NeAnL c.3 Om On nore tm dent a EE Oh im te ena Se eee ee neon ee NEN AIR AE EEE MME anm bn ee SPC at NTR AR NE RRR NE AN ERIE TNR OS NTE nt NASER SI ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY TWENTY-FIFTH [WEEK DAYS 9-6 PM—SUNDAY 2-5 P.M.] THE ART COLLECTIONS OF THEYLATE VISCOUNT LEVERHULM@® [PARTS SIX & SEVEN] ORIGINAL DRAWINGS PRINTS & WATER COLORS TO BE SOLD BY ORDER OF THE EXECUTORS AT UNRESERVED PUBLIC SALE TUESDAY, WEDNESDAY, THURSDAY EVENINGS MARCH SECOND, THIRD, FOURTH AT EIGHT-FIFTEEN THE ANDERSON GALLERIES MITCHELL KENNERLEY [Presipenr ] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1926 | NEW YORK TIMES, WEDNESDAY, MA ———— LEVERHULME ART BRINGS $16,227 MORE Water Colors, Drawings and Prints Swell Total to $1,216,133. $1,150 FOR A CRUIKSHANK Rosenbach Pays Top Price for “A Midsummer Night’s Dream’’— Sale to Continue. The first sale of Parts 6 and 7 of the Leverhulme collection, consisting of original drawings, prints and water eolors, last night at the Anderson Gal- Jeries brought $16,227.50. This brings the total for ‘the eutire sale so far to $1,216,133. The sale will be con- tinued tonight and tomorrow evening. The high price yesterday was $1,150, which the Rosenbach Company paid for George Cruickshank’s ‘‘A Midsum- mer Night’s Dream,” a water color. “Spes,”” by Sir Edward Burne-Jones, went to C. A. Lister for $610. This was the highest price paid for any of the works of this celebrated English artist. - There was spirited bidding: for the John Constable drawings. Two draw- ings of Salisbury Cathedral went to Andrew Smith for $150 and $320 each, and “The Close at Salisbury’’ for $200. Mr. Smith also paid $700 for Richard Cosway’s pen and ink drawing, ‘Kitty Fisher.” A pencil drawing of Frances Abington, the actress, by Cosway, went to F. V. Storrs for $490. The drawing by Hablot Knight Browne (‘Phiz’’) for the engraved title-page ef ‘Martin Chuzzlewit,’? went to W. HH. Woodin for $457. List of Objects Sold. The list of objects sold, the title, description, the name of the ‘yer and the price paid, follow: 1—¥ox Hunting (Henry Alken, 1816- 31), a pair, Mrs. F. A. d POYStOr ie eyig awe tne eesenences 2—Portrait of John, Fourth Duke of rt- * Somerset and Marquess of E *ford (Hdmund Ash seventeenth centur Keppel & Co., Inc.. 8—Reading Aloud (J. H. temporary English), Morris Hill- Quit... eeeeeteceee + 25.00 4—The artist’s own portr ait (David Bailey, 1584-1661), F. V. Storrs.115.00 S—Other Times, Other Manners; The Communication (Bruce Bairns- father, contemporary English), two, B. Winthrop...» @#-The Historical Touch: Old Saws and New Meanings (Bruce Bairnsfather), two, Dr. B. Caid~' well . decnee Sodeo T—Flower Painting (E. Bale, contem- ), F, J. Tarbou- 85.00 25.00 15.00 8—Charles With Prince Char Mary (Bernard B Dr. B. Caldwell.... S—Sunact, Isle of Wight, rett, 1728-84), M. 10—Classic Ruins Dr. B. Cald W—Still Life ht Undo @ (1911) (Max bohm, 1é ., Gabriel Wells,176.00 (John Benwell), y, Di Hee ee ee 405007) |101—The Triumph of Cupi 96—Haddon Hall 1 108—Time Thrown Away, RCH 3, Hint (John Constable), Knoedler & Co... 85—Old_ Sarum from D (John Constable), R. A, Court.. 86—Elstree and Near Goring 2 (John 7 31 Constable), R, A. Court.........310.00 87—Roses (Julia Convert, jontem- porary French), W. H. Woodin., 55.00 88—Haystacks in France (Matthew Ridley Corbet, nglish, 1850- 1902), Dr. B. Caldwell........++ 20.00 89—Kitty Fisher (Richard Cosway, 7 821), Andrew. Smith. . - «700,00 90—F Abington, the actress a Cosway), F. V. Storrs.490.00 (Ric! 91—Portrait of Mrs. Delany (Richard Conway), EH. H. Wells & Co.... “800.00 92—John and Frederick Ponsonby (Richard Cosway), Wilt- bank steetecyecertens 60,00 93—A_View of a Gravel Pit (John Sell Cotman, 1782-1842), E. Wheeler ... . 94—~Landscape with figw res (John Sell 125, __ Cotman), M.. Haworth.......... 5.00 95—Loddon, Norfolk (John Sell Cot- man); CHAPAC SParkKed bscwavisaacen 00 in the Oden Time 1783-1859), C. A. (David Cox Lister o7—A ander Pickard 98—Bay near Cozens, 1 ie bi -97), Karl Freund 99—A Country Girl in a Sunbonn (Joshua Cristall, 1767-1847), AC TASEED coi ualvescese tars crciners 2’ The, following from 100 to 139, glaeive are by George Cruikshank, 1792- 78: 100—A Midsummer Night’ Dream Rosenbach Co. (1845), M.-H. Snyder 02—Killing. Time, Miss L. A 104—A Pretty Time to Come Home, Rosenbach Co. . 105—Working Overtime, ng tary Clothes, W. H. Woodin.... 106—The Elves and the Shoemaker, An- drew Smith 107—Tom Puss, Af Dressed, Introduces Him to the King (1864), B. Winthrop the Seven- soe 125,00 Mili- 20.00 130.00 110.00 _Woodin 109—Hop-C y League Boots, Andrew 110—Sketches, W. H. Woodii 111—Timothy’ Sloog . 112—Tom Puss Andrew Smith .. eet Scene in ty Thumb and the Seven- Smith... 114—Jack Feistaff Breaking Skogan’s Head at the Court Gate (1857) Rosenbach Co. . 115—Sir John Falstaff Rec iz Unexpected Rebuke From_ King Henry the Fifth (1858), Rosen- bach Co. n the Buc nbach Co...+ ke a Pride to 5 Rosenbach _ 5 Lord WoOOdiIN .eede se cce rence een perenne . 70.00 422—Masque in the Palace Garden of | the Tower, W. H, Woodin...... 65.00 1283—Herne the Hunter Appearing to Henry on the Terrace (1843), Andrew .Smith .. «260.00 Sir Buckley Pri Mortgage Money to Mr, ‘Scarve Smith ; or, G rman & Son.230.00 M, F. Pick- 20.00 50 a 130—The 131—The G 00 182—Potraits, W, H. Woodin.....-..:- 35.00 1338—Fair undial, W. H. Woodin 55.00 34—Between the Devil and the Deep Candlemas Day, W. H. ates 2+ 65.00 3—Carving the Ch R. Tutt 4 -100.00 186—A_ Most Adorable Ww. H, Woodin .. - 65.00 - 85.00 80.00 . 40.00 /wt_pa_A e: SBRABAZON DRAWINGS Brabazon Drawings has been arranged to take place at Christie's on Thurs- day and Friday, the 18th and 19th of March. The watercolors and pastels are the property of Mrs. Brabazon ‘Combe to whom they were bequeathed by the ar- fist. It is not generally known that it was Brabazon who, more than anyone else, influenced J. S. Sargent in his water- color work and who by his example caused him to concentrate on the devel- opment of brilliant sunlit color. The collection now to be dispersed covers every stage of the artists’s de- elopment and every phase of his work. It is pre-eminently the work of a man who could afford to please himself and to sacrifice nothing to mere pot-boiling, for the inheritance of a fortune put him beyond need at the time when he de- termined to devote himself seriously to art. He turned to many a scene in Italy which had entranced Turner with its radiance, and produced in his own in- dividual manner a translation of it hardly less translucent and luminous. Whenever he ‘exhibited his drawings at the New English Art Club, the walls seemed to be all aglow with them, and whatever happened to be in their im- ‘mediate vicinity to be immediately ren- dered muddy. No less than four hun- dred drawings figure in the sale, and it is anticipaetd that the appreciation which is now universally accorded to the ar- tist will ensure prices ruling high. The sale will certainly prove one of ‘the most important events of the spring season. Steadily during the twenty years. that have now elapsed since his death, the circle o* "'s admirers has been growing, and with it the monetary value attach- ing to this work. NORTHWICK WICKLOW ET AL BOOKS AND MSS. Sotheby, London, Sale March 29 and 30 A small, Americana we — but valuable collection of constitutes the portion of 4 ae i" Christie’s Sale, Mar. 18, 19 | ! LONDON—An important Sale of The Art News orion REPORTS LEVERHULME DRAWINGS Anflerson Galleries—The second sales of orig- Sal #2awings, prints and water colors of the ‘rt collection of the late Viscount Lever- hjulme held on the evening of Mar, 3d. real- tired $12,540,70. The list of object @ently, the catalogue number, description, the buyer and the price paid follow : 144-—Westminster Abby (T. _ Raffles 4 avison), Contemporary English, foe ee vernot Alvan T. Fuller......... $35 142-—Lan¢ scapes and ships, 3 (T. Raffles } Dayison), Teavis Whitney, Jr...... $15 149-—Landscapes, 3 (T. Raffles Davison), Bem ickard’: tccrctonisc none tees $17.80 +4—Landscapes, 3 (T. Raffles Davi Maurice Sandler $10 4*-—Landscapes, 3 (T. Raffles maricon i Myemam A, Barber............... $15 146—A study of trees in October (Henry == Dawson, 1811-1878), Rosenbach Co. $60 47 ‘Lond on from Greenwich (Peter de Wint, 1784-1849), Governor Alvan RECT: ciar-r5i, dct Peete essa 60% t8—Landscape with cattle Peter » Wint), Richard Haworth.... 49 village scene with cotta F barns (Peter de Wint), Barnet J So Sie Oe seas reer Seat $115 (Peter Governor Alvan T. Ful- 504A road scene with cottages , de Wint), + ler) 51-—The P.R crystal ( smporary magic Dicksee, English, W. Grant, 152)=Cathedral interior Dodgson, 1811-1880), 2 (George H. reund $22.5 153e"Phe ferry Dodgson), e's Ao ioi nile ea oles ere ea ted $55 1542Miss Andrews as Cupid (John *Downman, A, R. A., 1750-1824). Ea GAT ers cies clave st ss o's, 0h $180 155 ==—Portrait of a young lady (John Downman), J. W. Have 156-=Portrait of a_ young Hiownman), I. L. Redmond....... $500 157.Portrait of a young lady with pow- dered hair (John Downman), H. D. GPS Gulagidnc ooo 5 occu gs eeOneepeS $350 1582=Portrait of Miss Storace, noted sing- »e@ (John Downman), B. Winthrop $250 159-Pertrait of a young woman in a Mmmob-cap (John Downman), J. (8 5 A AeSIRRERS 5s 6h Sorcciene eran - $190 160-=A dady in white dress and white Imob-cap (John Downman), A. A. _ ,Hammerschlog ope - $8500 161-3 ‘Feline amenities (George s Du + ‘Mattier, 1831-96), Mary Doyle $45 162--Stady of two nude women CW. Bitty, R.A., 1787-1849), Karl Freund ¢ 163- USearborough (Anthony Vandyke Copley Fielding, 1787- 1855), Ar- ee thur Ackerman & Son, Inc.......- $700 164-=Bleyen pen and ink studies ebm #Blaxan, 1755-1826), W._ Grant. 1654 “The day, of judgment ‘(John F A. Martin 4 ce a a = 174—Cattle in a Water Meadow, (Thom- as Gainsborough), John P, Remen- Sny Germaye cnt aaiet aero 175—A’ Market — on a Country Road, ( Thomas Gainsborough), W. W. Hoffman 176—Marquess of Cholmondeley, (Daniel Grant, Gardner, 1750-1805), W. ARSE | whee ole weclefsia siecle ieieieis 177—A__ River Scene, (Thomas in, 1773-1802), Richard Haworth...... 178—-River Scene, Distance, Haworth 179—Landscape With Showing Village in the (Thomas Girtin,) Richard Clumps of Trees, iskhomas Girtin), Travis Whitney, TAO On the Simplon Route, (Coun F. Gleichen, Contemporary Eng- lish), Eugene A. Noble........... 181—Macbeth’s Excuse; the Path of Glorya; stheyeusitaniasom Che ©: Gould, Contemporary English), An- drew Smith ..... 32.5 182—Chari early 183—St. 184—Study ty, (Charles 19th century), arl Freund. Tudwell’s Tsand, (ce Griffiths, (Gi Oi ODOT aay, English), Maurice Sriacllsie eA dossocdassdbocogsondbco of a Nude Model, (William Hamilton, R.A., 1751-1801), Miss E, Wetmore 185—The Market (1887), (Dudley Hardy, Contemporary English), Maurice Shinal@e Geanooeneouonsoscasscnpoo 186—Algiers (Gertrude Hayes, Contem- porary English, Mrs. A. K. Mor- gan), Maurice Sandler 187—The Frost Fair on the sin 1814, (William Heath, 1795- 1840), if ye Hoffman Sn rcueen Tevseekel stays a i Bridge (circa 1820), (William Heath), W. W. Hoffman 188A—Blackfriars oie 194— 195—Study of 196—/ UO Vie 198— 200—‘‘Hold 201—A Note and < Bridge, (unknown, iz EVID ign eb eek oo doosauEDOD Rialto B Lighthouse and Rough Sea; Seascape and Ship (James Holland, (James Holland), IBleeyGbtdel Goueesosnogeuenacucumog uandscapes, (James Hollanc meh Wee (Clone c Head of a Spanish iam Holyoake, English, A, A. Hammerschlag ueda and the Swan, in Gie 1834-18 Huet, 1745-1811), J. W. Baxter.. Portrait of the Rev Permeek (?) Penneck), Humphrey, ReAge 2 En Sees lee GiGi poamsc cease co neo os Seas dn William Henry Hunt, 1790-1864), Albert der WiEtncGn pouaceonamondny 6395 00D ye A Negro Boy with a Tambourine (William Henry SEUREN? Richard Elanora Goooconpands Illuminated initial XVII century), Mary Tlluminated initial XV Iceni: ( FE. * Richar ‘d Er ée Discovery Indeed, Keene, 182 a Pre ty Samuel (Charles W.. Grant, ‘ABT y} Jinthrop oe ; a Good f Cc he les, Keene), A. Nh ar Officers’ Keene), tener 1800-1870), M. F. $900 11 SAU JOHN LEVY GALLERIES NEW YORK 559 Fifth Avenue PAINTINGS PARIS 28 Place Vendome HANAN NEW YORK 730 Fifth Avenue FRANKFORT Kaiserstrasse 15 PARIS 11 Bis Rue Boissy D’Anglas REINHARDT GALLERIES Paintings—Objets d’ Art GOLDSCHMIDT GALLERIES BERLIN Victoriastrasse 35 F, KLEINBERGER GALLERIES pase Fe 2S A EBM Te Sey | NEW YORK TIMES, WEDNESDAY, MARCH 3 iar seit , LEVERHULME ART BRINGS $16,227 MORE Water Colors, Drawings and Prints Swell Total to $1,216,133. $1,150 FOR A CRUIKSHANK Rosenbach Pays Top Price for “A Midsummer Night’s Dream”— Sale to Continue. The first sale of Parts 6 and 7 of the Leverhulme collection, consisting of original drawings, prints and water colors, last night at the Anderson Gal- Jeries brought $16,227.50. This brings the total for the entire sale s0 far to $1,216,133. The sale will be con- tinued tonight and tomorrow evening. The high price yesterday was $1,150, which the Rosenbach Company paid for George Cruickshank’s “A Midsum- mer Night’s Dream,” 2 water color. “Spes,”’ by \Sir Edward Burne-Jones, went to C. A. Lister for $610. This was the highest price paid for any of the works of this celebrated English artist. - There was spirited bidding. for the John Constable drawings. Two draw- ings of Salisbury Cathedral went to Andrew Smith for $150 and $320 each, and ‘The Close at Salisbury’’ for $200. Mr. Smith also paid $700 for Richard Cosway’s pen and ink drawing, “Kitty Fisher.” A pencil drawing of Frances Abington, the actress, by Cosway, went to F. V. Storrs for $490. The drawing by Hablot Knight Browne ('Phiz’) for the engraved title-page of “Martin Chuzzlewit,’ went to W. H. Woodin for $457. List of Objects Sold. The list of objects sold, the title, description, the name of the and the price paid, follow: i1—Fox Hunting (Henry Alken, 31), a pair, Mrs. F. . Peyster is 2—-Portrait of John, Four * Somerset and Marquess of Hert- * ford (Edmund Ashfield, English, seventeenth century), Frederick Keppel & Co., Inc 12) 8—Reading Aloud (J. H. Bacon, con- temporary English), Morris Hill- quit .. . + 25.00 4—The artist’s own portrait (D: d Bailey, 1584-1661), F. V. Storrs.115.00 S—Other Times, Other Manners; The Communication (Bruce Bairns- father, contemporary two, B. Winthrop 85.00 @—The Historical Touch: Old Saws and New Meanings (Bruce Bairnsfather), two, Dr. B. Caid~’ well « 25.00 TYFlower Painting Bale, contem- Engli J, Tarbou- Iaryer 1si6: A. de 15.00 Mary (Bernard Baron, Dr. B. Caldwell...... $—Sunset, Isle of Wight. (G rett, 1728-84), M. O—Classic Ruins (G 65.00 | -00 | | 187—Going 40.00 FANG } Hil! (John Constable), M. Knoedler & C 85—Old Sarum from Durnford Downs (John Constable), R. A. Court... 86—Elstree and Near Goring 2 (John Constable), R. A. Court.....++» 310.00 87—Roses (Julia Convert, Contem- porary French), W. H. Woodin., 55.00 88—Haystacks in France (Matthew Ridley Corbet, English, 1850- 1902), Dr. B, Caldwell......+.++ 20.01 g9—Kitty Fisher (Richard Coswa: 1742-1821), Andrew Smith.... 700.0 90—Frances Abington, the actress (Richard. Cosway), F. V- Storrs.490.¢ 91—Portrait of Mrs, Delany (Richard Conway), H. HB. Wells & Co... .300.! 92—John and Frederick Ponsonby (Richard Cosway), J. B. Wilt- 65.00 Buce 354 Re D. Duten 7 Lange ( cattle and yam 2A iderhelmans urel), Ro, ee Cotman, Wheeler ..;+ 94—Landseape with Cc Cotman), M.. Haworth 95—Loddon, Norfolk (John man), F. A. Park... 96—Haddon Hiall the Oden é (David Cox, Lister 97—A Mountainous Landscape (Alex ander Cozens, 1700-86), M. F. Pickard q 98—Bay near Harlech (John Rober Cozens, 17! 7), Karl Freund... .2/ 99—A Country Girl in a Sunbonnet (Joshua. Cristall, 1767-1847), Cc. A. Lister * The following from Nos. 100 to 139 Se are by George Cruikshank, 878% 100—A _ Midsummer Rosenbach Co. 101—The Triumph of Cupi (1845), M.°H. Snyder 102—Killing. Time, Miss L. A, C 103—Time Thrown Away, B. Winthrop 104—A Pretty Time to Come Homé Rosenbach Co. 105—Working Overtime, Making NM tary Clothes, W. H. Woodin.. 106—The Hives and the Shoemaker, A drew Smith 107—Tom Puss, After His Master Dressed, Introduces Him to t King (1864), B. Winthrop.... 108—Hop-O’-My Thumb and the Sevi League Boots (1853), W Woodin 109—Hop-O'-My League Boots, Andre 110—Sketch W. H. Wood 111—Timothy’s. Shoes 7 Sloog 4112-Tom Pu Sell kin The Stn in young women ee ‘aldwell.. 13 aa . Bowman $0 ven , a Tivo studies of is ive studies of dresses, Night’s Dream, ‘erseus, Karl Fr ve. studies 47—S: Hs 48-7 Walter etua, L. §0—st S1—sti es . of a-man, .T, f @ Woman's h, sorapany.. 2 i Athens, : 114—Jack Head at the C 115—Sir John Falstaff Re! Unexpected Rebuke From Ww f Henry the Fifth (1858), F Pickard €8—Piccadiily ¢; a F, Conte ee as @4-May D Pe » Robineeeeorery, English), Cald igs 1884 (Randolph anger, 1846-86), 7. Randolph urn-Murdoch) ay, ay Offerin; Wilt- ‘Three Penci ge « 60, Gua cog CHdeCOt), W. RL Rodolnh 119—Palstaff at the Board’ aylage Fete Gacaues’ s ern (1857). Rosenbach Co, 67—~Star; ae 2s Wildenstein & iC5 1 120—Sk nee a oe Heads ae Catt pean a Wars (Georse and Bardolph (circa 1857 B e, 1 STO: Bower 700-1868), Miss 121—Attack Upon t Lord Guilford ‘oodin sque in the Tower, W. H. Wood 123—Herne the Hunter Appe@ Henry on the Terrace Andrew . Smith =| r uckley Price Brinj age Money to My ( ), Andrew Smith. 125-The Discovery of the MV Packet (1842), Andrew) 126—The Procession of Jack from Newgate to Tybu Andrew Smith r 127—A ght Horror (1842), 128—The Rival Fountai Oo} Water, Arthur Ackerg 129—Figures of Two Men, M ard... vienna te 4 130—The British B 131—The Golden Spoon, W.] Potraits, W. H, Woodi 1 Fairies and Sundial, W. 34—Between the Devil an¢ Sea: Candlemas Da din oe 135—Carving Tutt Mos’ Woodin # the Nore 29-3 lish 19; 122—M W-still Bey ulien empor; 8, agent nporay ) fo Fallon W: ’ ant, 2 Still fe (Henri'sulien © ‘owman rew Smith (John Constable), ‘J.B: 186—A ures, Bren- . 40.00] isxhibit ademy 1866 As . 180,00 29 epee ee weaned mere raenrtenne nen aa tee er nt RE RE A A RN ndic: Do pf. ws rant (CW. fits geneous sale that is most likely to be of interest to American collectors. Of these, a letter from Aaron Burr, dated April 21, 1800, autographed documents relating to Connecticut anc the Revolu- tion the military correspondence of Rich- ard Young, Quartermaster General of the American Army at Fredericksburg and the Declaration of the State and Colony Affairs of Virginia, London 1622, appear to be the most important. Consigned by Mrs. Hill is a first folio of Henry IV, Parts I and IJ. Of Part I only three other copies are known, all of which are imperfect. This copy was formerly property of Sir Thomas Twys- den, 1602-1683, who had the title page mounted and four missing letters re- stored. ; : ' ‘ Another exceedingly important item 1s an autograph manuscript of Milton's earliest verses, consisting of 166 stanzas of eight lines, descriptive of the illustra- tions of Ovid’s “Metamorphoses.” This manuscript was discovered by Professor Candy in 1921 and published in book form in 1924 under the title of “Some Newly Oiscovered Stanzas written by John Milton on Engraved Scenes Iitus- trating Ovid’s etamorphoses.’ : A number of early bindings complete the sale. YRENCH ETCHINGS Al LITHOGRAPHS Sotheby, Sale March 23 Sxamples by Corot, Degas, Goyo, For- 41, Meryon, Manet, P. R. Picasso, Rodin Renoir, Rops and Toulouse Lau- tree, and Gauguin are all included in this im aresting sale. Amongst the most not- ab « items are a complete set of Los astres de la Guerra by Goya, a group trial proofs of Gauguin’s woodcuts, a ie collection of Forain, including “Le abinet Particulier,’” an early state of codin’s “Victor Hugo,” de trois quarts, a fine group of lithographs by Toulouse Lautrec and a complete set of Picasso’s etchings, sold as a lot. BOOK ] Mr. G. Privat BOVERS. A. Martin 18—On “the Sanaa’ ‘at hn 4 Leech). Brongon ‘Winthrop... 214A Reflection (John Leech). Jy My & “Leda and the Swan” Brings Top Price at Night’s Sale of Leverhulme Art. & Co. , Sey 219-Portrait of Lord | Leightén (Als TOTAL NOW IS $1,228,573 Phonse Legros, 1887-1911), Scott ic OW1EB insieay de'bins vis auun seh eee 220—Portrait of George Frederick! Watts, R. A. (Alphonse Legros, irre 1827-1911), Knoadler & Co. Fielding’s “Scarborough,” a Water- | 221—(a) View in the. tajesce ght (William Leighton Leitch, R. L, z Geler, Goes for $700—Moriand’s | Rosi IE) nic aad “Turnpike Gate” $655. tury), Mise Re warmsen Ooh 222—La Moisson (Harvest, Time) (Leon _—_—— Augustin l’Hermitte,. contem- | The second sale of original drawings agent sree)’ i rele prints and .water colors ofthe art obi 223—Faucheur de Foin (Léon Augustin lection of the late Viscount Lever-| 224—In hulme, held last night at the Anderson Galleries, realized $12,540.50. The total proceeds of the entire sale is now $1,228,573.50. Tonight’s session will con- clude the sale of Parts 6 and 7. 227—The Reverie (Sir James 1. Linton The high price last night was $900, P. R. 1), Charles W, Luke 25,00. which John W. Baxter paid fora pencil 228-Mercery Lane, Canterbury (Mabel j= Charles Webb .. - i a A. A. Hammerschlag............ and water color. drawing by aes Bap 229—The Arabiah Nights (Blyse Lord, tiste Huet, ‘Leda and the Swan.’ pontemporary English), C. W. + ¢. TAUSHAAT sesseeveve ee eee eneeae Anthony Vandyke Copley Fielding’s 230—The Siesta (Leopold Lowenstane) water color, ‘‘Scarborough,” went to Walter Kohn wives. sie teens Arthur Ackerman & Son, Inc., for 281—Spring. summer and Autumn $700. The same firm paid $655 for George Morland’s “The ‘Turnpike R. A., contemporary Scottish) { Gate,” a mezzotint printed in colors; $425 for a baronial interior by Joseph Nash, and $310 for another Nash water color, depicting the long gallery at pny he ‘Sev 2 Lanhydroc, Cornwall, one of the series teenth Century (Sir John Byerett «1. of the artist’s ‘‘Mansions of Hngland pea i R. A., 1829-1896) ; Fy A .. . “ BUEN sacs veceervocc see or F in the Olden Times.” 236—Maiy ‘Queen of ‘Boots’ “(Sir youn OMe List of Objects Sold Everett Millais, P. R. A., 1829- (oF F Sold. 6 1898) : Kenned Go. airy 180,00, i { Pi | 287! ans Carrying "6 6 aes The list of Objects sold yesterday, t URE ere ae aes ere the catalogue number, description, the grote Millais, 1829-1896); Morris " A hs Fabman hid y ae! buyer and the price paid follow: 238—The Turnpike Gate (George Mor- 7 land, 1763-1804); Arthur Acker- > 141—Westminster Abbey (TI. Raffles man & Sons, Inc..,....-..0... +. 635.00 Davison, contemporary English). 2 | 280—The Farrher’s Visit to iia Married Governor Alvan T. Fuller + 3d, Daughter in Town; the Visit Re- 142—Landseapes and ships, 3 (T. c; turned to the Cotntry (George fles Davison), Teavis Whitney Morland, 1763-1804); J..A, Mar- TE. se ses sees tussencen sues ti ae oe Deeb tae ais ‘ 22.50 143—Landscapes, 3 240—Head of a saldier (Geor:; son), M. F. land, 1763-1804) ; Wetmore . 241—The Farm Miss 144—Landscapes, 3 son), Maurice Sandler. 145—Landscapes, 3 (T. ‘Raffle son), William A, Barber.,.. i | re 146—A study of trees in October (Henry 243—Stornoway Harbor (Sir David Mur- | : Dawson, 1811-1878), Rosenbach || Tray, Ry Ay P. R, L. Contem- ee JO. lavavesaecsens seb eeereanes o ; porary Scottish); Karl Fretund,. it 147-—London ‘frdin Greeny (Peter dé 24£ By the Lake Side (Sir David Mur- 3] Wint, 1784-1849), Governor Alvan A560 ray, Rv ar) Me Ba ae; SE ai MULLCT pe ceveeseev enc ssetaneee “VU porary icottish) ; Maur ‘ | 14s—Landacape with cditle (Peter & 0°00 Fiesta ee °° 00 Wint), Richard Haworth, .......320.00} 545 mn. Tong Lanhydroe, , 149—A village scene with cottages and Cormwall (Joseph Nash, 1812 | barns (Peter de Wint), Barnet Iaa8 00 1878); Arthur Ackerman & Son, | ‘| Esipvads tonr's'hey 3-115, THO, AW cd ceaiecs «bend LER ACE 310.00) 946—The ‘Great “Bedchamher, | Knole Wint), AG pt Nash 1812-1878). eee ‘| Fuller Ve LKG cs se. vccedsun tebens oes. LOO) 51—Th ic 247—Baronial Interior (Joseph Nash 7} ye 7S RAD, Con > ; 1812-1878), Arthur Ackerman i. » agent.. 210-00 pene? vege Conemgperae 3 25.90 inter Nev i Edith Wetmore ben : vos Autumn Festival (M. lL. N — contemporar, English). Lawler A ad - 22.50 —The ferry (George H. Dodgson), _ * Barnet J. Kila . 55.00 154—Miss Andrews Downman, A. Barnet af —Portrait of a young Downman), J. W. Portrait of a young I t of a lady (John Dowr TO BE SOLD BY AUCTION AT UNRESERVED PUBLIC SALE TUESDAY, WEDNESDAY, THURSDAY EVENINGS MARCH SECOND, THIRD, FOURTH AT EIGHT-FIFTEEN ORDER OF SALE TUESDAY EVENING NUMBERS 1-140 WEDNESDAY EVENING NUMBERS 141-249 THURSDAY EVENING NUMBERS 250-356 CARDS OF ADMISSION TO THE SALE, EACH OF WHICH WILL ADMIT ONE PERSON ONLY, MAY BE OBTAINED UPON WRITTEN APPLICATION WHICH MUST SPECIFY THE DAY OF THE SALE AS THE ADMIS- SIONS ON EACH DAY WILL BE LIMITED TO THE CAPACITY OF THE SALES-ROOM ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY TWENTY-FIFTH [WEEK DAYS 9-6 P.M—SUNDAY 2-5 P.M.]] THE ART COLLEGTIONS OF THE LAGE VISCOUNT LEVERHULME [PARTS SIX & SEVEN] ORIGINAL DRAWINGS PRINTS & WATER COLORS TO BE SOLD BY ORDER OF THE EXECUTORS THE RIGHT HONOURABLE WILLIAM HULME, VISCOUNT LEVERHULME HAROLD ROBERT GREENHALGH FRANCIS D’ARCY COOPER JOHN McDOWELL THE ANDERSON GALLERIES MITCHELL KENNERLEY [PresipentT_] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1926 CONDITIONS OF SALE of the Auctioneer shall be final. resold immediately. charges. curred. This condition shall be without prejudice to resale, at its own option. by other bids. TELEPHONE REGENT 0250 SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The American Gal- leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- the right of this Com- pany to enforce the sale contract and collect the amount due without such The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- tomers and use all bids competitively, buying at the lowest price permitted A Priced Copy of this Catalogue may be obtained for Six Dollars THE ANDERSON GALLERIES, INC. 489 PARK AVENUE AT FIF'TY-NINTH STREET, NEW YORK CATALOGUES ON REQUEST H | i f t i 1 t | : i : i i i FOX HUNTING BY HENRY ALKEN [NUMBER 1] FOX HUNTING BY HENRY ALKEN [NUMBER 1] SALE TUESDAY EVENING, MARCH SECOND, AT EIGHT-FIFTEEN FIRST SESSION NUMBERS 1-140 | HENRY ALKEN 1816-1831 Alken is said to have been stud-groom to the Duke of Buckingham; he was a well known draftsman and engraver, his first works being published under the pseudonym of “Ben Tallyho”. He produced a number of sets of i colored etchings of sporting subjects, many humorous, but all attractive i and decorative, which rendered them popular from the twme they were i drawn to the present day. 1 FOX HUNTING (A Pair) if Pencil and wash drawings. Magnificent examples of the work of the greatest sporting artist of his day. All his skill in depicting the i huntsman and his steed is here represented in his best manner. Both }! signed “H. Alken”. Gilt frames. (2) | Height, 1014 inches; width, 1514 inches Wil [SEE ILLUSTRATIONS] 1 EDMUND ASHFIELD ENGLISH, 17TH CENTURY Edmund Ashfield, a pupil of Joseph Michael Wright, was known as a painter of portraits remarkable for the delicacy of their execution. He worked in oil and crayon, but is chiefly noted for the latter method. There still exist many portraits by him of contemporary celebrities. : ' [NUMBER 2] 2 PORTRAIT OF JOHN, FOURTH DUKE OF SOMERSET AND MARQUESS OF HERTFORD Black crayon drawing. Bust portrait, almost full front. He wears a cloak with elaborate lace collar, hair falling in curls over the shoulders. In an elaborate old gilt frame. Height, 13 inches; width, 9 inches ONE OF THE FINEST DRAWINGS OF THIS PERIOD IN EXISTENCE. From the Collection of George Vertue. From the Collection of Francis Wellesley, Esq. 2 J. H. BACON CONTEMPORARY ENGLISH 38 READING ALOUD Chalks on olive-colored paper. A charming study of the head and shoulders of a little girl. Signed “J. H. Bacon”. Silvered wood frame. Height, 1614 inches; width, 121% inches DAVID BAILEY 1584-1661 A portrait painter of the Dutch School; he was born at Leyden and studied in Italy and Germany, and in Amsterdam, where he lived for some years, under Cornelis Van der Voort. 4 THE ARTIST’S OWN PORTRAIT Pen and ink. Half-length, viewed to the right, eyes looking front. Dressed in tight doublet with stiff lace collar, short wavy hair, pointed beard and moustache. Dated 1623. Gilt frame. Height, 5 inches; width, 4 inches Exhibited at the Victoria and Albert Museum, 1916-18. From the C. Ploos van Amstel Sale in 1800, and the Collection of Francis Wellesley, Esq. BRUCE BAIRNSFATHER CONTEMPORARY ENGLISH 5 OTHER TIMES, OTHER MANNERS; THE COMMUNICATION Two wash drawings. Signed. Framed. (2) Average height, 18 inches; width, 9 inches 6 THE HISTORICAL TOUCH; OLD SAWS AND NEW MEANINGS Two wash drawings. Signed. Framed. (2) Average height, 15 inches; width, 14 inches 3 E. BALE CONTEMPORARY ENGLISH 7 FLOWER PAINTING Gloire de Dijon roses and leaves in a glass goblet. Water color. Signed and dated “RE. Bale, 1873”. Framed. Height, 1234, inches; width, 934, inches From the Collection of Sir Cuthbert Quilter. BERNARD BARON 1700-1766 8 CHARLES I AND HENRIETTA MARIA, WITH PRINCE CHARLES AND PRINCESS MARY Fine sepia wash drawing after the famous painting by Van Dyck. This is the finished study for the artist’s mezzotint engraving which was published in 1741. Polished ebony frame. Height, 19 inches; width, 15 inches From the Collection of Francis Wellesley, Esq. GEORGE BARRETT, R.A. 1728-1784 Born in Dublin. A landscape painter and. one of the original members of the Royal Academy; when he went to London he had an unprecedented suc- cess. Lord Dalkeith bought three of his pictures for £1,500—a very high figure for those days. 9 SUNSET, ISLE OF WIGHT Water color. A huge cliff at the right is thrown into deepening shad- ows and tints by the reflected lights from the sea as the sun sets in a blaze of colors. Gilt frame. Height, 6 inches; width, 834, inches 10 CLASSIC RUINS Water color. Gilt frame. Height, 334, inches; width, 534, inches 4 MARIE BARTHOLOME CONTEMPORARY FRENCH 11 STILL LIFE Peonies in a blue and white jar. Water color. Signed “M. Bartholome”. Framed. Height, 30 inches; width, 2034. inches MAX BEERBOHM 1872- Famous author and caricaturist, whose perennial exhibitions of carica- tures of notabilities and notorieties attract throngs of visitors whenever and wherever they take place. 12 ONE FINE MORNING, OR, HOW THEY MIGHT UNDO ME (1911) Water color and pen and ink drawing. ‘The artist stands back, stricken with amazement, as the long winding line of his creations passes before him. Among those in the procession, who have helped Max to his fame, and are here caricatured, may be mentioned Asquith, Lord Rosebery, Shaw, Lord Haldane, Hall Caine, Kipling, Arnold Bennett, George Moore, Sutro, Pinero, John Sargent, Andrew Lang, Lord Ribblesdale, Lord Curzon, Lord Kitchener, and G. K. Chester- ton. With a key to the drawing in the artist’s autograph. Both are signed “Max”, and dated 1911 and 1918 respectively. Both framed. (2) Height, 1214, inches; width, 1534, inches A SUPERB EXAMPLE OF THE ARTIST’S POWER OF CARICATURE. JOHN HODGES BENWELL 1764-1785 Genre painter, who studied at the Royal Academy in London; he executed small water color drawings heightened with crayon, in a manner all his own. Several of his pictures were reproduced by celebrated engravers. 13 JENNY Water color drawing. A young girl seated beside her neglected spin- ning wheel. Oval, in gilt frame. Height, 8 inches; width, 64 inches 5 HENRY PIERCE BONE 1779-1855 Bone started life as a painter in oils and exhibited portraits at the age of twenty; he continued painting until 1833, when he started to work on enamel portraits, to which branch of painting he confined himself for the rest of his life. He was appointed Enamel Painter to Queen Adelaide, and to Queen Victoria and the Prince Consort. 14 MATTHEW PRIOR Miniature enamel portrait. After the original by Richardson. Oval, in gilt frame. Height, 5 inches; width, 4 inches Inscribed on the back: “Mat. Prior. London May 1847. Painted by Henry Pierce Bone, Enamel Painter to Her Majesty, H.R.H. Prince Albert, H.M. The Queen Dowager, & H.R.H. the Duchess of Kent, after the original by Richardson in the British Museum”. From the Collection of the Hon. Mrs. Frederick Baring. [SEE ILLUSTRATION ] 15 SIR WILLIAM BEECHEY Miniature enamel portrait. After the original self-portrait of the artist. Oval, in gilt frame. Height, 5 inches; width, 4 inches Inscribed on the back in a manner similar to the preceding. From the Collection of the Hon. Mrs. Frederick Baring. [SEE ILLUSTRATION ] 16 SIR GODFREY KNELLER Miniature enamel portrait. After the original portrait of himself in the Collection of the Marquess of Exeter. Oval, in gilt frame. Height, 5 inches; width, 4 inches With inscription on the back. From the Collection of the Hon. Mrs. Frederick Baring. [SEE ILLUSTRATION | 17 SIR JOSHUA REYNOLDS Miniature enamel portrait. From the original painted by himself in his Majesty’s Collection. Oval, in gilt frame. Height, 5 inches; width, 4 inches With inscription on the back. From the Collection of the Hon. Mrs. Frederick Baring. [SEE ILLUSTRATION ] 6 MINIATURE ENAMEL PORTRAIT OF SIR WILLIAM BEECHEY BY HENRY PIERCE BONE [NUMBER 15] MINIATURE ENAMEL PORTRAIT OF MATTHEW PRIOR BY HENRY PIERCE BONE [NUMBER 14] MINIATURE ENAMEL PORTRAIT OF SIR JOSHUA REYNOLDS BY HENRY PIERCE BONE [NUMBER 17] MINIATURE ENAMEL PORTRAIT OF SIR GODFREY KNELLER BY HENRY PIERCE BONE [NUMBER 16] 18 19 20 RICHARD PARKES BONINGTON 1801-1828 Bonington was born in N orthamptonshire, and was trained in Paris under Baron Gros; he was awarded a Gold Medal for the work he exhibited in the Paris Salon, and the brilliance of his work attracted much attention. His early death limited his output and his works are scarce. ROUEN FROM THE SEINE Pencil drawing. Showing the Cathedral in the background and a busy waterside scene. Gilt frame. Height, 8 inches; width, 11 inches From the Collection of J. P. Heseltine, Esq. HABLOT KNIGHT BROWNE (“PHIZ”) 1815-1882 Better known as “Phiz”’; he was christened Hablot in memory of his sister’s fiancé of that name, who fell at Waterloo. In 1836 he first became associ- ated with Dickens and in 1837 the two journeyed to Flanders together, followed by a visit to Yorkshire, where they made studies for “Nicholas Nickleby”. The subjects of his illustrations of Lever’s novels are nearly always horses, which were his great delight. MR. RALPH NICKLEBY’S FIRST VISIT TO HIS POOR RELATIONS (1858) Water color and pencil drawing. Ralph Nickleby is seen bowing and gazing intently at Nicholas; Mrs. Nickleby is seated; her daughter stands beside her. Framed. . Height, 5 inches; width, 4 inches THE ORIGINAL DRAWING FOR THE VIGNETTE TITLE-PAGE TO VOL. I OF THE “LIBRARY EDITION” OF DICKENS’ “NICHOLAS NICKLEBY”’. PAT AND HIS PIG (1880) Water color. Oval. Pat, swinging his shillelagh, with his fat pig following him, saunters jauntily by two Irish girls, standing in mid- stream with uplifted skirts, drawing water. Glances of mutual ad- miration pass between them. Signed “Phiz”’, and dated. Framed. Height, 314, inches; width, 41% inches A DELIGHTFUL EXAMPLE OF “PHIz’s” WORK. 8 t DRAWING FOR THE TITLE-PAGE OF DICKENS’ “MARTIN CHUZZLEWIT’”’ FRAMED WITH THE ENGRAVING BY HABLOT K. BROWNE (‘“‘PHIZ’’) [NUMBER 21] 21 DRAWING FOR THE ENGRAVED TITLE-PAGE OF “MARTIN it CHUZZLEWIT” Pencil drawing. “Mr. Pinch” is seen seated at an organ playing as the tiny figures of the various characters in the story dance about him. Framed with the engraving of the same. Height, 714 inches; width, 5 inches Wt This is the final and completed drawing for the guidance of the Wi engraver in making the frontispiece for Dickens’ “Martin Chuzzle- wit”. [SEE ILLUSTRATION ] | & “NORFOLK HOWARD’S RIDE TO THE ROW” BY HABLOT K. BROWNE (“PHIZ’’) [NUMBER 22] 22 FRONTISPIECE SKETCH AND SIX FINISHED DRAWINGS | ENTITLED, “NORFOLK HOWARD’S RIDE TO THE ROW” Pencil and water color. Although the title is a mere pencil sketch, six drawings illustrating the young man’s equestrian adventures are fine characteristic works in the artist’s best manner. Each signed “Phiz”. All framed. (7) Height of each, 714, inches; width, 1014, inches [SEE ILLUSTRATION] 10 ADAM BUCK 1759-1833 Buck was renowned in his native city—Cork—as a portrait and mimature painter; he went to England in 1795 and. from then until his death exhib- ited at the Academy over 170 portraits of well known people of his day. A large number of his pictures were reproduced in colored engraving, and at the present time are still being reproduced. 23 24 26 27 PORTRAIT OF JOHN PHILPOT CURRAN (IRISH ORATOR AND JUDGE) Pencil and sepia drawing. Three-quarter length, seated, wearing a dark coat and knee breeches, white waistcoat and frilled cravat. A classic portico with columns and a statue of a Roman Senator appear in the background. Gilt frame. Height, 1314 inches; width, 101% inches From the Collection of Francis Wellesley, Esq. HELENA (MRS. CLARK) Stipple engraving printed in colors. Gilt frame. J. BURGI DUTCH, 17TH CENTURY A RIVERSIDE LANDSCAPE Gouache painting. A composition of wonderful detail and fine per- spective. Old gilt frame. Height, 534, inches; width, 81%, inches LANDSCAPE WITH CATTLE AND PEASANTS Gouache painting. Signed. Old gilt frame. Height, 534, inches; width, 714 inches A MOUNTAIN LANDSCAPE WITH WATERFALL Gouache painting. Signed. Old gilt frame. Height, 534, inches; width, T inches 1A 28 29 30 31 32 SIR EDWARD COLEY BURNE-JONES, BART., R.A. ENGLISH, 1838-1898 Burne-Jones was associated with William Morris, Rossetti and Ruskin; the high standard of craftsmanship which they set for themselves was never lowered and the present collection of drawings and studies, some for his most famous pictures, show with what devotion and patience Burne-Jones worked. In all that he produced there is nothing slipshod or careless. POLAR BEAR Black and white chalk drawing. Sketch of polar bear in characteristic pose. Framed. Height, 834, inches; width, 14 inches STUDY OF A GIRL’S HEAD Pencil on white paper. Three-quarter face, turned to the left. Gilt frame. Height, 734, inches; width, 634, inches From the Sale of the remaining works of the Artist, sold by order of the Executors at Christie’s, 1919. STUDY OF A YOUNG WOMAN’S HEAD Pencil on white paper. Full-face; tilted slightly backwards, the eyes looking to left. Gilt frame. Height, 91% inches; width, 7 inches From the Sale of the remaining works of the Artist, 1919. THE FIELD OF BOAZ Water color. A figure in greenish-blue draperies, holding a rod, standing in a field of corn. Gilt frame. Initialled and dated Dal Bd le US Height, 1514 inches; width, 9 inches From the Collection of James Gresham, Esq., 1917. Exhibited at the Water Color Exhibition held at the Manchester Whitworth Institute, 1912. STUDY OF A FEMALE FIGURE Gold and white on pink paper. Full-length, in classic draperies, walk- ling to left, the left arm raised. Initialled and dated, “E.B.J., 1897”. Framed. Height, 14 inches; width, 734, inches Exhibited at the Fine Arts Exhibition in Berlin, 1898. Exhibited at the Burlington Fine Arts Club, London, 1899. Exhibited at the Japan-British Exhibition, 1910. 12 33 84 36 37 38 39 STUDY FOR A KING IN “THE STAR OF BETHLEHEM” Black and white chalk on brown paper. A fine example of Burne- Jones’ treatment of draperies. A study for the beautiful water color painting in the Birmingham Art Museum, painted 1888-91; very slightly altered. The design was executed in tapestry by William Morris for Exeter College, Oxford. Gilt frame. Initialled “E.B. J.” Height, 1314 inches; width, 61% inches From the Sale of the remaining works of the Artist, 1919. STUDY OF THREE YOUNG WOMEN Red chalk on white paper. In typical draperies. Gilt frame. Height, 111% inches; width, 91% inches From the Collection of F. S. Ellis, Esq., Torquay, England, 1918. THE MEETING Water color and pastel. Study of an enclosed garden, with angels and draped figures. Gilt frame. Height, 614 inches; width, 934, inches ST. MICHAEL Black and white chalk on brown paper. A study for a design for a stained glass window in St. Margaret’s Church, Rottingdean, Eng- land. Initialled “E.B.J.” Framed. Height, 1414 inches; width, TY2 inches STUDIES OF ANGELS Pastel on brown paper. In voluminous draperies; one facing, the other with the back partly turned to the spectator, the right hand raised. Black oak frame. Height, 20 inches; width, 1714 inches From the Sale of the remaining works of the Artist, 1919. TWO STUDIES OF MALE FIGURES Pencil on white paper. Two in one. A study for the topmost figure in Burne-Jones’ famous picture, “The Wheel of Fortune”, painted in 1875; inscribed in the top right-hand corner “Raffaelli fresco, 11 Fleet Row, L.L.”; and another fine study of a nude male figure, with a background of a path through mountains indicated. Oak frame. Height of each, 101% imches; width, 7 inches From the Sale of the remaining works of the Artist, 1919. TWO STUDIES OF HAIR Pencil on white paper. Two in one. The faces lightly indicated. Oak frame. Height of each, 834, inches; width, 634, mches 13 40 41 44 45 SIR EDWARD COLEY BURNE-JONES, BART., R.A. FIVE STUDIES OF HAIR AND HEAD-DRESSES Pencil on white paper. Four of female heads on one sheet ; the other the back of a woman’s head with an intricate knot of hair. Two in oak frame. Height of each, 10 inches; width, 7 inches From the Sale of the remaining works of the Artist, 1919. TWO PORTRAIT STUDIES OF MISS MAY MORRIS Pencil on white paper. Two heads on one sheet; one profile, the other three-quarter face. Miss Morris, daughter of William Morris, is well known as a lecturer on embroidery. Oak frame. Height, 121% inches; width, 91% inches From the Sale of the remaining works of the Artist, 1919. DAY AND NIGHT Water color. A circular medallion. Against a starry sky the figure of Night, in blue draperies, bending to awaken Day, who sleeps. Framed. Diameter, 6 inches FOUR STUDIES OF HEADS Pencil on white paper. Three female faces in profile, on one sheet; and the back of a female head, with the hair arranged in an elaborate coil. In wood frames. Height, 121% inches; width, 914 inches Height, 10 inches; width, 6 inches STUDY FOR THE HEAD OF FORTUNE Pencil on paper. For Burne-Jones’ famous picture, “The Wheel of Fortune”, which depicts a female figure, with a calm, impassive face, turning a wheel on which are bound the figures of men. Oak frame. Height, 934, inches; width, 914 inches STUDY FOR PERSEUS Pencil on white paper. For one of the series of nine pictures illustrat- ing the story of Perseus and Andromeda. Oak frame. Height, 1134, inches; width, 914 inches GANYMEDE Pastel. A fine study of an eagle of ruthless appearance carrying off a very scared-looking little baby. Inscribed on the back, “Ganymede and the Kagle—The Bird and the Bantling?” Oak frame. Height, 1234, inches; width, 9 inches 14 AT 48 49 dl 52 a eo) 54 SIX INTAGLIO DESIGNS Black and white chalk on brown paper. Small circular medallions of beautifully executed female figures in the classical manner. Mounted in one oak frame. Diameter of each, 314 inches TWO STUDIES FOR COPHETUA Pencil on white paper. Two studies of the draperies of the King as he sits at the feet of the Beggar-maid. “Cophetua and the Beggar- Maid”, Burne-Jones’ most famous picture, is now in the Tate Gal- lery, London. Two in one oak frame. Height of each, 12 inches; width, T'% inches STUDY OF A MALE FIGURE Black and white chalk on brown paper. Full-length, the body lean- ing slightly forward, the right arm upraised. Black and gold frame. Height, 31 inches; width, 191% inches STUDY OF A WING Water color on brown paper. Oak frame. Height, 13 inches; width, 10 inches STUDY FOR BRIAR ROSE Pastel on brown paper. One of Burne-Jones’ most famous series of paintings; it consisted of four pictures depicting the story of the Sleeping Beauty. Framed. Height, 24 inches; width, 36 inches HEAD OF A MAN Black and white chalk on brown paper. Profile to right; looking up- wards. Framed. Height, 1734, inches; width, 16 inches STUDY OF A WOMAN’S HEAD Red chalk. Three-quarter face, turned to the left. Framed. Height, 16 inches; width, 12 inches MARTYRDOM Pencil. Finished cartoon for a stained glass window. Framed. Height, 30 inches; width, 22 inches STUDY FOR PERSEUS Pastel on brown paper. Two studies on one sheet. The “Perseus” series consisted of nine pictures; these two studies are for the figure of the goddess Pallas bringing to the hero the Sword of Sharpness. Framed. Height, 28 inches; width, 25% imches 15 58 60 61 62 624A SIR EDWARD COLEY BURNE-JONES, BART., R.A. BLIND LOVE Pastel on brown paper. Study for the water color which was painted in 1877. Framed. Height, 41 inches; width, 14 inches WOOD NYMPHS Charcoal on brown paper. Study of figures for “Avalon”, a picture on which Burne-Jones worked for seventeen years, and which was unfinished at his death. Framed. Height, 48 inches; width, 24 inches TWO STUDIES FOR THE CAR OF LOVE Charcoal on brown paper. Two separate studies of a male and female figure. Framed. (2) Height of each, 42 inches; width, 24 inches THREE STUDIES FOR THE CAR OF LOVE Charcoal on brown paper. Three separate studies of male and female figures. Framed. (3) Height of each, 42 inches; width, 24 inches ST. MICHAEL Charcoal on white paper. Design for stained glass window in Edin- burgh, Scotland; the whole series of designs comprised six panels representing the Procession of the Ark and various Saints. Framed. Height, 89 inches; width, 31 inches ST. PAUL PREACHING AT ATHENS Charcoal on white paper. One of three designs for a stained glass window at Morton, England. Framed. Height, 98 inches; width, 24 inches W. G. BURN-MURDOCH, K.B.G.S., R.C.A.. CONTEMPORARY ENGLISH WASHING DAY AT CARCASSON Framed. Height, 1834, inches; width, 27 inches CLEARING STONES OUT OF THE CREDE (1920) Water color. Four sportsmen are at their task, removing stones from the bed of a rocky stream, in order to allow salmon to pass more easily. Signed and dated. Framed. Height, 1014 inches; width, 1434, inches The Crede runs through the grounds of Lews Castle, Isle of Lewis Scotland. 16 L. T. BUTCHER CONTEMPORARY ENGLISH 63 PICCADILLY CIRCUS (1923) Colored chalk drawing. Signed and dated. Framed. Height, 1814 inches; width, 131 inches RANDOLPH CALDECOTT 1846-1886 64 MAY-DAY OFFERINGS (1884) Two pen and ink drawings. Swains in costume of the late eighteenth century shyly offering bouquets of flowers to young maidens. Signed with initials. Framed together. Height, 414, inches; width, 634 inches Laid down on the back of the frame is a two-page letter in the artist’s autograph, to Mr. Lewis, sending the two sketches: “the sort I make for my Picture Books—(I am using a sketch similar to one of these) _which I think are most characteristic of me”; ete. 65 THREE PENCIL DRAWINGS Pencil and wash sketches, being the originals for illustrations which appeared as woodcuts in one of the historical romances of the time. Mounted. With the published woodcuts. In one frame. JACQUES CALLOT 1592-1635 66 A VILLAGE FETE Plumbago drawing. Several figures are represented drinking outside a tavern to the right, while in the foreground groups of men and women are seen gathering round the booths of merchants or dancing round a tree. A church spire on a hill in the distance. Signed. Gilt frame. Height, 23 inches; width, 35/ inches Exhibited at the Victoria and Albert Museum, 1916-18. From the Collection of Francis Wellesley, Esq. UT I an ar a eT GEORGE CATTERMOLE 1800-1868 Cattermole first drew architectural subjects, but he is best known for his ulustrations of Dickens’ “Barnaby Rudge”, “The Old Curiosity Shop’, and many historical and antiquarian works. 67 STARTING FOR THE WARS Water color. Amidst the pomp and ceremony of a departing knight and his followers the townsfolk mingle to say their farewells, while the handsome knight on his cavorting charger turns to bid a last silent farewell to his weeping lady at the window in the castle. Gilt frame. Height, 12 inches; width, 1914 inches From the Collection of James Orrock, Esq., B.I. 68 THE ARMORY Water color. A scene in an armorer’s shop in the time of Charles II. The royal patron is seen receiving the homage of the old artisan in the midst of his collection. Gilt frame. Height, 18 inches; width, 26 inches G. CHAMBERS ENGLISH, 19TH CENTURY 69 OFF THE NORE Water color. Hay barges and schooners sailing before a stiff breeze. Gilt frame. Height, 9 inches; width, 12 inches Exhibited at the Grosvenor Galleries, 1877-78. From the Collection of James Orrock, Esq., R.I. HENRI JULIEN CHEPPY CONTEMPORARY FRENCH 70 STILL LIFE Water color. Chrysanthemums in a blue and white jar. Signed “H. Cheppy”. Framed. Height, 2214 inches; width, 1714 inches Exhibited at the Salon de l’Ecole Francaise, Paris. 71 STILL LIFE Water color. Pink and red roses in a tall blue glass jar. Signed “H. Cheppy”. Framed. Height, 261 inches; width, 1914 inches 18 72 74 75 STILL LIFE Water color. Cornflowers in a vase and pink roses. Signed “H. Cheppy”. Framed. Height, 251% inches; width, 181% inches STILL LIFE Water color. Roses in a vase, by the side of which is a Chinese per- fume ball. Signed “H. Cheppy”. Framed. Height, 231% inches; width, 17% imches STILL LIFE Water color. Carnations in a glass vase. Signed “H. Cheppy”. Framed. Height, 24 inches; width, 17 imches STILL LIFE Water color. Roses in a blue jar . Signed “H. Cheppy”. Framed. Height, 241% inches; width, 171 inches Exhibited at the Salon de l’Ecole Frangaise, Paris. THOMAS COLLIER 1840-1891 Painter of English landscape in water colors; he was practically self- taught. In 1861 he was elected to the Royal Institute of Painters in Water Colours and exhibited paintings in Paris, where he was created a Chevalier of the Legion of Honour. 76 A MOORLAND Water color. Signed. Gilt frame. Height, 634, inches; width, 934, inches 76A SEASHORE WITH CLIFFS Water color. Framed. Height, 734, inches; width, 1134, inches 8) JOHN CONSTABLE, R.A. 1776-1837 | One of the most famous of English landscape painters, whose love of nature and sincerity of character have imbued his sketches of scenes in Sujfolk, Hampstead, Salisbury and Brighton, to which his work was almost entirely restricted, with a spontaneity of tone, color and atmosphere unsur- passed by the work of any other artist. SALISBURY CATHEDRAL BY JOHN CONSTABLE, R.A. [NUMBER 77] 77 SALISBURY CATHEDRAL Pen and wash drawing. A study for the large picture. Exhibiting fine attention to architectural detail. Gilt frame. Height, 10 inches; width, 7 1% inches From the Artist’s Sale in 1892, and the Fairfax Murray Sale in 1917. [SEE ILLUSTRATION ] 20 SALISBURY CATHEDRAL BY JOHN CONSTABLE, R.A. [NUMBER 78] 78 SALISBURY CATHEDRAL Pencil drawing. The graceful spire of the Cathedral in silhouette against a sunset sky. Its reflection with the surrounding verdure is seen in the mirror surface of a pool in the foreground. Dated in the upper corner, “27 July 1820, Salisbury”. Gilt frame. Height, 614 inches; width, 9 inches From the Captain Constable and J. P. Heseltine Collections. [SEE ILLUSTRATION ] 21 VY 79 80 81 v/ THE CATHEDRAL CLOSE AT SALISBURY BY JOHN CONSTABLE, R.A. [NUMBER 79] THE CLOSE AT SALISBURY Pencil drawing. Fine and vigorous in handling. Gilt frame. Height, 414 inches; width, 7 inches From the Captain Constable and J. P. Heseltine Collections. [SEE ILLUSTRATION] PLOUGHING Pencil drawing. Subject engraved by David Lucas. Height, 4 inches; width, 8 inches From the Collections of Mrs. MacKinnon (née Constable) and J. P. Heseltine, Esq. A LUGGER, BRIGHTON BEACH, 1824 Pencil drawing. A close-up study of one of the sturdy fishing craft drawn up on the beach. Gilt frame. Height, 7 inches; width, 1014, inches: From the Captain Constable and J. P. Heseltine Collections. 22 82 LANDSCAPE Charcoal sketch on blue paper. Framed. Height, 614 inches; width, 1014, inches From the Collection of the late Richard Norton, Esq., Boston, Mass. 83 BRIGHTON BEACH, 1824 Pen and wash drawing. The famous fishing luggers are seen drawn up on the beach while the fishermen sort out their gear. Gilt frame. Height, 7 inches; width, 101% inches From the Captain Constable and J. P. Heseltine Collections. 84 HARROW, FROM THE FIELDS AT CHILD’S HILL Pencil drawing. Dated “Sunday, Aug. 12, 1821”. Gilt frame. Height, 6 inches; width, 9 inches From the Captain Constable and J. P. Heseltine Collections. 85 OLD SARUM FROM DURNFORD DOWNS Pencil drawing. With title in the artist’s hand and dated “July 26, 1820”. Gilt frame. Height, 614 inches; width, 91% inches From the Captain Constable and J. P. Heseltine Collections. 86 ELSTREE, and, NEAR GORING Water colors. A delightful pair of miniature landscapes. Gilt frames. (2) Height of each, 3 inches; width, 4 inches JULIA CONVERT CONTEMPORARY FRENCH 87 ROSES Water colors. Three separate paintings. Signed “Julia Convert”. Framed. (3) Height, 1114 inches; width, 151% inches MATTHEW RIDLEY CORBET ENGLISH, 1850-1902 Corbet was born in Lincolnshire, England; he studied in London at the Royal Academy and Slade Schools, where he became a great friend of Watts. He also studied and perfected his style in Rome under Costa. 88 HAYSTACKS IN FRANCE Water color. Field with groups of haystacks and peasants ; mountains in the distance. Signed “M. R. Corbet”. Gilt frame. Height, 5 inches; width, 14 inches RICHARD COSWAY 1742-1821 Born in Devonshire, he early distinguished himself by his drawings, which were praised by Cipriani and Bartolozzi. He had for subjects all the beauty and fashion of the day, and was much encouraged by George IV, then Prince of Wales. KITTY FISHER BY RICHARD COSWAY [NUMBER 89] 89 KITTY FISHER il Pen and ink drawing. The subject, a famous beauty of her day, is || seen seated on an embankment in a garden; she holds a gentle dove, while others flutter about or drink at a fountain to the right. Her dress is of a loose décolleté bodice and full skirt, while her hair is I dressed with a tiara, which is caught up at the back in loops of curls. || Signed to the lower right “Rd. Cosway”, and dated 1767. i From the Collection of Francis Wellesley, Esq. CONSIDERED ONE OF THE MOST BEAUTIFUL AND MOST IMPORTANT OF | COSWAY’S DRAWINGS IN EXISTENCE. [SEE ILLUSTRATION ] 24 FRANCES ABINGTON, THE ACTRESS BY RICHARD COSWAY [NUMBER 90] 90 FRANCES ABINGTON, THE ACTRESS Pencil drawing. She is represented full-length, seated under a tree, a spaniel by her side, and wearing a short-sleeved gown embroid- ered with rosebuds. Fine carved scroll frame. Height, 6 inches; width, 434, inches From the Collection of Francis Wellesley, Esq. A SUPERB DRAWING. [SEE ILLUSTRATION ] 25 91 92 PORTRAIT OF MRS. DELANY BY RICHARD COSWAY [NUMBER 91] PORTRAIT OF MRS. DELANY Pencil drawing. Full-length, seated; richly embroided gown; lace mob-cap on the powdered hair; face slightly tinted. Framed. Height, 9 inches; width, 714, inches From the Collection of Francis Wellesley, Esq. [SEE ILLUSTRATION ] JOHN AND FREDERICK PONSONBY India ink drawing. The elder boy in profile stooping to point out to his brother the inscription on the base of a classic urn. The younger boy, resting his knee on the step of the pedestal, turns an enquiring face to his brother. Both wear satin jackets and breeches, and the older a cloak. Framed with the engraving of the same subject. Height, 9 inches; width, 7 inches From the Collection of Francis Wellesley, Esq. Exhibited at Bath, 1909. 26 JOHN SELL COTMAN 1782-1842 One of the most gifted painters of the “Norwich” School. He executed a few beautiful oil paintings, but the majority of his works are landscapes and marine pieces in water colors. There is a fine pen and ink drawing executed by him at the age of twelve, in the Cotman Collection at the Brit- ish Museum. 93 94 95 96 A VIEW OF A GRAVEL PIT Pencil drawing on buff paper. Gilt frame. Height, 9 inche.; width, 13 inches From the Collection of J. P. Heseltine, Esq. LANDSCAPE WITH FIGURES Water color. Gilt frame. Height, 61% inches; width, 934, inches From the Dr. Percy and J. P. Heseltine Collections. LODDON, NORFOLK Pencil and wash drawing. Signed. Gilt frame. Height, 6 inches; width, 11 inches Engraved in “Excursions through Norfolk in 1818”, by E. Roberts. From the Collection of J. P. Heseltine, Esq. DAVID COX 1783-1859 HADDON HALL IN THE OLDEN TIME Water color. A fine interior with a flagged hall, a musicians’ gal- lery and groups of figures gathered round two tables. Signed and dated “David Cox, 1841”. Framed. Height, 1314 inches; width, 191% inches Exhibited at the Victorian Era Exhibition, 1897. From the Collection of James Orrock, Esq., IRell, “The sketches of Haddon . . . will continue to be noteworthy as examples of slight, bold and broad execution, of work done in the fullest vigour of the artist, of draughtmanship.”—F. Wedmore in his “Studies in English Art’. 27 ALEXANDER COZENS 1700-1786 Cozens was a natural son of Peter the Great and an Englishwoman whom he took with him to Russia, where Cozens was born. The Czar sent him to Italy to study painting, for which he showed marked talent, and in 1746 he came to England. He painted water color landscapes with much poet- teal feeling and was in high favor with all the great personages of his day. 97 A MOUNTAINOUS LANDSCAPE Sepia wash drawing. Framed. Height, 9 inches; width, 12 inches From the Collection of J. P. Heseltine, Esq. JOHN ROBERT COZENS 1752-1797 Son of Alexander Cozens. In «a letter to William Carpenter, Constable wrote of him: “I want to know when the younger Cozens was born; his name was John and he was the greatest genius that ever touched land- scape.” He was an intimate friend of William Beckford, of Fonthill, Author of “Vathek”, in an account of whose tour to I taly by Cyril Redding, occurs the passage: “Though but a few months returned from his former tour, Mr. Beckford commenced preparations for his second by engaging Mr. Cozens, an artist of considerable ability, to accompany him to Italy.” 98 BAY NEAR HARLECH Water color. From the vantage point of the high cliffs the beautiful expanse of the bay is seen. Mountain and rolling hills in the back- ground. Gilt frame. Height, 10 inches; width, 14 inches JOSHUA CRISTALL 1767-1847 An English painter of rural subject pictures; with Barret, Havell, the two Varleys and others of lesser importance, he founded the English Society of Painters in Water Colours, which has evolved into WOE 1% We So Oy to-day. 99 A COUNTRY GIRL IN A SUNBONNET Water color. Signed and dated, “J. Cristall, 1816, Hurley, Berks.” Framed. Height, 12% inches; width, 9 inches From the Collection of J. P. Heseltine, Esq. 28 GEORGE CRUIKSHANK 1792-1878 Born in Bloomsbury; he started as a political caricaturist, but from 1819- 21 gradually turned his attention to book illustration. His etchings for Grimms Fairy Stories are brimful of imagination and whimsicality, not one inch being without its droll elf or gay little fairy, with some extremely apt accessory. The two series of the “Sketches by Boz” began his long connection with Dickens. In 1847-8 he published “The Bottle” and “The Drunkard’s Children”, which were his first contributions to the cause of temperance, which he ardently advocated. A MIDSUMMER NIGHT’S DREAM BY GEORGE CRUIKSHANK [NUMBER 100] 100 A MIDSUMMER NIGHT’S DREAM Water color. The original finished painting from which Cruikshank’s print of that title was engraved. Gilt frame. Height, 131% inches; width, 17 inches AN UNUSUALLY FINE SPECIMEN OF CRUIKSHANK’S WORK. [SEE ILLUSTRATION ] 29 102 103 104 105 GEORGE CRUIKSHANK THE TRIUMPH OF CUPID: A REVERIE (1845) Pencil sketches. On the recto and verso of a single sheet. The artist is shown seated, and smoking a long pipe; Cupid is portrayed up to his various and oft-told pranks, seated in his Triumphal Chariot, ete. Signed. Height, TY, inches; width, 714 inches PRELIMINARY SKETCHES FOR THE FAMOUS ETCHING WHICH FIRST APPEARED IN THE FIRST NUMBER OF CRUIKSHANK’S “TABLE-BOOK”, depicting the artist, seated, smoking before a grate, and surrounded by delineations of the triumphs of Cupid. The drawing bears com- ments of great interest in Cruikshank’s autograph; i.e.: “Let me see, what shall the first plate be—suppose we have—The Triumph of Cupid. Ladies & Gentlemen: I have the Honour, the ——, of appearing before you once more in a publication of my own’, ete. KILLING TIME Sepia wash drawing. A half-dozen men idling in various stages of boredom; one scribbles amorous nothings on a window pane; another thrusts with his rapier at the clock. Many detail studies for the drawing occupy the margins, pencilled with explanatory notes. Height, 9 inches; width, 11 inches TIME THROWN AWAY Wash drawing. Six charwomen scrub energetically at a large Negro in a washing-tub. Captioned: “Ah! you can never make a whistle of wu pig’s tail!’ Height, 814 inches; width, 11 inches A CHARACTERISTIC SPECIMEN OF THE ARTIST’S HUMOR. Published in 1827, in the Artist’s “Illustrations on Time”’, A PRETTY TIME TO COME HOME (1827) Sepia wash drawing. An angered wife greets the return of her in- toxicated husband with arm outstretched towards the clock, the hands of which point to 3 A.M.; a child lies in bed crying; the cat, having eaten the waiting supper, leaps from the table in terror of the approaching quarrel. Pencilled studies in margin. Height, 81% inches; width, 11 inches Published in 1827 as a separate print. WORKING OVERTIME, MAKING MILITARY CLOTHES Pencil drawing. Tailors working in great haste. With pencilled studies and explanations in margin. Height, 814 inches; width, 11 inches 30 106 107 108 109 110 THE ELVES AND THE SHOEMAKER Pencil drawing. Subject illustrating one of Grimm’s “German Popu- lar Stories”. Drawn on thin paper with caption below: “The Elves and the Shoemaker. Copied by me from my original design & etch- ing made by me in 1822 to illustrate the Grimms’ Popular German Stories Vol. 1, George Cruikshank March 1870”. Mounted. Height, 6 inches; width, 41% inches Made by Cruikshank for Hotten’s reprint of 1870, with introduction by Ruskin. TOM PUSS, AFTER HIS MASTER IS DRESSED, INTRODUCES HIM TO THE KING (1864) Water color and pencil drawing. Puss’s master, garbed as befitting “The Marquis of Carabas’”, bows to the King, who, with his Queen, and surrounded by his Courtiers, sits in his coach. TOM PUSS IS ABSENT, the drawing having presumably been left by the artist before inserting his tiny figure. Height, 8 inches; width, 5 ches Published in 1864 as an illustration to Number Four of “The Fairy Library’’. HOP-O’-MY THUMB AND THE SEVEN-LEAGUE BOOTS (1853) Pencil sketch. Design for wrapper, showing, in addition to the let- tering, the figures of the Giant Ogre in “Hop-o’-My-Thumb”, and that of Jack climbing the Bean-Stalk. Height, 9 inches; width, 7 inches HOP-O’-MY-THUMB AND THE SEVEN-LEAGUE BOOTS (1853) Pencil sketch. The Frontispiece. In two compartments, one show- ing the father and mother conspiring to get rid of Hop-o’-My-Thumb ; the other depicts the abandoment of Hop-O’-My Thumb and his brothers in the wood. Height, 81% inches; width, 634. inches A SKETCH FOR THE FRONTISPIECE OF NUMBER ONE OF “THE FAIRY LIBRARY”. SKETCHES Pencil drawing. A seated man, smoking, beside a burning lamp; be- fore him bows an imp. Studies of heads in helmets with lowered and raised vizors. Apparently studies for “Grimm’s “German Popular Stories”, or for “Aladdin and His Wonderful Lamp”. Height, 7 inches; width, 44% inches Listed in the upper left corner, in Cruikshank’s hand, are the titles of several of the tales in “German Popular Stories”. 31 TIMOTHY’S SHOES BY GEORGE CRUIKSHANK [NUMBER 111] 111 TIMOTHY’S SHOES (1870) Water color. In three compartments, showing the Fairy Godmother giving the magic shoes to her Godchild; Timothy kicking off the shoes when they pinch him as he goes the wrong way; and at last the shoes, unaccompanied, and having performed their duty, walking away. Signed and dated. Height, 644 inches; width, 414, inches A CHARMING DRAWING OF VERY FINISHED EXECUTION, to illustrate Mrs. Ewine’s “The Brownies and Other Tales’, 1871. Previously it and the story had appeared in “Aunt Judy’s Magazine”. The title and captions are neatly written in, and the whole completely finished. [SEE ILLUSTRATION | Be) 112 TOM PUSS AND THE KING BY GEORGE CRUIKSHANK [NUMBER 112] TOM PUSS AND THE KING (1864) Water color. In two compartments. In one Tom Puss runs up to the King’s Coach to tell him that his master, “The Marquis of Carabas”, is in the river; in the other, Puss introduces his master to the King, who bows from his coach. Height, 84% inches; width, 514 inches IDENTICAL WITH THE PUBLISHED ETCHING IN NUMBER FOUR OF CRUIK- SHANK’S “FAIRY LIBRARY”. [SEE ILLUSTRATION ] 33 GEORGE CRUIKSHANK 118 THE LAST SCENE IN THE LIFE OF SIR JOHN FALSTAFF 114 115 116 (1858) Pencil sketch. The Fat Knight lies upon his death-bed. Mistress Quickly feels his feet under the sheets, ‘and they were as cold as any stone’. Several studies of Falstaff’s head, etc. fill the margins. Height, 734, inches; width, 1134, inches A PRELIMINARY SKETCH for the etching published in “The Life of Sir John Falstaff”. [See “Henry V”, Act 1, Scene 3.] JACK FALSTAFF BREAKING SKOGAN’S HEAD AT THE COURT GATE (1857) Pen and ink and pencil drawings. Two sketches on the recto and verso of a single sheet, showing two stages in the fight between Skogan and Falstaff when a youth, Page to the Duke of Norfolk. Height, 634, inches; width, 814, inches SKETCHES FOR THE ILLUSTRATION IN “The Life of Sir John Falstaff”. One is very similar to, the other very different from, the published etching. [See “Henry IV”, Part 1, Act lI, Scene 2.] SIR JOHN FALSTAFF RECEIVING A MOST UNEXPECTED REBUKE FROM KING HENRY THE FIFTH (1858) Water color and pencil drawing. The Royal Procession halts by Westminster Abbey, and Falstaff kneels as the Young King ad- ministers his stinging rebuke: “I know thee not, old man: fall to the prayers; How ill white hairs become a fool and jester!” Height, 444 inches; width, 7 inches A SPLENDID EXAMPLE OF THE ARTIST’S WORK. Identical with the pub- lished etching in “The Life of Sir John Falstaff”. [See “Henry IV”, Part UW, Act Vv, Scene 5.] SIR JOHN FALSTAFF STEPPING INTO THE BUCK-BASKET (1858) Pencil sketch. The Fat Knight steps into the basket, while Mistress Ford and Mistress Page stand ready to heap the clothes upon him. The wide margins are filled with studies of the same subject and others. Height, 8 inches; width, 1214 inches A PRELIMINARY STUDY, similar, with the exception of Falstaff’s posi- tion, to the etching published in “The Life of Sir John Falstaff”. [See “Merry Wives of Windsor”, Act 11, Scene 3.] 34 117 118 119 120 121 SIR JOHN FALSTAFF IN THE BUCK-BASKET (1858) Pencil sketch. The Fat Knight is almost hidden under the linen that Mistress Ford and Mistress Page heap upon him. Height, 414 inches; width, 7 inches Differing from the etching published in “The Life of Sir John Fal- staff” only in the lesser detail with which the background is treated. [See “Merry Wives of Windsor’, Act 11, Scene 3.] MEN OF ALL SORTS TAKE A PRIDE TO GIRD AT ME (1857) Pencil sketch. Falstaff stands in a London street, his Page bears his sword and buckler. Height, 934, inches; width, 634, inches SKETCH OF THE DESIGN USED FOR THE WRAPPERS OF “‘The Life of Sir John Falstaff”. [See “Henry IV’, Part U1, Act I, Scene 2o| FALSTAFF AT THE BOAR’S HEAD TAVERN (1857) Pencil drawing. Group seated around the fireplace at the Boar’s Head Tavern. Falstaff, in the centre, holds a cup of sack in his hand and gazes imperiously at the serving-boy. In the margin are various small sketches, including a self-portrait of the artist. Height, 734, inches; width, 111% inches AN UNPUBLISHED DRAWING for “The Life of Sir John Falstaff’, apparently illustrating Falstaff’s dislike of the tavern sack: “You rogue, here’s lime in this sack, too!’ [See Henry IV, Part 1, Act 1, Scene 4.] The published etching of this incident illustrates not the drinking, but the effect of the sack, i.e. the Fat Knight’s recital of his prowess at Gadshill. SKETCHES OF THE HEADS OF FALSTAFF AND BARDOLPH (cirea 1857) Water color and pencil drawings. Four fine studies of heads, for the illustrations to “The Life of Sir John Falstaff”. On one sheet. Signed. Height, 414, inches; width, 3% inches ATTACK UPON THE BRASS MOUNT BY LORD GUILFORD DUDLEY Pen and water color drawing. A scene of terrific battle and siege. Mounted. Height, 4 inches; width, 51% imches Illustrating perhaps the “Tower of London” by Ainsworth. MASQUE IN THE PALACE GARDEN OF THE TOWER Pen and water color drawing. A queen and her court appear on a baleony watching the mad revels of grotesque knights and jesters below. Mounted. Height, 4 inches; width, 51% inches An illustration perhaps for one of Ainsworth’s historical novels. 35 HERNE THE HUNTER APPEARING TO HENRY VIII ON THE TERRACE BY GEORGE CRUIKSHANK [NUMBER 123] 123 HERNE THE HUNTER APPEARING TO HENRY ON THE TERRACE (1843) Water color. The Hunter, holding a chain, and with his antlers silhouetted against the night-sky, threatens Henry VIII from the battlement. Henry stands back, drawing his sword. Signed. Height, 514, inches; width, 414 inches Identical with the etching, published in 1848, to illustrate Ains- worth’s “Windsor Castle’, with the curious exception that in this, the original drawing, there is no indication of the storm luridly described by Ainsworth,—on the contrary, the taunting of Henry takes place in bright moonlight. [SEE ILLUSTRATION] 36 124 125 126 127 SIR BULKELEY PRICE BRINGING THE MORTGAGE MONEY TO MR. SCARVE (1842) Water color. Sir Bulkeley, mounted, bows from the centre of the crowded street in the quaint town, to Mr. Scarve in his doorway. The Miser’s daughter runs towards the deliverer with hands and eyes upraised in a gesture of thankfulness. Signed. Height, 5 inches; width, 414, inches Virtually identical with the etching as it was published to illustrate Ainsworth’s “The Miser’s Daughter”. THE DISCOVERY OF THE MYSTERIOUS PACKET (1842) Water color. The Miser sits huddled in his chair beside the fire; Hilda, having opened the casket, holds the mysterious packet in her hands. Height, 5 inches; width, 414, inches Identical with the published etching illustrating Ainsworth’s “The Miser’s Daughter’’. THE PROCESSION OF JACK SHEPPARD FROM NEWGATE TO TYBURN (1839) Pencil and water color drawing. In three compartments, showing Jack’s removal from Newgate; Blueskin’s attempted rescue on Hol- born Hill; and Jack Sheppard drinking from the St. Giles’s Cup. Height, 51% inches; width, 4 inches Published as an illustration to the closing scenes of Ainsworth’s famous novel. A NIGHT OF HORROR (1842) Pencil sketches. Fourteen little sketches of figures and heads on one sheet. Height, 914 inches; width, 714, inches Published in the “Omnibus”, 1842. 37 128 THE RIVAL FOUNTAINS OR, GIN AND WATER BY GEORGE CRUIKSHANK [NUMBER 128] THE RIVAL FOUNTAINS; OR, GIN AND WATER Two water colors. One shows the appealing wife and her unhappy children (one of whom, a little girl, drinks unseen from a half empty gin-bottle) leading her staggering husband home; the other de- picts a happy family, quenching their thirst at a Public Drinking Fountain. Signed. Mounted together. Height of each, 8 inches; width, 6 inches ONE OF CRUIKSHANK’S GREAT DESIGNS FOR HIS FAMOUS SERIES OF TEMPERANCE PICTURES. Published, with two other subjects, as a sep- arate print by William Tege. [SEE ILLUSTRATION] 38 129 130 131 132 133 FIGURES OF TWO MEN Water color and pencil drawing. Two men, one seated upon the ground, mopping his brow, the other standing before him and lean- ing upon a staff. Height, 5 inches; width, 4 imches THE BRITISH BEE-HIVE Pencil drawing. Depicting allegorically the several strata of British Society and their denizens, in the guise of a Bee-Hive, surmounted by the Queen. Signed with small self-portrait. Height, 91% inches; width, 8 inches THE GOLDEN SPOON Pencil drawing. In four compartments, separately entitled: The Golden Spoon; Bubbles; Life’s Scramble; The World’s Idol. Depict- ing the pursuit of Love and Gold. Height, 834, inches; width, 7 inches PORTRAITS Pencil drawings. Sketches of characters: A Fop; a Cockney smok- ing; studies of hands, etc. Signed. Height, 7 inches; width, 4 imches FAIRIES AND SUNDIAL Pencil drawing. Imps and fairies dancing upon a sundial. With marginal figure studies. Height, 614, inches; width, 61% inches BETWEEN THE DEVIL AND THE DEEP SEA: CANDLEMAS DAY Pencil drawing. Irish clergy and laity struggling over a huge candle. With ecclesiastical background, within frame of candles, figures, mis- sals, snuffers, etc. Beneath, the Devil stands gazing out to sea; on either side are St. George and the Dragon; at the top, two weeping cherubs. Height, 814 inches; width, 714, inches CARVING THE CHICKEN Water color and pencil drawing. The Head of the House is, with difficulty, exercising his privilege; his stout wife, two half-grown children, and the dog, are devouring voraciously their portions; the youngest child and the cat wait wistfully. Height, 214, inches; width, 434, inches 39 136 137 138 139 140 GEORGE CRUIKSHANK A MOST ADORABLE LADY Water color and pencil drawing. Men in various attitudes of con- flict and adoration form a circle around a Lady, who, seated upon a pile of gold-bags, the cone-shaped formation of which is capped by her wide hoop-skirt, coyly hides her smiling lips behind a fan. Height, 7 inches; width, 914 inches GOING A-COURTING Water color and pencil drawing. A little counting-house clerk walks down the street, with a tell-tale placard on his back. Pagssers-by and the street-urchins gibe at him. He is self-conscious and indignant, but unable to account for their clairvoyance. Signed. Height, 41% inches; width, 3144 inches COACHMAN AND SERVANT Water color drawing. Coachman and Negro Servant, seated at table, drinking wine. With legend: “Come, Massa Coachman, may present moment be wors in our lives!!” Height, T inches; width, 614, inches INTERIOR SCENE WITH FIGURES Wash drawing. Interior, with figures in the costume of the Restora- tion, seated around a fireplace. Height, 41% inches; width, 3 inches WILLIAM CRUIKSHANK EXHIBITED AT THE ROYAL ACADEMY, 1866-79 A PAIR OF GAME PICTURES Miniature paintings on ivory.