fontainebleau i forest, his work has the splendid spontaneousness of an exuberant imagination. So musical is its suggestion that we readily accept the story that, while he plied his brush, he was pouring forth his spirit in song. 33-— FONTAINBLEAU i] i | On the right of a sandy path bordered by ragged banks with bowlders and torn and stunted oaks sits a woman in blue and red costume. A hill rises on the left, with masses of foliage, and overhead is a purple, blustery sky. Ps ee eh fe 4 Me ig 3 Fs e wf eat He “ye Signed at the right. Height, 1o iiddiot length, 14 inches, JEAN BAPTISTE CAMILLE COROT 1796-1875 The son of a court milliner, Corot enjoyed a competence which enabled him after his student days to visit Italy and pursue his study of nature in many parts of France. His earlier pictures gained a succession of rewards, but he was nearly fifty years old before he reached that manner of seeing and painting nature which has given him enduring fame. ‘Rousseau is an eagle,” he used to say, “ while I am a little lark singing in my gray clouds.” He, too, has his moods of sublimity ; but, for the most part, it is the tender poetry of the awakening day or waning twilight that he loves to paint in pictures of delicate resonance, with atmos- phere of sensitive vibration, in which the foliage seems to stir with the quiet songfulness that permeates the scene. LAD POD AAT verry sige! es LANDSCAPB On the left is a reddish rocky bank and willow tree. In the shadow, near the front, sits a woman with a white cap, another kneeling near her with a red one. A little pool beyond them catches the light, and the meadow slopes up i to a woody hill on waren isa church. ; boost “ne My va! Oy : pines Signed at the left. ey hs.” way peal Height, 94 ing ae a hishes TO act one way or the other, certain 1s de ‘t JEAN FRANCOIS MILLET eT 9 es SOY : o ye This picture of “The Bather ” ravist belong to Millet’s early days in Paris, before he had found Barbizon and resumed the peasant life of his childhood. He is better known as the painter of the toilers in the fields, pictures of infinite truth and sadness, tinged with an elevation of feeling. For it is often forgotten that Millet was a student of literature as well as a painter, who read his Virgil regularly and with appreciation, and much of the ample dignity and noble feeling of the old Roman poet has found its way into his pictures. : 40— THE BATHER On a bank, darkened by overhanging trees, a young girl, nude, sits with one foot dipping into the water. Her right leg is crossed over the other knee, and her hand rests on its foot, By her side lies some blue and white drapery. Signed at the left. Height, r2 inches ; width, 8} inches. ee oe oe 1813-1894 iG A = ree CHARLES EMILE JACQUE / Ah Before he made a serious study of painting, Jacque by his etchings had already gained a reputation which still places him among the foremost modern masters in that medium. To his skill with the needle is due the knowledge of form and construction, and the remarkable drawing of his ‘oil paintings. Sheep and poultry, particularly, he de- picts with a comprehension that has never been surpassed. His use of color is less profound and fluent, yet he often reaches harmonious effects of great dignity ; for, although he chooses simple and sometimes commonplace subjects, he treats them with an elevation of purpose that lifts them to a high level of pictorial beauty, and often of poetic feeling. LANDSCAPE AND SHEEP A cold, shifty light plays sparingly over the meadow, concentrated on a lamb that faces us near the centre of the picture. Behind it are sheep with their tails turned towards us, and farther back two others approaching from the back of some tree-stems on the left. Bushes fill in the right of the picture, and in the distance are dark, low hills. Signed at the right. Height, 114 inches; length, 164 inches, jact one way or the other, certainly ( @ NARCISSE VIRGILIO DIAZ 1808-1876 © as / Cf The son of a Spaniard who for Pa reasons had taken refuge in France, Diaz in all his pictures shows the : Ss ardor of his Southern temperament. He has been called the virtuoso of the palette, and both in his little figure sub- jects—mere excuses for a charming embroidery of light and color—and in his grand studies of the mysterious tangle of sun and shadow in the recesses of Fontainebleau forest, his work has the splendid spontaneousness of an exuberant imagination. So musical is its suggestion that we readily accept the story that, while he plied his brush, he was pouring forth his spirit in song. 42— TOILET OF VENUS A young girl with blue drapery across her knees sits under a tree, gathering up the folds of a white robe to her breast. With the other hand she holds a mirror into which she and two winged loves are gazing. A warm amber atmosphere pervades the picture. Signed at the left. Height, 14 inches; width, g} inches. Ser ee ern CHARLES - FRANCOIS DAUBIGNY# ) 7 _, 1817-1878 ; Ot kof CL ” It is as the poet-painter of lovely rural scenery along the banks of the Seine, Marne, and Oise, that Daubigny will always be remembered. Traversing their streams in a houseboat, moving where he listed, he studied them with an intimacy of affection, and a sympathy with their tran- quil beauty, that have found the secret of their spirit and incorporated it with the gentle stir of pastoral and human life upon their banks. In the tender songfulness of his pictures he is closest to Corot of all the Fontainebleau- Barbizon painters. ‘ ¥ se 4 ify wiht eho ye Pe a Bo om f fas Pe = aha i i, ranges : OR i. A ae Ht gate. Bh ef ay Wing ah Si 3 43— § BANKS OF THE MARNB A cool green bank, with a bunch of trees on the left, stretches diagonally across the picture, following, with many indentations, the course of the river, and disappear- ing in a background of trees, A man with a white cap is rowing a boat, and the water reflects the cool dark greens of the vegetation and the rosy gray of the horizon. Signed at the left, and dated 187 Zen Height, 14 inches ; length, 22 inches. Ag ra * act one way or the other. certainly ANTON MAUVE 1838-1888 It is Mauve’s distinction to have been one of the band of Dutch artists who, during the last century, infused new life into the art of Holland. A pupil of Van Os, he preserved for a time the sleek and smooth execution of his master, but when he came to study nature direct, his style broad- ened into one of remarkable freedom and individuality. No Dutch painter has more sympathetically recorded the intimate charm of Holland, and his works have found their way into galleries at home and abroad and been honored in every country. 44— LANDSCAPE AND COW A white cow with black patches stands with her tail towards us, beside a fence. Behind her is a man in black, and to the right are shrubs and a red roof. The sky is white and full of moisture, and a pale amber atmosphere wraps the scene. ne Signed at the right. ns, Height, x2 inches ; length, 1 inches. Sy oe a al _ W. A. BOUGUEREAU oN \D From Bouguereau’s early days at Bordeaux, where he combined the duties of a clerk with study at the artschool, through the years that he painted portraits for a few francs until he had earned enough to go to Paris ; from the time | that he won the Prix de Rome, and five years later re- turned from Italy to make an immediate mark ; through fifty years of successful labor he has proved his indomitable spirit in the face alike of popularity and criticism. In the drawing of the figure he has no superior among modern painters, and his graceful representations of young girls and children have won him a large circle of admirers. wg Ns AME ree i ah is, bag ve wut "Tt A eae A CHILD OF THE VINTAG A tawny-skinned girl looks out of the picture, with large brown eyes, her dark hair being bound with a dull red handkerchief, around which is a wreath of vine leaves. A necklace of brown pearls hangs over the curving edge of her white full-sleeved shirt, and a touch of green ribbon decorates her shoulders. | | i } Te act one way or the other, certainly Signed at the left, and dated 1874. Height, 17 inches ; width, 14 inches. ’ SS A ARE IIE EY PY ae eS wear a aa : Pi hod "|" MARIE FERDINAND JACOMIN Though a Parisian, this painter has always sought for subjects in the country, especially around the forest of Marly, painting landscapes that since 1883 have a recognition at the Salon. > > 46— LE CENTENAIRE, FORET DE MARLY In a wide clearing of the forest is a flat stretch of grass, terminating in a circular pool, on the far side of which, to the right, sits a man, near whom are two cows. On the edge of the forest beyond is a row of poplars reflected in the water, Signed at the left. Height, 13 inches; length, 18 inches. B ) XQ PAHORATIO WALKER, N.A. LtLgZ 9 With nature for his teacher, and his own earnest force of character for a guide, Horatio Walker has reached the first rank among living American landscape painters. He is a colorist of much distinction, and his pictures reveal a love of the country—particularly of its sturdiest moods— and a broad, able craftsmanship, which make them justly prized by collectors. # a % wt 17 LANDSCAPE AND CATTLE Flat, marshy meadows extend to the horizon, with a stack and cows in the middle distance, towards the right. In the foreground are tussocks of rushes and pale green grass, and on the left a small brook, near which two cows are standing. It is crossed by a rough wooden bridge, from which the path leads across the picture towards some willow trees. Signed at the right. Height, 16 inches ; length, 13 inches. ty| © moe = act one way or the other, certain Sie et wn. _, PIERRE PAUL LEON GLAIZE . Oi? eo’ 4: Pe “ 3 ~ painter of elegant genre and one of the followers of hp y ; : : : a a the semi-classical school, Glaize was a pupil of Géréme, and received the ribbon of the Legion in 1877. 48— PUTTING ON THE SANDAL In this Egyptian interior, probably of the period of the Roman occupation, the wall is decorated with figures in profile—a woman with a baby on her lap, sitting in a gilded chair behind which stands an attendant. The chamber is in the upper story, and opens to the air on the left side, with a view of hills beyond the balustrade, on which leans a young girl in creamy robe lined with rose. She has her foot on a wooden inlaid footstool, and a maid in black is stooping to lace her sandal. Signed at the left, and dated 1893. Height, 22 inches; width, 17 inches. -— 4. PARRA TA 4 49— FLOWERS In a cut-glass goblet, placed upon a carved wood stool, is a profusion of roses, dahlias, fuchsias, and gladioli. The background is grayish blue interlaced with gold. Signed at the left. Height, 20 inches; width, rs inches. 7 G. B, O'NEILL This painter’s works have obtained wide circulation through the engravings made from them, and this particu- lar picture proved one of the most popular. 50— “SPARE THE WEEDS” An old man in sack apron is kneeling on the path, up- rooting the daisies with his knife. A little child in red shawl and white apron and sun-bonnet stands beside him, offering him a nosegay. Behind them, through the door- way in a wall, is a view of a lawn and old house. Signed at the left, and dated 1879. Height, 19 inches; length, 234 inches. wv]! 1 act one way or the other, certain l'once of doubt avainst her. CHARLES EDOUARD DELORT Born at Nimes, Delort became a pupil of Gleyre and Géréme, and from the time that he won his first distinction in the Salon of 1875 devoted himself to bright and ani- mated genre subjects, lo wy => = Lf | f- ZA =e 7 (HYD / G ot) Ly vA Ee é 4 51— LA JARDINIERE AU BON SEIGNEUR From La Fontaine’s Fables In an open court a table is spread with the remains of a feast, which several hounds, craning up on their hind legs, are demolishing. The “good lord,” in red coat and capa- cious boots, having eaten his full, leans back in his seat and ogles a pretty girl who wears a pale plum-colored short skirt, puffed on the hips, and seems embarrassed by his advances, At the back of the table a man is wringing his hands as if in despair, and through the open gateway mounted huntsmen are rounding up the pack of hounds. Signed at the right, and dated 1874. Height, 19 inches ; length, 24 inches. Se \ HENRI LEROLLE A Parisian, and decorated with the Legion of Honor in 1889, Lerolle has essayed with equal success many differ- ent kinds of subject. A large example of his genre pic- tures, “The Organ Rehearsal,” hangs in the Metropolitan Museum ; his landscapes have a beautiful poetic quality, and in his peasant pictures there is a depth of sympathy and a largeness of feeling at times almost solemn, that give them a very distinctive character, oe abe of We Me RY} ene 4 Vide Oh * 52— POTATO HARVEST The light is dying out of a creamy sky, leaving the field brown with shade. Beside a group of sacks a woman stoops to pick up potatoes, while to her left stands an- other, holding a full basket and balancing the weight with her free arm. The field slopes up on the right, anda cart with a white horse is seen moving towards a tree. Far- ther back, near the horizon, is the smoke from burning weeds. Signed at the right. Height, 193 inches ; length, 24} inches. iT. aS SOO et | act one way or the other, certain csi cura aealninh ian cradaete Teac f A | Sy Z x | << q wr ae Fe a PC g 4y CLO-Z Concern | > LUDWIG MUNTHE A native of Aaroen, near Bergen in Norway, Munthe went in 1861, at the age of twenty, to Diisseldorf, where, however, he pursued his studies by himself. Afterwards he travelled extensively in Holland, Belgium, France, and Italy, studying nature, with a special preference for au- tumn and winter scenes. He was awarded the Legion of Honor in 1878, and gained many other rewards, ph i pny’ i 53 A BEECH WOOD IN WINTER A warm amber twilight sky is seen beyond the big brown trunks which loom up solemnly amid the under- growth of the forest. The ground in front is covered with snow, and near the centre stands a black and tan dachs- hund. Signed at the right. Height, 20 inches ; length, 34} inches. — MARIE FERDINAND JACOMIN The subjects of Marie Ferdinand Jacomin’s landscapes are, for the most part, taken from the forest of Marly and the neighborhood of Fontainebleau. They faithfully ren- der the rich, moist foliage and vegetation, and the pleasant surprises of the sunlight. 54— LE CENTENAIRE, FORET DE MARLY A patch of yellow light lies on the long grass just in front of a giant chestnut, whose trunk is twisted and hol- lowed with decay. A path to the left of it disappears in the thicket, on the edge of which a figure is dimly visible. [Sar GSR SP aie es eee ae Pee a a eee Signed at the right, Height, 18 inches ; width, 14 inches. 1 r, certainly Sea PE ens ET act one way or the othe OM. Su et Sa —— ¥ >) ag we Fis er, y ; EUGENE CICERI wm té la For many years professor at the Parma Academy, Ciceri was noted for his skilful drawing of the landscape. JoS= A FISHERMAN’S RETREAT The pool, spotted with lily pads, vanishes on the left in a vista of water and sky between the trees. To the left of the opening is a beach, and on the other side the sloping green bank is studded with gray bowlders and overhung with the foliage of big trees, conspicuous among which is a birch, that catches the light on its trunk. A solitary angler is fishing. Signed at the right, and dated 1877. Height, 14 inches; length, 2z inches. CO tt-t_oL— JEAN RICHARD GOUBIE After leaving the studio of Géréme, Goubie devoted him- self to subjects involving animals, particularly the horse. 56— LIGHTING HIS PIPE A huntsman has halted his chestnut horse in a grassy glade, bordered on both sides by trees, and is lighting his pipe. A horn is slung over his black fur coat. Signed at the left, and dated 1880. Height, 10 inches; length, 14 inches. wht act one way or the other, certain N NARCISSE VIRGILIO DIAZ 1808-1876 The son of a Spaniard who for political reasons had taken refuge in France, Diaz in all his pictures shows the ardor of his Southern temperament. He has been called the virtuoso of the palette, and both in his little figure subjects—mere excuses for a charming embroidery of light and color—and in his grand studies of the mysterious tangle of sun and shadow in the recesses of Fontainebleau forest, his work has the splendid spontaneousness of an exuberant imagination. So musical is its suggestion that we readily accept the story that, while he plied his brush, he was pouring forth his spirit in song. a The composition consists of a rich bouquet of flowers ; white roses with crimson hearts, blue anemones, pink geraniums, and blossoms yellow and dull red. The fore- ground is a gleaming olive green. Signed at the left. Height, 10 inches; length, 13 inches. : JULES DUPRE From being an apprentice in a porcelain factory at Nantes to becoming one of the founders of the modern school of French landscapists is a long journey, and its way lay through nature. At a time when landscapes were being put together out of the painter’s head in a manner grandiloquently unreal, Dupré and Rousseau set themselves to study the facts of nature, and to render them as they felt them. Dupré’s feeling has in it usually a preference for the stern and solemn aspects of nature ; his pictures are distinguished by elevation of thought and a grand seriousness of color. His fine poise of character was as little disturbed by fortune and rewards, when they came his way, as it had been by his early hardships. : f® 58— THE COTTAGE ON THE COMMON Across the olive-brown grass appears a cottage, whose dark thatched roof shows strongly against a gray luminous horizon, overtopped with swollen clouds. To the left of the picture are two stunted, irregular-shaped oaks, between which stands a figure with white cap and bodice. Signed at the right. Height, 8} inches; length, ro inches. Wi ee . ‘ act one way or the othe Gee r, certainly Pe al = 2 ea Pa ~% THEODORE ROUSSEAU : i 1812-1867 “The Eagle” of the Barbizon painters, as Corot called him, Rousseau is the embodiment of strength. Even in his small pictures there is the suggestion of spaciousness, of firm earth, and boundless sky. Ps aasaseeee “8GNSET The corner of a garden wall and a small building by its side, appear on the left of the level meadows, which stretch back to a gabled house, showing dark against the gray-rosy vapors on the horizon. The gray-blue sky above is shredded with soft layers of rose and yellow clouds. In the middle distance a shepherd, leaning on his staff, watches the sheep that are grazing in a horizontal line, at the end of which is * SS another figure. pt = g £ 2 i Ps a “Le Signed at the left. * =, wg ok. gi? vteent, inches ; length, 13} inches. EMILIO SANCHEZ-PERRIER One of the brilliant group of Spanish painters who have made their home in Paris, Sanchez-Perrier made his first appearance at the Salon of 1886, receiving an Honorable Mention. His landscapes age not only distinguished by purity of color and deft craftsmanship, but interpret the character of the scene with much quiet feeling. 60—— THE FISHING POOL A patch of white light lies upon the gray-green pool, which stretches across the picture. On the far side the bright green bank is tufted with rushes and bounded by a gray wall, above which is a profusion of foliage and two bushy trees, A figure sits near the water on the right. Signed at the right. Height, 4 inches; length, 7 inches, Ey ern tas ror eal Ye, ford ed Hee a THE MISSAL af MEYER VON BREMEN 1813-1886 Johann Georg Meyer, called Von Bremen, after his birth- place, was a pupil at the Dtisseldorf Academy under Karl Sohn and Schadow. He began by painting biblical sub- jects, from which he passed to peasant genre, drawn from the valleys of the Bavarian and Swiss mountains, among which he was a constant traveller. The reputation of his work at length secured him a professorship at the Berlin Academy. : Sz On the edge of an oak table, a cup and saucer and china coffee-pot by her side, sits a girl reading from a missal with silver clasps. Her costume consists of a brown dress, open at the bosom, dull blue apron, and light, plain- colored tippet, and a black lace cap tied under the chin. In the olive-drab wall behind her is an arched alcove with two shelves, on the lower of which are some books. Signed on the edge of the table, and dated 1877. Height, 53 inches; width, 44 inches. CHARLES EMILE JACQUE Zy ras Sof 44 @ 2, __1813-1894 Before he made a serious study of painting, Jacque by his etchings had already gained a reputation which still places him among the foremost modern masters in that medium. To hisskill with the needle is due his knowledge of form and construction, and the remarkable drawing of his oil paintings. Sheep and poultry, particularly, he de- | picts with a comprehension that has never been surpassed. His use of color is less profound and fluent, yet he often | reaches harmonious effects of great dignity ; for, although he chooses simple and sometimes commonplace subjects, he treats them with an elevation of purpose that lifts them to a high level of pictorial beauty, and often of poetic feeling. | oe CHICKENS In front of an open doorway in the drab wall is a bunch of poultry. A white hen stands in the entrance, and be- hind her two other white ones and two black ones are nestling together; a rooster, with white neck-feathers, standing by their side. A little to the right, a white hen, spotted with gray, is pecking at the floor, and behind it, against the wall, is a straw rack. Signed at the left. Height, 7} inches ; length, 11} inches. ro (4 = 0 a igege y 3-€€. ‘al = ARMAND CHARNAY rs od Formerly known asa painter of landscapes and coast Va \ Kr pieces, Charnay has his studio at Marlotte, in the Depart- ment of Seine-et-Marne. 62 = THE LITTLE GARDENER Variously colored poppies grow in profusion on the left of the picture, above a patch of pansies which a little girl is watering. To the right is a bed, edged with box and bright with flowers, past which the gravel walk leads to 4 : the garden wall, surmounted with red tiles. The chateau appears through the trees on the left. Signed at the right. Height, 54 inches; length, 84 inches. 64— a <= ERNST BOSCH s a Z A pupil of the Diisseldorf Academy under Sohn, Hilde- brandt, and Schadow, Bosch has confined himself to genre pictures of out-of-door subjects, many of which include studies of gypsies, shepherds, poachers, and roving tinkers. A LIGHT, MEIN HERR! On the outskirts of a wood some children have lit a fire, and are sitting or lying around it. One is bringing up a bundle of sticks, and another is offering a lighted brand to a gamekeeper, whose gun, game bag, and two grouse are slung under his left arm, At his side are a white-and-tan pointer and a dachshund. A village church and cottages appear across the meadow on the right. Signed at the right. Height, 9 inches ; length, r2 inches. Boxe ( 4 EUGENE FROMENTIN NS y 4 1820 1876 i Fromentin’s visits to Algiers supplied the motives for his most charming pictures, He excelled particularly in ren- dering the delicacy of lighted atmosphere, in giving to his subjects an air of elegant refinement, and in the dainty drawing and clever placing of the figures and animals that he introduced. 65— THE WATERING PLACE A castle and trees crown a high rock, at the base of which emerges a little stream of water that broadens into a pool. Near it stand a boy anda white horse. On the left of the picture, under a bank surmounted by a tree, is a gray horse with blue saddle cloth, near which the rider is reclining on the ground. Signed at the left. Height, 10 inches; width, 8 inches. == tlle LS: Z ae BUGENE FEYEN CALS, 4 LL — A pupil of Paul Delaroche, Feyen acquired a distinct reputation for his pictures of the fisher folk, most of which were Studied at Cancale. 66— ARRIVAL OF THE FISHER GIRLS A bevy of fisher girls, singing as they advance, is march- ing over the sand down to the water’s edge. Prominent on the right of the group, is one in a dull red sweater. One has fallen back to loop up her dark thin skirt, and behind her are some hurrying along with their nets. Along the shore, on the right, is a winding line of people, gathering up fish, Signed at the right. Height, 12 inches; length, 20 inches. 67— JULES WORMS _ Jules Worms has travelled extensively, and gained repeated honors, including the Legion of Honor, for his genre subjects, which involve clever character studies, fre- quently with a touch of humor, LOOKING HIM OVER A girl, with a brush in her hand, has detected a spot of dirt on the bottle-green coat of an old gentleman, who is prepared for his walk. He wears a drab cap with sharp peak and pale blue stockings. Behind the bright red shawl which wraps the girl’s shoulders, is a mantelpiece with clock, statuette, and ornaments on the shelt, and a painted screen on the grate. Signed at the right. Height, 14 inches ; width, ro} inches, CD AL-4. t. lo EMILE VAN MARCKE / f/f 77 Sa 1827-1891 BY “20224222 = ] While still a decorator in the porcelain works at Sevres, Van Marcke received the encouragement of Troyon, and eventually became his most distinguished follower. But his later pictures are quite individual in character, reveal- ing, particularly, an exhilarating use of fresh, pure color, a sense of juicy herbage and clear air, while his drawing of the landscape and still more of cattle, is ren precise, and yet large in feeling. : 68— COWS AND SHEEP Coming round the bend of a village street, between cot- tages with thatched roofs and walls of stone and plaster, is a troop of cows and sheep, followed by a man in blue smock. To the right is a view of the open country, on which the twilight is settling down. Signed at the left. Height, 22 inches; length, 32} inches. j 69—— LE JEAN CHARLES CAZIN 1840-I90l_ “7 wy ) t Cate While many of the younger French landscapists were content to imitate the manner of the Fontainebleau-Barbi- zon painters, and a few were attracted to the impressionists, Cazin sought a middle line which might involve the excel- lence of both. His own temperament readily responded to the poetry of the one school, and in his treatment of at- mosphere and the lifting of his subjects to a higher key of light he has gathered much from the other. Yet a picture of his is unmistakably individual, not only in its method, but in its particular character of expression; and both of these qualities are very well represented in the accompany- ing picture. Sy Fee > Af EE: The waning moon hangs in a clear blue sky, that softens into haze on the horizon. Across the meadow stretches a hedge, beyond which are the red tiled and thatched roofs of cottages, others showing at intervals to the right, one with light glowing in the lower windows. The grass in front is dotted with a row of posts. - Signed at the right. Height, 254 inches; width, 214 inches. ees pom f Gy _ ALEXANDER H. WYANT, N.A. construction and skill in delineating form are remarkable, and it is upon this substantial groundwork that the poetic a af SS; 1836-1892 4 ple LE To the influence of his studies at Diisseldorf Wyant may have owed some of the fondness for accurate drawing that is shown in his earliest landscapes; for his knowledge of : feeling of his landscapes is overlaid. Hence its sincerity and power of convincing. His chosen haunts were among the Adirondack Mountains, and in his communings with nature he drew forth the secrets of her spirit, the quiet | poetry of her idyllic moods, and interpreted them with a sympathy of understanding and a delicacy of assurance that place his pictures foremost among American poetic i landscapes. 2 ae Fee 4 From a clump of trees onthe right, the meadow slopes in shadow. Farther back, where it is sprinkled with jo LANDSCAPE & %&. birch trees and bowlders, it dips into the light, and ter- minates in a grove of birches, among which is a cottage with red chimney. There is a blue haze on the horizon, and above it a light sky with flusters of light clouds. r Signed at the right. Height, 23} inches; width, 18 inches, Geers Fife f y 4 “) = a Ay A ae {/C GEORGE H. BOUGHTON, N.A. y Born in England, and brought to this country when he was three years old, later studying art here and making his first successes under the patronage of the old American Art Union, George H. Boughton returned to the country of his birth, and has made his home there. He has made a reputation by landscapes and by his pictures of Knicker- bocker, Puritan, and Huguenot subjects. ji THE WIDOW’S ACRE Luccombe Chine, Isle of Wight Shelving hills, terminating in a bold, flat cliff covered with smooth grass, surround a little bay. On the far side, cottages stand a little above the tide level, on a strip of flat shore that widens as it curves round to the front. Here is a potato patch, in which a girl kneels at work, while an old woman stops to talk to a fisherman, who, in blue jersey and a high hat, leans over the fence, smoking his pipe. Signed at the right, and dated 1879. Height, 22 inches ; length, 204 inches. J PU/y~<— JEAN LEON GEROME Every honor that France can bestow on a painter has Eb been enjoyed by Géréme during an active professional : career of more than fifty years. His pictures of the Orient made him famous, and they have been succeeded by along series of semi-classical subjects characterized by a vast store of knowledge and by scholarly treatment. He is represented in a great number of public and private gal- leries throughout the world. 72— A BASHI-BAZOUK <> The man is seen from behind, nearly as far as the waist, his dark face being turned towards the right shoulder, in profile. He wears a conical headdress formed of succes- sive coils, terminating in a smooth apex of red above a border of yellow and green, from which are suspended little strings of tassels. Across his flesh-colored satin jacket, trimmed with corded ornament, hangs a broad leather belt. His gun is slung behind, and the handles of several swords show above his right arm. Signed at the left. Height, 323 inches ; width, 253 inches. = ADOLF SCHREYER 3 : 1828-1899 cL : = a | Cs eZ we A German by birth, Schreyer was affiliated in his art with Paris. Always possessing independent means, he travelled much, and his pictures reflect the impressions that & he received in the Orient and Africa, and especially in Wallachia, where his family had estates. While his sub- jects have an unmistakable dash and resolution, they often involve a poetic quality, largely due to his sensitive treat- ment of light. His list of honors is a long one, oS s tes. 2 73— 2° IN DANGER A brown horse is leaping forward through the snow as the driver of the sleigh urges him on; for close behind are two wolves, and the rest of the pack are dimly seen amid the dust of the blown snow. The scene is a bleak, rolling country, studded with scrub foliage and leafless thorn bushes, and bounded in the distance by purple hills. Signed at the right. Height, 35 inches ; length, 46 inches. ADOLPHE JOURDAN ne A pupil of Jalabert, Jourdan is known for his rendering of the dainty charms of young girls and children. He is a graceful draughtsman, with a pleasant use of delicate color. 5 74— LES SECRETS DE L’AMOUR”™” A fair-haired winged love is whispering into the ear of a girl, whose auburn hair is decked with flowers, a wreath | of which she also holds in her right hand. A creamy : white drapery slips down her right arm and, caught at the wrist by a thin girdle, leaves the bosom bare. To the left of the composition is a large tree, and on the other side a wall of rock with a torrent at the foot of it. Signed at the left. Height, 414 inches; width, 30 inches. O38 ———— | oUls C. TIFFANY, N.A. It is a rare thing to see a picture by Mr. Tiffany, whose life for so many years has been absorbed with decorative oe | 2 work, one branch of which is the favrile glass, that has made his name famous on both sides of the Atlantic. | 75— AN ORIENTAL SCENE | Pastel, A white mosque with dome and minaret, rosy in the sunlight, is enclosed by a wall, through which, on the left, | is an arched opening leading to a narrow street, trodden en | by a veil-draped figure. In the open foreground is a grove I of palms, under which are grouped a number of Orientals. To the left of them is a donkey with yellow saddle cloth. Signed at the right, and dated 1874. Height, 24 inches ; width, 36 inches. AE LAA 4 a fo “ : Fi FRIEDRICH VOLTZ Born at Nordlingen in 1817, Voltz received his art in- struction at the Munich Academy, and in after years became one of its professors. His favorite haunt for study was among the valleys of the Bavarian Alps. jo— THE DRINKING POOL A knoll on the right of the picture, bushy with foliage, is crowned with a white farmhouse, whose brown roof shows against the surrounding trees. On the edge of the slope stands a woman, while the cows come down to the pool in the foreground, in which a white and a brown one are already standing. The water issues from under a rough plank fence. On the crest of the bank standsa hill, beyond which the meadow is streaked with a yellow light and ex- tends to a dark purple horizon. Signed at the right, and dated 1872. Aeorincecencsisint Height, 14 inches ; length, 36 inches. [| 0D cay] i act one way or the other, certa 7-nnona of donht arcainct har 579 A A = RR TA DLP = ER = ETAL: WSR RE STOOPS 2 J ’ fo pot f / ~ 3 5 yo f ? Ceo Li pe * » ALEXANDRE CABANEL 2 a 1823-1889 Among the semi-classical. painters of France, Cabanel held distinguished rank. After being a pupil of Picot he gained the Prix de Rome in 1845, and won a long list of honors. He was one of the professors at the Ecole des Beaux Arts, 7/— “THE TRYSTING-PLACE OF SOULS” Under the trees, on a rocky seat, is a young girl, her fig-. ure clad in white transparent fabric, her head veiled, and encircled with a gold wreath. A youth, from whose head hangs a white cloth that leaves his chest bare and is gathered at the waist into a black and gold embroidered drapery, extends his arm, on which the maiden, though her head is averted, lays a hand. Beyond the trees appears a church, seen against the evening sky. _—, .. ., ses yA ee es a Signed at the left, and dated 1872. = Height, 57 inches; width, 35 inches. 78— A WALLACHIAN TEAM ADOLF SCHREYER rf ye ft Tr “ CL2ACCA Z ; re 1899 A German by birth, Schreyer was affiliated in his art with Paris. Always possessing independent means, he travelled much, and his pictures reflect the impressions that he received in the Orient and Africa, and especially in Wallachia, where his family had estates. While his subjects have an unmistakable dash and resolution, they often involve a poetic quality, largely due to his sensitive treatment of light. His list of honors is a long one, Bo PR Sect f The light from a violet evening sky falls on the backs of a team of white and dark horses who are dragging a wagon along a rough road by the side of which is a pool. To the left, half in shadow from some slender tree-stems, is a man on a black horse. The warm twilight lies upon a distant village and gilds the brown foliage of some trees on the right of the foreground. Signed at the right. Height, 31 inches; length, 58 inches. AMERICAN ART ASSOCIATION, MANAGERS, THOMAS E. KIRBY, Auctioneer, Se ee ee a 2 “ PA A \ 7