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Peep ee neh eT sai pate rere : Pere ast ats sant eee rhs ot rar apeee neepereret? * wei joreyererer’? ; ra bes has ‘ é weaebetririte gr sass ‘i pot : e ; sf sith hf 4 reeeses T ‘ 9 4 , ” cee eedie : ’ Fer eje j ‘rer $ x : : , +* : epeiety Tapered eyttt eed ane , peewee eRe e i ! [epere: ; ; wer j >a) eh al? ; Peet y : dt FAR WN A ane * NS oe " Pipes Ap 3 Rots 4 < me 4) MA - uss RF Ws ES ou ite ii Ni I rt \ e/ Ag Sah \ Wig woo Pa Pose ANN eB Vili bias eRe a\s me NA i Spy aa | fr 3 Beat WON NG rm a \\ wer yet y Th | vray N yh AN hy yo \. 0% hae y See reine en Fe ee FR Ki SALE AT MENDELSSOHN HALL [FORTIETH STREET, EAST OF BROADWAY] ON THURSDAY AND FRIDAY EVENINGS JANUARY EIGHTH AND NINTH BEGINNING PROMPTLY AT HALF-PAST EIGHT O’CLOCK THE COLLECTION OF | THE LATE MRS. S. D. WARREN ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES FROM SATURDAY, JANUARY THIRD, UNTIL THE MORNING OF THE DAY OF SALE, INCLUSIVE A DESCRIPTIVE CATALOGUE OF PAINTINGS PASTELS AND WATER-COLORS COLLECTED BY THE LATE MRS. S. D. WARREN ‘OF BOSTON’ TO BE SOLD AT ABSOLUTE PUBLIC SALE BY ORDER OF THE EXECUTORS THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK: 1903 =) ‘ my be VN rer + = J { t : a f ; “" _ es ‘ « OUNT | N 1E AMERICA 1902, BY TH f 5 ei [ALL RIGHTS - COPYRIGHT, “7 a = D. B. UPDIKE, THE MERR , CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be wm- mediately 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 down a cash deposit, or the whole of the Purchase-money, if re- quired, 7n default of which the Lot or Lots so purchased to be emmediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk upon the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves respon- sible 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 authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving 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 ; fail- ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. © Cty) = Se aiid CONDITIONS OF SALE 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved 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 Con- dition is without prejudice to the right of the Auctioneer to en- force the contract made at tis Sale, without such re-sale, if he thinks fit. THE AMERICAN ARt ASSOCIATION, MANAGERS THOMAS E. KIRBY, AUCTIONEER (529) = . x ee ee ee ee ee ee ee ee re INTRODUCTION HIS Co..ecrion of pictures, owned by the late Mrs. S. D. Warren, is sufficiently varied in character and high in quality to suggest a considerable catholicity of taste and, upon the whole, an excellent judgment in selection. It bears little or no evidence of having been systematically com- piled, but would seem to be rather the product of indepen- dent preferences, guided by a cultivated instinct. On the other hand it includes, without doubt, some pictures which are out of place in this company; though fortunately they are few in number and do not materially affect the general average. The range of choice embraced originally a superb “Holy Family,” by Filippino Lippi, which has been presented to the Boston Museum of Fine Arts. A curiously interesting picture ‘in the Collection, as here presented, is the “Death of the Virgin,” by Michael Wohl- gemuth, in whose workshop Albert Diirer was apprenticed. For Wohlgemuth was an eminent craftsman, employing many hands, and his work bears the stamp of having been somewhat mechanically executed. Yet it was dramatically conceived and rendered with shrewd characterization and handsomeness of color; presenting a combination of Gothic spirituality and of naive realism. The Collection also contains a Madonna that has been attributed to Memling, but is now more cautiously offered as “Flemish Fifteenth Century”—a little painting on lawn, pure in color, sincere in workmanship, and full of tender- ness and pathos. With similar discretion another Madonna has ( vii ) INTRODUCTION been characterized as belonging to the “School of Perugino.” It shows the graceful pose, a little affected, the delicate draw- ing, warm color, and sweet fervency of devotion, that mark the. work of the Umbrian master. Again, of the Venetian School there are two examples, a Madonna by Vincenzo Catena, pupil of Bellini and follower especially, though at some distance, of Giovanni; and the portrait of a “‘Lady in Venetian Costume,” by Brusasorci, an imitator of the styles of Titian and Giorgione. After these the Collection begins to develop a certain logic of selection. Travelling far afield, 1t comprises of the Fleraish School a Rubens and a Velvet Breughel; a small group of Seventeenth-Century Dutch, another of Early English, a much larger complement of Barbizon, a single Goya, and a large in- fusion of French art, representative of the Nineteenth Century, with a few works of Americans. Yet throughout the varied range one may fancy that the motive which guided the col- lector to this or that, was an appreciation of painter-like paint- ing; of art in the artist rather than in the subject; and par- ticularly of the art of the colorist. For certainly, if it be not the result of design, then, by a happy instinct, the Collection comprises an unusual number of pictures pictorial in the true sense. It is, perhaps, a little audacious to single out one picture as typical of the character of the selection throughout, but I will venture upon the “ Dutch Interior,” by Pieter de Hooghe. This artist is not one of those imperatively to be included in a col- lection by reason of popular taste. His work is not indispen- ( viii ) INTRODUCTION sable to the present-day estimate of what a collector should de- sire, as for instance the Barbizon and Early English may seem to be. We may conjecture that the picture was bought because it made an actual personal appeal to the collector, who appre- ciated its clever composition and harmonious scheme of color, its atmosphere, and, above all, its charming play of light and shade; qualities, to repeat oneself, truly pictorial. An apprecia- tion of such qualities added a moonlit harbor by A. Van der Neer and, with more originality of choice, a Charlet in prefer- ence to a Meissonier. I would not dare to underrate, I do not wish to, the latter master, but I heartily applaud the choice which passed over the costly creations of the studio in favor of the real thing. The Soldier of the Empire as actually he was, rendered with a largeness of feeling and bluff simplicity, is artistic as it is truthful. Similar preferences secured “The Chastisement,” by Ribot, one of the great masters of modern French painting; “A Cot- tage Madonna,” by Josef Israels; “Regrettant la Patrie,” by Corot; ‘‘Horses in Stable,” by Géricault; the “Court Jesters at Cards,” by Zamacois; ‘The Culprit,” by Eastman Johnson, and the “Turkish Sentinel,” by Charles Bargue. These are all small in the matter of inches, but each in its several way has an ac- _cent of distinction. The microscopic exquisiteness in the last named has its counterpart in “The Card Players,” by Domingo, and in “The Cobbler,” by Dominicus Van Tol. But that mere minuteness of detail was not of itself considered admirable, may be concluded from the absence of examples of those painters (ix ) ~ INTRODUCTION who have relied upon it to the exclusion of higher qualities of technique. It needed no acumen of connoisseurship to take advantage of the opportunity to possess the choice little example of Ru- bens, ‘“‘Christ’s Ascension,” or “The Flagellation,” by Delacroix, but there is more evidence of independent initiative in the se- lection of Jan Breughel’s “Circe calling Ulysses.” The naiveté of this artist may discourage some, as certainly as it delights others. The present is a very fine example; the landscape being excellent in drawing and perspective, most limpid and rich in color; while the beasts, fabulous and otherwise, are blended with the light and shade in a manner charmingly imaginative, and the figure of Circe haunts the enchanted spot with a subtle mingling of human and supernatural influence. Among the figure subjects of more or less pure imagination may be mentioned John Lafarge’s water-colors, “The Wise Virgin” and ‘Fisherman and Djinn”; Elihu Vedder's Ideal Head,— “Tito”; William M. Hunt’s “Sleeping Mother and Child”; one of Greuze’s ideal representations of girlish inno- cence; a “Head of a Young Girl,” by Goya, and “The Quad- roon, by George Fuller. The last is a particularly notable example of this gifted artist. A fervor of suppressed emotion, of mystery and pathos, thrills through the large canvas; the figure is life-sized, and, blended with its splendid wholesome- ness, is a tenderness of feminine grace and a revelation of the soul within the form, that even Fuller, though he spent him- self in its pursuit, rarely attained. Another canvas of impor- (x) INTRODUCTION tant dimensions is “La Source,” by Puvis de Chavannes. We may as well grant there are passages in the construction of the figures that cannot be explained anatomically. Yet the picture as a whole is fascinating, if you accept the artist’s motive of giving a decorative flatness of pattern to his compositions, and of reducing his figures to the utmost simplicity, so that gesture shall predominate over form and the gesture be an expression of passive quietude of soul. The landscape is of tender greens, blithe and virginal; the figures are Greek in suggestion, but relevant to no period or place; rather, as in most of Puvis’ pic- tures, ideal creatures, that witness in this case to the world’s eternal springtime, and to the possibilities of perennial youth in the human soul. How interesting is the comparison of this picture with Delacroix’s “‘Herminie et les Bergers”! Here, too, is exhibited the artist’s power of detaching himself from his present and of recreating the flavor of the antique thought. Not, however, with the formal wrappings of fact, but in a spirit of romantic invention; clear, for the moment, of his usually impetuous emotions, a glad, free play of fancy in a primitive world, across which moves the spiritualizing influence of an ideal chivalry. The picture is melodious in color, pure and fresh like Puvis’, but less lyrically plaintive, having the fuller expres- sion of feeling and the virile force of the artists of Romance. The group of portraits includes a fine example of that con- scientiously realistic contemporary of Rembrandt, Van der Helst; a plain, blunt portrait of a Burgomaster’s wife, full of character, affectionately precise in details, and altogether Crt) INTRODUCTION womanly and dignified. What a contrast it presents to the ‘Lady Hervey of Bristol,” by Sir Joshua! Here the conception is one of calculated artifice, and yet the fragrant personality of a true woman, and a beautiful one, peers through the affecta- © tion of her pose. The carriage of the head has an assurance of elegance; the lines of the neck and bust are instinct with - subtle grace, and the flesh tones, pure and luminous, vibrate with life. The portrait is a conspicuously gracious and noble example of the master. Equally characteristic is the example of his rival, Gainsborough. The ‘Constantine John Phipps” has a refreshing color-scheme of blue and silvery whites, and represents, with truth-loving simplicity, a shrewd, kindly gen- tleman, whose thoughtful face will be apt to linger in the memory. By Lawrence there are two interesting portraits, Lord and Lady Lyndhurst; the latter, especially, recalling the viva- city and brilliance of his style, and, except in a passage here and there, his facile skill of hand. ae In connection with the portraits may be mentioned two his- torical pictures—‘“Cardinal Bibbiena espousing his Niece to Raphael,” by Ingres, and Gérome’s “L’Eminence Grise.” In these we shall not find the painter-like qualities; but draughts- manship of a superior quality and, especially in the latter, a wealth of characterization and dramatic conception of the epi- -sode, that make the picture extraordinarily interesting. _ A reference to the landscapes may fitly begin with Richard Wilson’s “Tivoli Landscape,” nobly characteristic of his ele- vated, if formal, style; handsome in composition and skilfully (xirs) INTRODUCTION constructed, with richness of tone in the foreground and a luminous vibration in the sky, steeped throughout in a gran- diose placidity. Of his contemporary, Gainsborough, there is a small example, charmingly reminiscent of his dreamy spirit and tenderly simple naturalness. The Morland, also, “Reading the News,” is a happy specimen of his rustic scenes; with quite a Dutchman’s feeling for tone, excellently painted and admi- rable in its unaffected truth of characterization. A delicious little Bonington seems to link these English pictures with the French, which commence with one of Michel’s studies of the plain of Montmartre; a grave large-hearted picture, not with- out a certain tinge of geniality. The veteran, Harpignies, is represented by an unusually seductive moonlight scene, and another moonlight, on a Dutch canal, is a beautiful example of the mingled virility and delicacy of Jongkind’s art. A coast scene by Courbet serves to recall the stir of the realistic move- ment in France, while examples of Fromentin and Decamps stand witness to the fascination excited by the East. The two pictures of the latter eminently reveal him as a painter to the finger tips; the ‘Bazaars in Cairo,” with a large languor of poetic dreaminess, and the “Sunset,—'Tombs near Cairo,” in a fantastic vein of irrepressible caprice; both so subtle in their color and interplay of light and shade. The second picture shows him indeed a kindred spirit of Diaz, though the latter dared a step farther and conjured the real light on to his canvas. There are four specimens of his art in this Collection, all of them subjects selected for the oppor- ( xiii ) INTRODUCTION tunity they afforded of a brilliant fantasy of color and light, and one of them a supremely fine example. The “Descent des Bohémiens” is a veritable masterpiece, the more captivating because it so spontaneously exemplifies the artist’s own genius; impregnated with the poetry of movement and color; joyously unconventional; triumphing in the glad, free exercise of an imagination to which life presents itself as a continual song, and the world as a paradise of glowing emotion. What a pro- found contrast is “A Plain in Berri—Sunset,” by his friend and father in art, Rousseau! Here a solemn monotony of gloom, awesome, poignant, fascinates, even as the other’s exuberance of joy and light. One recognizes in it the artist’s deep con- sciousness of the unfathomability of nature on which he ex- pended all the analytical faculties of a great and comprehend- ing mind. He strikes in it a note profoundly heart-searching in its pathos, as of a cry from a stricken soul; a note so full of moment that the picture is to be reckoned among his grand efforts. That he, too, could sing right resonantly one may know from the little “Sunday Twilight,” a first study for his “Ranz des Vaches.” Of that other singer of Barbizon, Corot, the sweet singer par excellence of the group, there are six examples, among which many will give the preference to “Lombardy Poplars.” It is an afternoon scene of quiet sunshine, lambent upon meadows, brook, and willows; an idyll of rural loveliness, genial, opulent, and peaceful. Scarcely less alluring, however, is “Paris seen from St. Cloud,” a canvas of infinite delicacy and tenderness.. ( xiv ) INTRODUCTION ~ Out of four landscapes by Daubigny shall I signal two, “Land- scape with Storks” and “River-bank, Spring,” leaving to your- self the preference for the moist, cool refreshment of the former or for the latter’s dainty, elusive sprightliness? Jules Dupré is also seen here in diverse moods: impetuously passionate in the Sunset”; solemnly reposeful in the “Twilight on the Seine”; large and bracing in “On the Cliff.” They are all worthy and characteristic; while the last, from the grand sweep of its fore- ground and perspective, no less than from the gracious so- briety of tone and the rhythmic balance of ensemble, is a singu- larly choice example. Just as large in feeling is the “Coast near Villiers,” by Troyon. It is a work, if I mistake not, antedating his visit to Holland and the subsequent prominence that he gave to cattle in his pictures. Accordingly, some may esteem it less; but if one has love for spaciousness and elemental sim- plicity in sea and sky and land, for the stir of gusty clouds and the smack of brine-laden atmosphere, and realizes how few painters can express the import of these qualities, the picture cannot fail to be mightily impressive. It proves that if Troyon had stopped short of his final development he would still have taken rank as one of the great masters of landscape. There is a handsome subject of poultry by Jacque, a creditable study of cattle by Van Marcke, and by George Inness “Evening, Medfield,” a picture into which a bull is introduced. The beast is none too good, but the landscape is sonorous in color, mel- low and luminous in its shadowed tones, and full of strong, deep, poetic feeling. | ( xv ) INTRODUCTION Millet is variously represented by “Peasant Woman and Child,” an echo probably of his early days; by two single-figure paintings, “Coming from the Fountain” and “The Shepherd- ess,” and by a crayon drawing, “Gardeuse de Chévres en Au- _ vergne.” The former is similar, in reduced size, to the picture of the same subject in the Vanderbilt Collection, and, like “The Shepherdess,” is a notable example of his incomparable mastery in the delineation of gesture and of the minor key of pensive melancholy, with which he imbued his studies of the peasantry. Perhaps even in a higher degree the superlative excellence of his draughtsmanship is exhibited in the crayon drawing; for here there is naught to detract from the supremacy of the line, —so pungent, pregnant, and Greek-like in its pure simplicity. Another master of the line, Honoré Daumier, incisive caricatu- rist, grim as well as grotesque, is here represented by “A Prison Choir,” a painting of exceptional significance and force. Any review of a collection can scarcely fail to be colored by the personal idiosyncrasy of the writer. Nevertheless, while the visitor may reverse some of the preferences expressed, he will be likely to agree in the general estimate of this Collection — that it abounds with pictures wherein artistic qualities of a high order may be enjoyed. CHARLES H. CAFFIN ( xvi ) T NIGHTS SALE FIRST NIGHTS SALE THURSDAY, JANUARY 8, 1903 BEGINNING PROMPTLY AT HALF-PAST EIGHT O'CLOCK CATALOGUE e No. 1 bo ; GUSTAVE PAUL DORE f MAN ON WOODEN LEGS Jus Tuis sepia sketch recalls the early success which Doré made in caricature, before he wandered into the historico-religious field. A broken-down soldier, with his back to us, stands looking over a stone battlement, which is likewise considerably the worse for wear. The figure has very much the appearance of a scarecrow. The plumed chapeau is cocked over to one side and the epaulets of the military coat dangle almost to the elbows, while the back is humped and two wooden stumps occupy the place of legs. -Meanwhile a huge cavalry sword swings from the lean waist. Signed at the lower left, G. Doré. Height, 9 inches ; width, 6 inches. (-x1x5) {55° { #2 we h é HAIR-PINS THE WARREN COLLECTION No. 2 BANCEL LAFARGE SURF AT NARRAGANSETT AGAINST a dull purple rock that rises out of tawny grass on the left, a wave has dashed with fine movement into a mass of bluish-white foam. The sea in the middle distance is gray blue, — beneath a warm, slaty sky. Painted in water-color. Height, 15 inches ; length, 21 inches. No. 8 ALBERT, MOORE: A YOUNG girl bends her hed to the right, as she arranges a pin in her hair with one hand, and with the other picks up a pin from the couch on which she sits. The latter is upholstered in milky white, with delicate arabesques of dark gray. She has a pink rose in her blond hair, and wears a lemon-colored robe and shell-colored drapery, while a red locket is suspended from _ a string of pearls. A pink fan lies open on the floor and some yellow poppies are arranged in a jar, which stands upon a white, red, and black mat. The picture, which is painted in water- color, is exquisitely refined and delicate in feeling and in color; an example of Moore’s capricious union of Greek dignity and quietude with the soft harmonies of color of the Japanese. Height, 124 inches; midth, 84 inches. ( xx ) | Ta | ie | | 4 _ Sk i? G a ~ BEACHED AT LOW TIDE _ Ar the end of a stretch of drab sand, just clear of the sea, a brown lugger has been beached. It has tawny sails drooping 1 y a: * ’ \, a TIGER IN LAIR Jt CATALOGUE No. 4 ' W. EK. NORTON from the spars, and the rudder is conspicuous with bars of red, white, and blue. A green cart is drawn up to the vessel’s side, and figures are busy near it. The picture, which is painted in water-color, is full of breeze and moisture. "Signed at the loner left, W. E. Norton. Height, 154 inches; width, 114 inches. No. 5 ANTOINE LOUIS BARYE . © i s ry i A F ‘i its be at be AO Vi Dark gray rocks rear up on each side, leaving a space of lurid sky. In front of a lighter boulder in the centre a tiger sits in crouching position, the body in profile and the head facing to the front. A water-color. Signed at the lower right, Bary. Height, 94 inches ; length, 124 inches. From THE SALE of THE ArtTist’s STUDIO. Pi iw o ‘a From tHe American Art Association Cotiecrion, Aprit, 1892. fi f 7 A”. SMH (3X1) THE WARREN COLLECTION No. 6 ANTOINE LOUIS BARYE STAG WALKING THE murky blue sky is streaked with whitish gray in bars over the horizon. Wooded hills undulate in the middle distance, and the foreground is covered with greenish-yellow grass, over which a stag is walking towards the left. Painted in water-color. Signed at the lower right, BARYE. Height, 9 inches ; length, 11 inches. From THE SALE oF THE ArrTIsT’s STUDIO. From THE AMERICAN ART ine wey ApriL, 1892. a SG No. 7 MARIANO FORTUNY; Y a STREET SCENE A. WOMAN in the costume of an Italian peasant stands at the corner of a white house on the left, green-moulded by time. From it a rude arch springs across the narrow street to a dull buff building, from which a lantern swings by a long pole. The latter house is in shadow and throws a deep shade over the street, at the end of which is a flight of steps, leading to a dwelling. The sketch, which is in water-color, is full of quiet vivacity, exhibiting Fortuny’s perfect control of the medium. Signed at the lower right, Fortuny. Height, 10 inches ; nidth, 8 inches. (x11) . : YS REIS eo RC ps an AS I 5 AE AR I Nae ney arian Nyy ett che Me etied ENR NYA Lewl ore Dik Foe San FPS pO a oe CaP hy OE eo ST ee Be. a." | ele ‘| r afar a Pe hel To aes se CATALOGUE Nos At | FERDINAND VICTOR EUGENE DELACROIX , f\)- FIGHT BETWEEN LION AND TIGER - Tue lion, rearing upon his hind legs, one of them crushing down the tiger's tail, has wrapt his front paws round the body _ of his antagonist. The latter, rearing also, claws at the lion and | fastens his fangs into his shoulder. The fight is taking place in | _a stony spot bounded by bluish-gray mountains. An example ig in water-color. Signed at the lower right, Kue. DELAcRorx. Height, 92 inches ; nidth, 8 inches. From THE AMERICAN Arr AssoctaTIon CoLLEcTION, 1892. A 74 ye : A” Wr. Arno — —. No. 9 On a curving shore where the waves lap in limpid rings on the pale violet sand, a fisherman has landed a jar. He kneels with arms extended and body recoiled with terror, as a thin smoke issues from the vessel, curls up, and expands like a water-spout, and then droops in the shape of a huge, inverted head. A water- color. | | Height, 84 inches ; width, 7 inches. ( xxiii ) 4 f bi THE WARREN COLLECTION Nem, No. 10 JOHN LAFARGE, N. A. A CUP OF COLD WATER > 2 | : AGAINST a dull red background a figure, in pale green robe with flowing sleeves, is offering a cup to the lips of a fair-haired child. The latter stoops forward, attired in a blue drapery over a gown of greenish gold. A water-color. Signed at the upper left, J. L. F., ’88. Height, 44 inches ; nidth, 34 inches. DANCE ON THE BEACH, SAMOA Own a strip of yellow sunshine, that crosses the vivid green of the lawn, four girls stand in a row, draped from the waist to the knees. The one on the right is clapping her hands to the movements of the girl on the extreme left, who poises herself on one leg, holding the other by her hands at the knee. The other two are watching, as they wait their turn. At the back, a row of figures sits against a hedge of rich foliage. The scene, which is executed in water-color, is one of the incidents, beauti- fully described by the painter, in his “Diary of the South Seas.” No. 11 y JOHN LAFARGE, N.A. Height, 83 inches ; length, 11 inches. (xiv) E i { » ANGEL \\ Al M, CATALOGUE © No. 12 | JOHN LAFARGE, iy A: | Tue Angel is kneeling, with apie turned _ -quarters to the left; the hands crossed over the breast and the head uplifted. Her dove-hued wings and robe of pale golden lustre are seen against a greenish-blue background. Painted in water-color. Height, 9 inches; nidth, 7 inches. No. 13 JOHN LAFARGE, ae | P ‘ | Di at ST. ELIZABETH \Se Ary J THE episode in the legend of St. Elizabeth of Hungary, re- called in this picture, is the occasion of her husband confronting her on one of her pious errands and demanding to’ see what she carries. She throws back the corner of her cloak and the food has turned to roses. The figure is standing on some grass, backed by trees and a gray hill. Her costume is a pale rose cloak over a white robe, that shows blue in the hollows of the folds. An example in water-color. Signed at the lower right, Lararce, ’87. Height, 92 inches ; width, 6 inches. (ZV) THE WARREN COLLECTION No. 14 é | -ADOLF SCHREYER RETURN OF THE FORAGERS f- Vi Lute ALONG a road which winds over a snowy plain, a four-horse q sledge is ploughing, driven by two postilions. A soldier walks behind, and his comrade has halted before a wayside cross a little way back on the left. A dark sky lowers overhead. The picture is painted in water-color, and with much delicacy of tone and feeling for the dreary vastness of the scene. Signed at the lower left, Ap. SCHREYER. Height, 44 inches ; length, 64 inches. No. 15 JOSE DOMINGO THE CARD PLAYERS ey De J): bbe BEsIDE the window on the right of an old-fashioned inn parlor two cavaliers sit playing cards. At the far end of the table a man with a pipe stoops over to watch the game, which has also absorbed the attention of the host, who lingers at the other end of the table with a jug in his hand. A fawn-colored, wire-haired greyhound stands beside him. A saddle and riding-gear lie in a heap on the floor, and behind the group is a plastered brick pier, supporting a wooden balcony on which hangs a crimson cloak. The tiny picture has a microscopic precision and dain- tiness of craftsmanship, not without a considerable sense of ( xxvi ) TRE GM AaB Ny ie - CATALOGUE > i : | _ breadth, — qualities that distinguish the works of the “Spanish _ Meissonier.” 5 ers at the lower right, Domino, 1880. Height, 74 inches ; nidth, 5 inches. aoa ee lia: From THE ALBERT SpENcER CoL.ection, 1888. Ae i g Ors emir say pnt a: | Cl xX + cc : | q No. 16 a te, aes 4 4 Ke LUDWIG KNAUS : : i 4 BA YOUNG in UY te oa In a meadow, with a little brown foliage to the right, a young _ Satyr and kid are dancing to each other. They seem to emu- id late each other’s actions, and their curving bodies, with some i _ differences of gesture, suggest a similarity of feeling. It is a _ clever little picture, excellently painted and delightfully naive in subject. | Signed at the lower left, L. Knaus. Height, 84 inches ; length, 103 inches. From tHe Mary J. Morcan CoLLEcTIon, 1886. MM. a J o Res Av W. OaSX. i : ee » Fat ; g : No. 17 Ei (s EMILE VAN MARCKE P) _ LANDSCAPE AND CATTLE A RED cow stands sideways in the foreground, facing to the ight and nosing down to a spring of water that reflects the ( xxvii ) “WHT Ais mg Ct! . THE WARREN COLLECTION blue sky. Immediately back of the water is a white cow, front- ing us, to the right of which runs a little fence. The meadow behind them rises by gradual undulations, a brown cow appear- "a oy, ing in the middle distance and others further back below the a fy dip of the ground. The picture is a direct and forcible study of oe def cattle, the white cow being particularly admirable for the ren- ie Ht aa iis uw dering of the light on its rough coat. Signed at the lower right, EM. VaN Marcke. Height, 84 inches; length, 10} inches. Spr A (FEF Ve B52 J, A Se fe MP No. 18 | NICOLAS TOUSSAINT CHARLET A GRENADIER ee x ~ “CHARLET and Raffet,” wrote Biirger-Thoré in his review of i. ?” y the Salon of 1845, “are the two artists who best understand the representation of that almost vanished type, the trooper of the Empire; and after Gros they will assuredly endure as the principal historians of that warlike era.” The veteran of this picture stands at ease with his right hand held at his back and the left arm encircling his musket, which rests upon the ground, his thumb being tucked behind the strap of his cartouche box. His uniform of the Grenadiers con- sists of a blue coat with red epaulets, white vest, breeches and gaiters, and a dark busby with red plume. The immediate back- ground is a golden brown with an indication beyond of a gray sky, rolling over a low horizon. The study is full of character and beautiful in color and tone, details being omitted and yet ( xxviii ) “ I a ran Gg i ME Epe Yee ho Pa ae ; “4 awk tec < fF : ay « « y Ale CATALOGUE “readily suggested ; a study, in fact, of real military life in the 0 open air as By ussed to cabinet productions of the studio. Ty Signed at the aay lef, Bere. Height, 9} inches; width, 7 inches. : q "From THE Watt-Brown ieee 1886, Aid ad 6 - 4A 3) ae a No. 19 fe - de CHARLES BARGUE / VAL Rtg Maca = | £30 wv” _ TURKISH SENT EL “aig an angle of plaster-covered masonry a soldier lounges, tle his left shoulder against the wall and his right hand resting on | ig his hip. His uniform consists of a white head-dress; a jacket of _ very pale pink silk, tucked into an ivory-colored sash; white linen skirt with full plaits; dull crimson stockings, and drab shoes. He carries a simitar in his belt and a long musket across his back. To the right is a raised recess in which hangs an Ori- | ental rug and lie a tall brass hookah and a pile of folded fabrics | Bot various colors. On the flagged floor are a brass and a bronze _ pot. The works of this distinguished painter of Oriental genre _ are few in number, and the present is an excellent example of his brilliant craftsmanship and delicate sense of color. Signed at the lower right, BarGuE, ’77. Height, 103 inches ; width, 8 inches. From Messrs. Arvotp & Tripp, Paris, 1898. v4 - f bp.f 6 & ‘dt - : - 1/ aoe Ns } sre THE WARREN COLLECTION No. 20 JEAN nee HENNER LA PLEUREUSE A WOMAN is lying prone in a dark cave, a. re a glint of \ pale blue light pierces at the right top corner. She is nude ex- | cept that a portion of the turquoise drapery which is under her covers her thigh. Golden-red hair falls over her arms, which support and hide her face. Signed at the lower right, HENNER. Height, 74 inches ; length, 94 inches. No. 21 ALEXANDRE Say DECAMPS BAZAARS IN CAIRO ~ V4 4 | ated / (GP: j THE foreground is a paved court or street with a fruit-stall upon the right, arranged against a house which has a wooden balcony. At the back, extending to the left, is a sort of loggia, approached by steps and supported by a large column. Above its roof the tops of houses show against the blue sky, and through an arch at the back of it appears a street with awnings slung across it. Figures are congregated in the left of the loggia, others are seated at the’base of the column, and two stand in front of the stall, behind which the merchant sits. There is a pool in the left of the foreground. The latter is in shadow, as also. are the building and stall upon the right and the under ( xxx ) CATALOGUE x part of the loggia, while the base of the column is the focus point of special light. The scheme of chiaroscuro is most deli- NE cately artistic, full of imagination and subtle device; and the __ whole picture is executed with a lightness of touch and elegant ie play of color that render it a very charming example of this Pg . e ° fi : j : ; ____ fascinating painter. a / j | U y 4. Signed at the lower right, D. C. Height, 104 inches ; width, 9 inches. On g From THE Mary J. Morean Co tection, 1886. Arid 6 3 oe ch” W. wmn5XK. Gy . oe No. 22 Mba “& RUGENE pees THE SMOKERS | ¥. y hn | THE groups of figures animate an Oriental street that is swel- tering in the fervor of noontide, under a brilliant blue sky. The _ building on the left, which has a frieze of enamelled tiles, is in shadow; and across the middle distance runs a low wall, with houses beyond upon the left, yellowish white in the sunshine, which floods with lemon and orange the blue hills on the hori- zon. Three figures sit smoking on the left of the foreground, and to the right an old man, conspicuous by a scarlet vest, ad- | vances towards a youth in a yellow jacket buttoned over white ____ trousers, who stands with a long pipe in his mouth. In an angle of the wall on the right a boy with a red fez lounges by a Jar which stands on a shelf, and another boy lies near with his back against the masonry. Some figures also appear beyond the low 4] wall. In the deliberate elegance of the composition, taking on ( xxx ) ih THE WARREN COLLECTION a little freaksomeness from the scene, one has a characteristic example of Fromentin’s refined Parisian culture, coquetting with the sensuous savagery of the East. Signed at lower right, EuciNE FroMENTIN, dated ’66. Height, 134 inches ; nidth, 10 inches. From Messrs. Arnotp & Tripp, Paris, 1890. AY? "2s % 6 | ee Aig Ah phe : No. 23 > ef THE water in the foreground is gray and pale ex barred and blurred by the dark reflections of small trees that grow close together on its edge. Further back in the landscape lies an open sward, yellow in the light, and beyond it again a belt of trees. Near the right bank of the water appears a figure in a punt. The picture is sketchy but exceedingly fine in color. Signed at the lower right, W. M.H.in monogram. Height, 10 inches ; length, 16 inches. No. 24 ” sm NARCISSE VIRGILE DIAZ DE LA PENA : | : ve GIRL AND PET Ze Pe Nertedh, ’ ee W A CHILD is seated under a ith flowers in her lap and hand, and a white kid at her left side. She wears a pink ribbon in her auburn hair and a white dress of sumptuous texture, with a blue drapery passing around her waist and arms and floating (Gxxxi1) ce WILLIAM MORRIS HUNT . ay chs WOOD INTERIOR, ARTICHOKE RI | 7 > CATALOGUE | . F; behind. The foliage of the tree is a beautiful medley of green, ; _ salmon, and golden tones. Indeed the color throughout is ex- quisitely choice, the subject being treated as an opportunity _for securing a bouquet of luxurious tone and texture. | _ Signed at the lower left, N. Sense 66. Height, 154 inches: width, 12 inches. a7 : ie: é a }. oe f vi ry 5 rs ROM THE aad a Y ya Cae Epo, Set i No. 25 . JEAN. aa OIS MILLET aur Nhe’ e + Te fons | COMING FROM THE FOUNTAIN __ Tuis picture is a smaller version of the same subject in the Vanderbilt Collection, now on exhibition at the Metropolitan Museum of Arts, New York. The woman is carrying two buckets, her arms hanging straight down, with the elbows close to the hips. She wears a rose-colored cloth round her head, a buff homespun jersey, showing the short sleeves of her chemise, and a blue skirt. The background of the figure is a wall overgrown with greenery, at the end of which appears the square opening of a fountain. This was a subject on which Millet expended much study, striving, as he says in a letter to a friend, to represent a woman simply and naturally perform- ing one of her household duties; with not too much or too little evidence of muscular strain in the face or figure, but with just such amount as the exertion would demand. Signed at the lower right, J. F. Mi.xet. Height, 154 inches ; nidth, 12 wches. ' From tHe Aaron Hearty Cottecrion, 1891. ¢ It ” THE WARREN COLLECTION No. 26 | a ; 4,0 0 JEAN BAPTISTE CAMILLE COROT be GRAY MORNING Ve 0 pty» THE right half of the composition is filled with a clump of trees, conspicuous among which is a white stem, while a pol- lard willow projects from the edge. The mass of gray-green foliage is softly delineated against the sky, and beneath its shadow appear two figures, one of which wears a white cap. A little way back from the gray grassy foreground, on the left, is a small pond, reflecting the pale light, beyond which are visible | two pink roofs and a little church spire. Distant mountains show faintly pink beneath a vapory horizon in which float fleecy clouds. Above these is a break of blue sky, canopied by a whitish-gray cloud, still dark upon its upper surface. In the evanescent tenderness of the color-scheme the awakening fresh- ness of early morning is beautifully expressed. | Signed at the lower left, Corot. Height, 124 inches ; midth, 94 inches. No. 27 y. THEODORE ROUSSEAU | SUNSET LANDSCAPE Wis fe Li, : # “ e ece e ‘é Ce Ecol Conspicuous in the composition is a still, reedy pool, bounde in the foreground by a low strip of herbage, from which a road leads to the right, and then curves round the water and follows (“Xxx1V*) a ong the opposite bank. Here, the foliage, punctuated by a rge t Bshy tree and some gusta ones, is DE darkest olive is | cd with warm vaporous clouds, above which are mottles fad streaks of dark gray, with a delicate gray-blue space over- h head. Inexpressibly solemn is the quietude of the scene, and full of emotional suggestion the harmonious mingling of so- ‘norous depth and tender evanescence. _* at the lower right, Tu. Rousseau. Height, 10 inches ere 194 inches. Durrt rarely missed His evening rae and loved especially to * the effects of turbulent sunsets. The one depicted here * _ is such as follows after storm, when the clouds, still heavy with - rain, have been torn into ragged shreds and are penetrated by g the rosy glow of the sun which sinks in a yellow glare. These tones are reflected in a dark pool in the foreground, to the left | of which are some boulders that catch the light. On the right a bank stands a clump of oak trees, from which cows are de-— _ scending to drink. It is a picture of intense feeling, painted _ with a heavy impasto that is rather opaque in the shadows, = but produces on the whole a wild harmony, full of grand im- ss pressiveness. fA, pean r te it ae i in a eS Na a go ce pe Signed at the lower left, Jutes Dupre. Height, 174 inches ; length, 254 inches. tm haw mf (x (ee eV) “ OG eet eae ants = —~ a i Doe ne THE WARREN COLLECTION No. 29 4 Kyo CHARLES FRANCOIS. ‘DAUBIGNY c\744l fi - RIVER- BANK, SPRING +" Y LP. ETWEEN meadows, fledged with the tender retie \ se | the river spreads itself through the foreground, interspersed with tufts of grass and water-plants. A flock of geese is de- scending the bank on the right, at the top of which appear the i brown roof and red chimney of a cottage, sheltered by a clump of trees with a willow on its margin. Two birches of exqui- site delicacy grow upon the left bank and at the end of the meadow is a row of white and red cottages. The sky, a whitish gray, with some spaces of blue in the upper region, is filled with soft, cool light, and the color-scheme is expressive of fresh and virginal fragrance. re nw. 18 91 -&2 A. EK A tf. Fy. ‘Wn SRK . Signed at the lower left, DauBieny. Height, 10 inches ; length, 174 inches. bane Rat de Maret 660g At. From tHe Epwarps Cotiection, Paris. ty are re From THE TRETIAKOFF CoLLEctTiIon, Moscow. a 3 s 4 At. & From tHE Mapame AnceEto Cotiecrion, Paris. G ? }l AS? | ;. h From THE Por Descuamps CoLLecTion, Paris. aX: Sr tr i, x ee aT by tld. Ub. 1890 At het angst BAN re iil one: Salo VAL aRR dtp IRIS I ge ae eat ay naan Foe hee bn Tere \) ~ So Ree aan al No. 30 \ ) FERDINAND VICTOR EUGENE DELACROIX Tt hat) bd \\aae THE FLAGELLATION WY Ohrw Hittite a Wirtu hands lashed behind and ee to a ring in a low column, a on the right of the composition, the figure of the Ioendeg bows tO Wiles ion) met § CATALOGUE : : over to the left in profile, the sole of the right foot resting ‘oi against the base of the column. The light streams upon. His back and shoulders and upon the drab wall on the right of the background, while an angle in the wall produces a dark olive shadow behind the head, from which the golden-brown hair _ tumbles in confusion. The face is drawn with agony and the fingers constricted over the upturned palms, while the attitude ____ Of the body is expressive of profound resignation: a mingling | 4 of pain, horror, and pathos such as often characterized Dela- — eroix’s poetic imagination. A dark blue drapery loosely wraps the loins, and a crimson mantle lies upon the floor. The color- scheme is at once sensuous and inspiring, and the chiaroscuro mingles a delicate beauty with a feeling of deep awe. Signed at lower right, Euctne Detacroix. Height, 134 inches ; width, 104 inches. Vo. j LS, Ce MM TO, oe “i An XK LOUIS GALLAIT fag ghee : A YOUNG MOTHER | TAts%mall picture by the painter of the vast CANVAS, “ A bdica- tion of Charles V.,” which lifted Gallait to the ‘first rank of the Sea Ere ee en Ie historical painters of the day, represents a young mother nurs- | _ ing her baby. The latter is nude and sits upon the mother’s left arm, with its feet'close together on her lap and its arms nestling up to her neck. The lady is dressed in a white robe, : falling loosely from the shoulders, where she holds it with her ___ left hand. She is seated on a sofa against a yellow cushion, ‘near which, on a greenish-gray one, reclines a black and white Ei ( xxxvil ) > ) yo HUNTING DOGS THE WARREN COLLECTION long-haired terrier. On her right is a delicate spray of greenery with pink flowers, showing against the blue sky. Signed at the lower centre, Louis GaLLaiT, 1869. Height, 104 inches ; midth, 8 inches. From THE Mary J. Morean Co.tecrion, 1 ~ Vous? Ae jf ~ AP No. 32 NARCISSE VIRGILE DIAZ DE LA PENA In the foreground of a cyan bondereie I Ahe distance by trees, are grouped five rough-coated dogs, the one lying in front being of white and buff color. On the left of the composition are two oak stems, the foliage of which fills in the top of the picture. A of J Signed at the lower left, N. Diaz. Height, 94 inches ; length, 13 inches. - From THE Her 10. pK XL York, 1880. bs ro - ( c ]°-0! sa feX Ce 0 No. 33 A LITTLE boy is seated on a high stoo Mat Ae oot O walled room, which is hung with caps and overcoats. With his right hand thrust into the pocket of his suit of blue overalls and ((XxxViit)) EASTMAN JOHNSON, N. Eb | THE CULPRIT My j Ke rab- ci i 4 _ 4 er ’ a oe eee — AME eR se ARIE A Re 3 A meth poe oe ner Ee See eae renee er oa, SRP Le oc. on ele ee ee Le ate Stun wa Seah - CATALOGUE the left held to his mouth, he looks out of the corners of his eye res, with an expression of demure rebelliousness. A dog-eared ok has fallen to the floor. The little picture is full of char- acter, skilfully drawn, and charming in tone. “Signed at the lower right, Eastman Jounson, 1867. Height, 11} inches ; width, 9 inches. From THE GeorceE I. Sentry Cottecrion, 1891. oon urXxK : No. 34 Yi ANTON MAUVE DA DONKEY stands harnessed to a dull blue cart, the sunlight Bedening the brown of his coat and dyeing the meadow yellow. pry characteristic is the inertness of his attitude as he drowses in the warmth. Beyond the cart ‘a brownish-drab house shows 4 # among the trees, and a further row of trees borders the meadow id iq in the distance. cu a Signed at the lower right, A. M. Height, 113 inches; length, 144 inches. No. 35 MARIANO FORTUNY Y CARBO Pylititg ENTRANCE TO A CAVE An Arab in scarlet mantle stands before an almost black wall of rock, and at his side sits another in white. The former i is in ( xxxix ) ls EVARISTE VITALE LUMI THE WARREN COLLECTION shadow, while a ray of light from the left illumines the latter's robe and falls in a slant across the sandy foreground. Behind the figures runs a dark angle of wall, apparently leading to the cave, and above it a peep of white buildings is visible against the blue sky. Signed at the lower right, Fortuny. Height, 10 inches ; nidth, 154 inches. LS fh NAIS From tHE Watt-Brown CoiEcrign, 1886. ~ ] 7 & SX - No. 36 v/, eek each EF CNR NO Sa tie elie gies linn Lh eee th ua Soret. TEUTONS CROSSING THE RHINE Two warriors, in the water up to their horses’ hocks, are near- ing the opposite bank. One of them, bare to the waist and clad below in tight blue breeches ornamented with red, his calves Bhp ‘siniiiiaieaiielaine inet bound with linen greaves, carries a spear and target in his left hand, and leans the other on the quarter of his chestnut horse, as he turns to speak to his comrade. The latter is riding a black horse. On the bank, which is dimly seen in the gathering twi- light, is a rough wooden dock with figures that show against the dark sky, overcast with clouds. The picture is a strong ex- ample of this painter, who made his reputation by his subjects of Goths and Barbarians. | Signed at the lower left, E. V. Lumrnais. Height, 124 inches; length, 16 inches. From THE Watt-Brown Co ttecrion, 1886. 2 Li] CATALOGUE _ Py. | Bie _ Gow Rt Spel a JOSEF ISRAELS 4 “A COTTAGE MADONNA 7" 7 wee 7 s a dim kitchen, with a floor of red tiles, a peasant woman B sits bending over her baby, as she dries its limbs. A faint light ' pels on the figures from the right, caressing the woman’s white _ cap, her red bodice, partly covered with a pale mauve shawl, b 4 and the chubby form of the little one, which glistens, shell-pink, oC her blue apron. The figures, as usual in this artist’s pic- _ tures, are immersed in atmosphere, emerging gradually from _ the elusive dimness of the background. While a small example, 4 it has the characteristic qualities of tender, wholesome senti- ment, and exquisitely subtle color. Signed at the lower left, Israxts. Height, 174 inches ; width, 134 inches. No. 38 on, ee JONGKIND _ NEAR DORDRECHT q Water, shipping, and moonlight were favorite subjects with — Jongkind, and one finds them here, rendered in impressionistic manner, at once piquant and serious, broad and delicate. A full moon rides high in the pale blue heaven, encircled by creamy clouds and shreds of drab vapor. The light silvers the surface of the canal, throwing into deeper shadow the water beneath . (2x17) THE WARREN COLLECTION the shipping which lines the banks. On the right lies a barge with a man in it holding by his boat-hook to the bank, on which are a bushy tree and a windmill. Conspicuous on the left is a boat with one mast in which a man is handling an oar, while another stows the sail. Further back on this side some grayish- yellow trees lead towards a windmill, and in the extreme dis- tance a high wooden bridge crosses the water on three piers. The picturesqueness of the scene and the solemn witchery of moonlight are beautifully expressed. Signed at the lower right, Jonakinp, ’69. Height, 16 inches ; peck) 24 inches. ——— From THE Rosert L. pay Bee CoLLEction, 1892. 7 Cb g ues fbr W- piper No. 39 ARTHUR VON FERRARIS cae SCENE IN CAIRO An. L. foe OuTSIDE an open stall that is framed with an arch of blue wood ~ in a white plastered wall, a game of dominoes is in progress. On the left of the group an Egyptian, in a yellow silk robe, holds three pieces in the palm of one hand, while doubtfully poising the stem of his hookah in the other. Over him leans an old man, holding a large pipe. The other players are a Nubian and an Arab, the latter in light blue robe and a white turban with red crown. An old man in golden-brown costume sits look- ing on, and another face watches from the interior of the stall. A short distance back from the group a boy stands by a rough wooden cupboard, drinking from a jug. The composition is easy (ixcliis:) Signed at lomer Aaht. ArTuHUR Ferraris, Paris, 1892. a Height, 17 inches ; length, 21 inches. No. 40° V4 I, pith y FOXCROFT COLE ; VIEW OF BOSTON COMMON ‘= we the top of the ascent appear the dome of the State House and some houses on Beacon Street, catching a mellow. orange glow. The middle slopes present a hazy expanse of golden . mauve with a few bare elms on its front edge. A path sprinkled g with figures crosses the picture about one-third of its distance _ from the front, and upon the right of the foreground are dotted a some white gravestones. & “Signed at the lower right, J. Foxcrorr Cote. Height, 254 inches ; length, 314 inches. ! e From tHe Memortat Exuisirion, Museum or Fine Arts, Boston, 1893. ar = Dam wa ‘No. 41 4 C Ab ‘4, GUSTAVE COURBET _ COAST VIEW Near the centre of the sandy foreground, strewn with stones, rises a small, isolated peak of rock, to the left of which is a re- ceding coast-line of bold cliffs, mellowed to a variety of rich Gexiili ) ‘SUNSET,—TOMBS NEAR carRO © // Lh A THE WARREN COLLECTION browns, mantled atop with dull russet-green herbage. Round their bases lap the pale blue surf-lines of a smooth grayish-blue ~ sea, over which hangs a vaporous horizon of warm slaty hue. Above this is a layer of dull creamy clouds, billowing right across the sky, which, overhead, is a greeny blue, flecked with skeins of green and rosy tufts. The rocks have the grandeur, a little grim, of Courbet’s robust realism, and the hasty manner with which the upper sky is painted reminds one of his un- scrupulous impetuosity. Signed at the lower left, G. CourBET, ’72. Height, 17 inches ; length, 224 inches. From THE James L. Citacuorn Co.L.ection, 1877. WV rs 2 4 fh ans : No. 42 ALEXANDRE GABRIEL DECAMPS | Tuis picture well illustrates the remark of Muther that De- camps was “the great charmeur, the master of pictorial caprice, who found his province in the East.” The composition is cu- rious; chosen evidently for the chance it presented, to one who was a painter first and foremost, of securing a fantasy of color and an enchanting labyrinth of light and shade. The fore- ground is filled with water, upon the opposite side of which a steep bank is retained by a stone wall. A figure in brown cloak sits on the edge of the masonry and near it stands a woman in white with a jar upon her head. Further, towards the centre, rise in succession three square shafts, upon the nearest one being grouped three figures, one of them standing silhouetted ( xliv ) | GEORGE FULLER, A.N. Ay | THE LITTLE DUNCE ee a CATALOGUE against the hues of vermilion, ivory, and gray that streak the horizon. To the right of these structures are a few rock pines and a building among some further trees. The distance is com- posed of desert, with alternating strips of sand and herbage. The whole is a brilliant fanfare of ivory and golden browns, rich greens and vermilions. Signed at the lower left, Decamps. Height, 124 inches ; length, 244 inches. * No. 48 A. CHILD, with a high conical cap of thin white paper over its - flaxen curls, holds a book open in its two hands. The head is slightly lowered, but the gaze of the eyes, misty in shade, is directed over the top edge of the book and fixed in vacancy. The dull blue tunic is buttoned close up to the neck and the background is of a dark olive brown. The light is concentrated on the face, the flesh-tints of ivory and carmine being lumi- nously golden. While slightly elfish in suggestion, the expres- sion of the face is yet tender and pathetic in its mingling of vacancy and unfathomed thought. The picture is a fair ex- ample of Fuller’s originality of style; of the heavy and some- what laborious method of painting, out of which he evolved a | deep resonance of tone, a mellowness of atmosphere, and an inexpressible mystery of pure and earnest sentiment. Signed at the lower left, G. F. Height, 21 inches ; nidth, 174 inches. From tHe Memoriat Exuisirion, Museum or Fine Arts, Boston, 1884. ( xlv ) Wreed bec L py? ee ) yorsEs IN STABLE (00 7272C}@%~ Are ee w _ ~ with white, which receives the highest light; the other colors THE WARREN COLLECTION No. 44 /} 4 THEODORE GERICAULT KOGA THE picture represents the dim interior of a sta ith a row of six stalls; each occupied by a thoroughbred horse, three of which have blankets upon their backs. A conspicuous spot near the centre is afforded by the quarter of a gray, dappled being chestnut and brown, glowing in the warm, golden atmos- phere. Géricault has been described as the first eminent painter of horses, for which throughout his life he had a special predilec- tion. Also, he was among the first of the Romanticists, who were to liberate French painting from the plaster-of-Paris manner of the school of David. Height, 144 inches ; length, 18 inches. From THE Wati-Brown CoL.ection, 1886. Jv”. Lo oy f AKKK No. 45 ELIHU VEDDER, N. A. IDEAL HEAD,—TITO #- THE olive-skinned face is shown in profile against a creamy white curtain that hangs in folds, a red biretta nestling among the bushy black curls. The eyes are large and languid and a ( xlvi ) gar CATALOGUE + Tight mustache droops over the corners of the sensuous mouth. : g A yellowish-green cloak is thrown across the breast, at which | 3 PY. point the figure is terminated by the coping of a stone parapet. a On the front of the latter. is incised the word “Tito,” and on ie ithe top lie a large signet ring and some cut and polished gems. | ‘The impetuous weakness of Romola’s lover is admirably de- | a _ picted, and the composition has the handsomeness of line and mass that distinguishes this painter’s work. : Signed at the lower right, V., 1886. Height, 21 inches ; width, 17 inches. No. 46 |, EMILE LAMBINET WL, Y Us | LOCK’ON THE SEINE NEAR BOUGIVAL _ From a triangle of land on thé left a man is fishing. Across the water appears the lock, with a house among the poplars further back to the left of it. On the right bank, connected with the lock by asluice-gate, a cottage shows, surrounded by yellowish-brown _ trees. Ini the front of the water some ducks are swimming to the land. The scene, bathéd‘ir Guid sunshine, is delineated with a carefulness of manner that renders agreeably its intimate rural beauty. : Med. *. Signed at the lower left, Emite LamBinet, 1875. Height,20 inches ; length, 254 inches. ee = eae “a "5 n — rome . _—. — —- ~ = eS Se i = a oi : — re x a a eT a : —— a = —_— ‘wie ees 2 mis ital he ee ota Senahd ea AN itt Lea eed 7a mime Ll Spec hay ea . “assailed iia ibid ine Per + > Dae SS ON oe eee a ere a =i ’ ¢ ha nee ; eAaiee ao et ioe rn ee ye Pe 2 co see a ee a as a] Fe ee ee _ 2 z c ‘ . ma “ A ie. — — a eo = . Oh ge osc! bait Wns =. u - oot ; 2 4 7 Ae = pe SN ( xlvii ) THE WARREN COLLECTION V ; wfc A, ‘ C é f \ \ 4 ri y 7 | 1 Hingis ry Biahis sa No. 47 1" | ; a te a ° Lalor thy / PRLIX ZIEM LE CANAL DE CHIOGGIA SEEN beyond the stretch of water which reflects in deeper téne the blue of the sky, is the Piazzetta, with the Doge’s Palace on the right and a corner of the Royal Palace and the Campanile on the left, drowsing in the rose and iris vapor of the horizon. On the right of the foreground a boat with red furled sails and two figures in it is moored alongside some buildings, one of which catches the light, while the other, connected with it by a wall of red bricks, showing through the Th ae is In rk 4 ,. | | q _ man’ s feet lie a basket and bluish-gray dish with a tongue upon A ‘ ¥ it. The picture, painted with extraordinary dexterity, is charm- ng in its scheme of low-toned color, and full of the force which made Ribot one of the great painters of the century. | if a Si at the ne. ef a 1861. Height, 18 inches ; nidth, 15 inches. A, fy ; / No. 49 | AFTER THE SHOWER | {50 } _ Upon a brown, sandy road in the foreground a herd of five goats eis resting in charge of two women, one of whom is standing ; ____ while the other sits. The road disappears at the back of a sandy 3 a bank crowned with dark, stunted trees, that rises behind the VJ group. The landscape to the left stretches away in the long plain of Montmartre, crossed by bands of steely shadow and cold, yellow light. Over the horizon is a streak of white light, below dark gray driving clouds; the upper sky being filled with a large mass of white cumulus. In the contrasted coolness and mellowness of the color-scheme the fitful appearance of sun- , | shine between showers is truthfully rendered, and the picture, i | _ very pure in color, admirably represents this painter’s memo- | | rable rank in the history of modern landscape. on 25 inches; length, 304 inches. From THE Watt-Brown Cottecrion, 18 1886. vs Y £ 8 . AY oe ae ny THE WARREN COLLECTION ers HENRI HARPIGNIES *LETANG, CLAIR DE LUNE Tue foreground of sand, mottled with grass, gradually ascends, sloping to its highest point on the left. In the centre of the bank grow two pollard willows, through the profuse foliage of which glimmers the full moon. Its warm primrose reflection glistens upon a triangular pool of water, seen beyond the trees; and, in the distance, hills show faintly against the gray-blue sky. A man in blue blouse is passing along the path in the fore- ground. The scene is flooded with luminosity, and the union of silvery and deep low tones produces a harmony that is as sweet as it 1s serious. Ate h. Ab KKM, Signed at the lower left, H. Harpiantes,’98. Height, 194 inches ; length, 234 inches. From Messrs. Arnotp & Tripp, Paris. } 7 % ] ail ; No. 5h CHARLES EMILE JACQUE THE POULTRY YARD with a ladder on the a leading up to the chicken- the door of which stands ajar. On the same side of the picture, in the foreground, lies a big stone trough, against which a green glazed jar is resting. The centre of the group of fowls is a dark (ety) ie CATALOGUE QT ray ‘cock, with golden-brown feathers on the neck, and around h im the hens are scattered in an animated pattern of white, “Dlack, gray, buff, and other tints. They are painted with the thoroughness of knowledge that distinguishes this artist’s pic- tures of poultry. gle fe ve Sind at the lower left, Cu. Jacque, 1860. Ai ae 174 inches ; length, 254 inches. No. 52 JEAN AUGUSTE DOMINIQUE INGRES a Re pINAL BIBBIENA ESPOUSING HIS NIECE RAPHAEL - _ Turis picture inctiates the hold which the Cinque-centists and _ particularly Raphael exercised over Ingres’s mind. The compo- Ss ition itself is reminiscent of Raphael’s “Sposalizio” in the Brera peey at Milan, except that the positions of Maria Bibbiena and Raphael, as compared with those of Mary and Joseph, are reversed. The Cardinal’s head is copied from the portrait of him, once attributed to Raphael, in the Pitti Gallery. The head of Raphael is an adaptation of that of the “Violin Player” in - the Sciarra Palace, with the addition of the velvet biretta worn by the beautiful youth of the Louvre, for a long time believed a to be a portrait of Raphael himself. --' The Cardinal occupies the centre of the composition, lifting _ the hand of Raphael, who stands on the left with his back r. partly to the spectator. At the same time he extends his left F hand towards Maria Bibbiena, who stands on the right with her hands crossed over her waist and her eyes fixed on the floor. aa) rs eg THE WARREN COLLECTION Behind the scarlet cassock of the ecclesiastic is a table with ~ dull red cloth, and a portiére of similar color hangs over a door- way in the background, where a page stands in shadow watch- ing the ceremony. The lady’s costume is of plum-colored velvet, while Raphael’s tunic is of dark green, edged round the neck with brown fur. The drawing throughout is precise and firm, the hands being rendered with special distinction, and the whole picture is elaborated with the severe propriety characteristic of this famous Academician. It was painted for Queen Caroline of Naples, sister of Napo- leon and wife of Murat, and after the fall of that family passed into the collection of the Duke of Salerno. Later it became the property of M. Tabourier, Paris. Signed at the lower left, INGREs. Height, 23 inches ; nidth, 18 inches. No. 58 EUGENE FROMENTIN THE ESCAPE a Mae Ltete Urerne his horse out of the edge of a river, an Arab is mak- ing for the desert, over which the sun is sinking. Behind the saddle clings another man with his arms round the rider’s black- cloaked shoulders. He is turning back an anxious face, sur- rounded with dark tangled hair, and his meagre tunic of dull red material leaves his legs and one shoulder exposed. It is a spirited and handsome example of Fromentin’s Oriental sub- jects. ie , \ a ; a Oneatly Signed at the lower left, Kua. FRoMENTIN. Height, 25 inches ; nidth, 21 inches. C111) aa pe Batic) = Ce ihn ea cS are orate Re Lat at rns, eg RED Sali og ti RARE i ee LE o iY an? 2 P - es betel ‘aie ae é 4 ye @r-." .f eee & 2 C= oe ae ee tana Ad ites * Lae E . . Pi oe +4 78 ee Te — me ray Ge, : at ae ts P| iY 7 way = eas ee, . P4 5 ae ¢ “ Mee ern iy é . J , . , CATALOGUE 7, No. 54 . JZ mat J. FOXCROFT COLE 7 VIEW NEAR PROVIDENCE _ From a stretch of pasture in the foreground, mellowed with | Z evening light, the view extends across a sheet of water to the | __ city in the distance. The water is cut into by a wedge of land which projects from a wooded hill on the right. In the fore- ground, on the same side of the composition, stands a row of trees, in three sets, of three, two, and one, respectively. On the s left are three smaller trees near a little brook, which crosses | the meadow from the front. Along the edge of the sheet of __ water moves an ox-wagon, loaded with hay. Signed at lower right, J. Foxcrort Cote, 1879. Height, 174 inches ; length, 254 inches. ° No, 55 i pew JEAN LEON ay ‘ Piéc00 |\aa0 * ¥ LEMINENCE GRISE _ Tue scene is in the old Palais Cardinal, ne she Palais Royal, and the cynosure, the Capuchin Friar, “Father Joseph,” the secretary and confidant of the Cardinal-minister, Richelieu. He stands at the head of the first flight of the grand staircase, which a number of sumptuously dressed courtiers are ascending on their way to the Minister’s levee. Keeping close to the balustrade on which is enscrolled the initials of the great man, ( liii ) i he i 7” THE WARREN COLLECTION they make profound obeisance to his alter ego, eying him with diverse expressions of suspicion, fear, dislike, and subser- vience. With his back to a magnificent wall-hanging, edged with gold and gray and emblazoned with the arms of the Car- * dinal-duke, —three chevrons gules on a gray field, —“‘the Cardi- ynal in Gray,” as the wits of the time called him, stands with military erectness, his strong, lean head bent towards a brevi- ary, which he holds near his face. The staircase branches into two flights, opening upon corridors, and on the left one a figure leans over the balustrade with a gesture of anxious curiosity. At the foot of the staircase on the left, between the newel-post and an enormous column, a halberdier stands on duty. Some splashes of light on the opposite side of the pavement help to balance the brilliant hues of the winding line of courtiers. This picture, exhibited at the Salon of 1874, and awarded a medal of honor at the Universal Exposition of 1878, is one of Géréme’s masterpieces; learnedly composed, scrupulously exact in detail and abounding in the shrewdest characterization. Signed at the lower right, J. L. Giréme. Height, 38 inches ; length, 51 inches. From tHe James H. Sressins Coriecrion, 1889. 4), cy NS - EXHIBITED aT THE GuILDHALL Exuisition or Frencu ‘Art, Lonpon, 1898. No. 56 JULES DUPRE ON THE CLIFF pf | jas VT hy In the foreground of this very notable picture lies a hollow, — sprinkled with tufts of grass, on each side of which is a sand- ONE) ‘ ae yee er eg See ce : ee ee ly Rare pe i? Wer a) Lame igt: v ‘ > ee, — CATALOGUE | dune. The one upon the right basks in the sunlight and on its top sits a woman in a scarlet skirt with a black dog by her side. _ The opposite one rises more gradually in shadow, with an iron- 7” gray horse and a brown and a white cow upon its crest, and two other cows lower down on the slope. Beyond the dip of the _ two ascents appears a patch of blue-gray water, ruffled by the _ breeze and, in the distance, bounded by a spit of pale green cliffs. Grand volumes of cloud, impregnated with light, sail 4 _ over the horizon, and above them is spacious blue, flecked with Zz white. The picture is a noble example of the master; large in e conception, full of braciness, treated with firm breadth and yet infinitely delicate in tone. | . | | | a : Signed at the lower left, JuLEs Dupre. Height, 314 inches ; length, 393 inches. | No. 57 JOHN LAFARGE, N. A. | 4 THE WISE VIRGIN = THE figure is represented standing in a doorway, her lamp shed- ding a greenish flare against the deep blue of the sky beyond. Over her rich green robe she is swathed in white drapery, one end of which falls over the left arm, that is carried at the waist. Under the fitful light the folds of the fabric reflect innumerable varieties of green and gray, discriminated and blended with admirable subtlety. A water-color. Height, 54 inches ; width, 30 inches. ll ” ALUNTING SCENE Kp. fp . a fu _ A BARE-FOOTED peasant girl, knitting a red stocking, is seated THE WARREN COLLECTION No. 58 GEORGE INNESS, JR., N. A. Near the centre of the con neeinee the hounds ar bi mn 4 a pack around the Whip, a few having straggled away towards the left, to a bunch of bushes nearer the front. Among the trees appear the huntsmen in scarlet, conspicuous on the left bemg one on a white horse who is riding away from the front. Signed at lower right, GzorcE InnEss, JR., 1881. Height, 294 inches ; length, 444 inches. No. 59 JULES ADOLPHE BRETON BRITTANY PEASANT on the trunk of an apple tree, which grows low along the grass. Her costume consists of a white cap and kerchief, and a dark slaty-blue skirt with an apron of brown sacking. Her figure is in shadow, but on the meadow behind her lies a slant of yellow sunshine, which also reaches some trees in the distance. The picture is a sweetly serious study in the artist’s well-known poetic vein. 7 / DA | Signed at the lower right, JuLEs Breton, 1870. Height, 63 inches ; nidth, 494 inches. i 4 4 op n = = ‘NI ee SECOND NIGHT'S SALE ss FRIDAY, JANUARY 9, 1903 "BEGINNING PROMPTLY AT HALF-PAST EIGHT O'CLOCK } wo a _ on No. 60 “ A. PASCUTTI : ae te DUET | ‘ On a ‘sofa which has a high back, upholstered with tapestry, ‘reclines a lady in a costume of salmon-pink. She leans upon her let | t elbow and with her right hand holds a sheet of music in front of a . girl, who sits upon the right, playing a guitar. i le é From THE Ninecs L. Pan Be ETON, 1877. WW 30 | base ae No. 61 A Cf. Fi ‘i NARCISSE BERCHERE Pins “THE WALLS OF JERUSALEM cA FEW figures are sprinkled on the right of the foreground, which i is covered with hot dust, where flakes of light are inter- - spersed with violet shadows. Other figures are sitting or walk- _ing under the grove of dark olives, which ‘stretches across the middle distance. Beyond, appear the walls of the city, cream and pink in the sunlight, with a single date-palm and a slender _ minaret showing above them. | Signed at the lower left, BERCHERE. Height, 8 inches ; length, 104 inches. i, ; C71ik2) Signed at the ae right, A. Pascurtt. Height, 6 inches ; length, 8 inches. THE WARREN COLLECTION No. 62 RICHARD PARKES BONINGTON : } er, ¥ | : nitisipn SY? : Lhrvrey THE graciousness of an art, his love of simple natu and elegant dexterity of technique, are well represented in this landscape. A smoothly sloping hill rises from left to right of the composition, divided by hedges into spaces of bluish-green pasture and yellow harvest-field; a windmill on the summit showing faintly against a gray sky, impregnated with cream and flecked with tufts of tawny cloud. Two brown elms stand on the right of the foreground, in the centre of which is a white cow, near to a woman in a crimson petticoat. Two other cows appear to the right and some figures upon the left, the latter being traversed by a streak of yellow light, beyond which stands _ a little eminence covered with a castle-like structure. The tone of the picture is exquisitely delicate, and the details have a — : piquant trimness that yet does not interfere with the pra and unity of the impression. Signed at the lower right, R. P. B. Height, 7 inches ; length, 15 inches. me ¢ A : No. 63 x lta wl. y CHARLES LANDSEER, R.A. THE LITTLE ACTRESS THE subject of this picture, which was formerly in the Charles Romilly Collection and was exhibited at the Royal Academy ( Ix ) CATALOGUE Exhibition of Old Masters in 1874, is Lady Rachel Russell, | granddaughter of the Duchess of Bedford. Load | A dainty little lady in mid-eighteenth-century costume is ; ; represented, standing against a drab background with her hands on the crutch of a black walking-cane. A bow of peacock-blue ribbon adds an archness to the simplicity of the white mob cap, which is fastened under the chin by frilled ends. A black lace ‘ fichu encircles her shoulders and falls over her white stomacher, hanging low down upon the skirt. The latter is of old-gold silk in puffy folds, with full panniers of faded rose and gray stripes. The picture is a a | el of the art of Sir Edwin’ S Rider brother. Ke Bived ey 4 bh, : om is pf: _ Signed at the lower left. . ht, 84 ee dth, 104 inches. } a Hel BAL p16 7 if ‘oa @ ; No. 64 EUGENE FROMENTIN ARABS AT THE FOUNTAIN a | A party of Arabs has halted in a pleasant green spot, bordered by luxuriant trees. The little spring of water is on the right of the foreground, and near it, with his back to us, sits a man in black cloak and red head-dress on a chestnut horse. 'T'wo figures are reclining on the left, one of which holds a horse by its bridle. Other figures appear in the distance under the trees and in the open glade. The sky is brilliantly blue, with puffs of _ white cloud. y¥h/ Av. kK * , Signed at the lower left, KuGENE oy ee eed cat inches ; nidth, 10} inches. ( 1x1) From THE ALBERT SPENCER COLLECTION, 1879. i epi ave t. Bo tee ted Hire (A ak Ra a a —— Beatties OPEN EST THE WARREN COLLECTION No. 65 cO” JOHN LAFARGE, N. A. Ly Ae ¢ é ) © oxp House, NEWPORT Por D aeeal THE main feature of the composition Is a gambrel- roofed ho whose warm drab end with two windows shows above a wall in the foreground. There is a dormer window in the slaty-colored roof, which is topped by a red brick chimney. To the right are a tree and more distant houses, and a white spire showing against a pale greeny sky, streaked with love ay and sur- mounted by a space of blue. Height, 103 inches ; nidth, 9 inches. No. 66 THOMAS GAINSBOROUGH, R. A. dies 0° LANDSC Syst ot a jo f fo ial ‘ ¥ J On a green bank at the left oo a composition is an Pit woman whose white kerchief catches the light, which strikes also upon a tree-trunk behind her. A man with his cap in his hand stands in front of her and beside him sits a third fig- ure. Behind the group spreads a bush of yellowish-red foliage, backed by greenery. A dusty road passing below the bank on the right, glows warm in the sunlight. In the middle distance, undulating meadows reach to a white cottage with brown roof, beyond which stretches a border of trees. Over the horizon lowers a big, slaty cloud, brightly white upon its upper surface, ( lxii ) CATALOGUE ‘Nem é - where it meets an opening of pale blue sky, which again Is sur- | _ mounted by a threatening mass. @ In its mellow tones and suggestion of gracious repose, the _ picture is a happy example of Gainsborough’s way of studying nature through the medium of a tender, dreamy temperament. Height, 14 inches ; nidth, 114 inches. a + yy Bes 67 ene ie DIAZ DE LA PENA gQ ye ) BOHEMIANS THREE gaily-dressed girls walk abreast, accompanied by two : 2 King Charles spaniels.. The middle one wears a scarlet jacket- | | body and a head-dress of white drapery, studded with jewels. Her companion to the left, carrying a basket of fruit, is clad - inarose-colored skirt and blue bodice with white sleeves, while the third is dressed in white with pink bows in her fair hair. Some trees on the right of the picture and some rocks on the opposite side are mellowed by the warm sunlight. Signed at the lower left, N. Diaz. , . ) Height, 94 inches ; length, 13 inches. From tue Coiiection or M. Epovarp Anprf&, Paris. y \ i ys 0 ( xiii ) THE WARREN COLLECTION No. 68 JOHN LAFARGE, N. A. AFTERGLOW B J/ A Jf, LA Ath? Tue foreground of rolling downs, golden green in hue, forms a cleft through which appears a glimpse of the sea, of the color of wine and water. The sky is a faint blue, skeined with wisps of white and pink. A splendid mellowness of color distinguishes the whole composition. Signed at the lower left, Lararce, 1869. Height, 132 inches ; nidth, 12 inches. No. 69 CHARLES FRANCOIS " e ““ LANDSCAPE WITH STORKS © A" THE picture is a harmony of cool, juicy greens, with the pale, greenish cream of the sky, exquisitely suggestive of the still- ness and refreshment of deepening twilight. The dark water in front reflects a patch of gray light, and is dotted with sedge and — leaves. 'T'wo birds skim its surface, and to the right floats a punt with a single occupant. The bank in the background is hedged with elms, in front of which stand willows, a large bush also growing close to the water on the left side. It is a charming subject in Daubigny’s most intimate manner... 7 .. - Ch. Web “fet” Signed at the lower left, Dausiany, 1864. Height, 9 inches ; length, 17 inches. AA empe From THE CoLLecTIon or Wittiam Scuavs, 1896. Lpe/ Ae © esetpan : y i mS Ay, te pe _ ‘CATALOG UE. ic : he i No. 70 ) O° nt : ()O™ Mis, THEODORE ROUSSEAU : St es: TWILIGHT. Firsr Stupy ror “Ranz DES. VacuEs ” (A FAVORITE AIR OF THE SWISS HERDSMEN) An RED glow permeates the background of trees, warming their rich olive foliage, through a break in the centre of which ap- “pears a layer of creamy light surmounted by gray sky with | streaks of darker gray and saffron. The splendor of the sunset lights on a pool in the foreground, flashing upon some cattle . hat are being driven by a man, and yellowing the fern which a "grows upon the banks that slope up on each side of the water. ‘The coloring is indescribably mellow, interspersed with jewel- — like brilliance, and the sentiment of the scene, as “fades the ~ glimmering landscape on the sight,” is a mingling of luxurious 3 aaa: solemn stillness. | ‘Signed at the lower left, Tu. R. Height, 74 inches ; length, 13} inches. ‘ he | ~— a : at SME, Jy Nom | Sf Lg C v é ‘e BAPTISTE CAMILLE COROT x: te me LOMBARDY POPLARS b hatte A Brook, bordered by poplars and a few willows, winds back from the front of the picture. On each side the meadows bask in soft, genial sunshine, barred by the shadows of the trees, and on the oe a path leads up to a cottage, whose brown goof is A at, abhi eeay) 2, a At a. te | ce \ Ye MARINE WITH YACHT (© W Ay lbre. THE WARREN COLLECTION bosomed in foliage. A woman is approaching it, and on the right bank of the stream lies a man with a dog beside him. The picture is a particularly charming example of the master; | tenderly harmonious in color and replete with a sweet intimacy of feeling. | Signed at the lower left, Corot. Height, 174 inches ; length, 23% inches. No. 72 CHARLES FRANCOIS DAUBIGNY A HIGH, vertical rock rises on the left of the picture, with « -broken fragments at its base. The gray sea comes tumbling in over the stones, and on the rollers in the middle distance rides a yacht. The sun is sinking, a scarlet orb beneath a warm, milky sky, above which hangs, like a curtain, a very dark cloud, lined with gray at its lower edge. The picture was painted on the cabin- blind, while the artist was on a yachting trip with a friend. It is attractively bold, executed in a broad and facile manner. Signed on sail of boat, C. D. re Height, 17 inches; nidth, 123 inches. Nad Lee LGlo® ew we No. 78 \gbe (D4 if Adi JEAN BAPTISTE CAMILLE COROT Ly" VLA See / REGRETTANT LA PATRIE Wiru one foot upon a stone and her fingers touching the strings of a mandolin, a girl is seated below a rocky cliff, which ( Ixvi ) aia CATALOGUE | slopes down at. the back to a sheet of water where a sail is visible. Her figure faces front, while the head is turned in pro- iGile over her right shoulder. A robe of faded rose silk opens down the front, disclosmg a white gown, gathered into the waist with a black band. The picture would appear to be an ‘ Bry example, corns Corot’s mastery of delicate tones. Pept i. ; ‘J - > > beta “a s i ‘ we sad), | Signed at the lower right, Conor. Height, % inches ; width, 17} inches | ‘ ms t btned ; _ From Messrs. Arnotp & Tripp, Sra 1888. wt ° 7, r ee. hie, oe am - JULES DUPRE eran MM. TWILIGHT ON THE SEINE . THE picture is one of those representations of twilight in which, __as one watches it, the light seems really waning. A quiet reach ‘ of river extends across the front, on the right of which four cows are standing in the water, three of them beneath a bunch of oaks. A little spit of land with a scraggy oak upon it pro- ____ jects upon the left, and near it is a man in a punt. Across the middle distance the river is bounded by a stretch of flat __ meadows, with small trees reflected in the water and pricked ___ out against the milky blur of the horizon. The greening sky is -___ veined with shreds of slaty vapor and rose and creamy streaks. A feeling of solemn rest pervades the whole scene. Wer Signed at the lower left, Jutes Dupre. Height, 94 inches ; length, 14 inches. From THE JAMEs L. Cracuorn Co.tecrion, 1877. NMS a a; ff Aa ( Ixvii ) Cite THE WARREN COLLECTION No. 75 JEAN BAPTISTE CAMILLE COROT ‘ya LANDSCAPE WITH rege On the left of the picture rises a tree, its tall stem clothed with a ivy. It is topped with grayish-green leafage, that is sprinkled 4 | / with tufts of brighter hue and fringed upon its outer edge with BY a delicate lace of leaves. Hard by is also a slender stem, which — , ‘I grows up into the mass of foliage. On the right of the main tree stands a woman with white sleeves and cap, and another — ; is seated to the left. Behind them lies a wall of rocks, corre- sponding with which on the right of the composition are a ruin oa | and some trees. Through the dip between these objects appear » | the view of a building with a round tower and, in the distance, _ soft gray hills. In a pool of water in the foreground stands a — brown cow, turning its white face towards the front. The gray _ sky, with a flurry of white and dove-colored clouds, warming a towards the horizon to a blend of cream and wine hue, is im- — . | pregnated with soft evening light. The fragrant purity of cool a. | and tranquil atmosphere is most charmingly suggested. eS | ied at the lower left, Corot. Height, 254 inches ; nidth, 194 inches. A H.R LM Og ( Ixviii ) CATALOGUE a mee Or apne ie No. 76 bs 3 | JE! «Nn FRANCQIS MILLET ff K a f4 1897 a E 50 y | TE f | so fe eam 3 ao J Sig ? att the lower aa: 4 pe 2 oo, Height, 14 inches ; nidth, 9 inches. oe eo 7 No. 77 onan 350 CHARLES FRANCOIS DAUBIGNY]. 5 t : + BOATS ON SHORE ‘Sy 7 WW Jae ie Sanp on the left slopes gently down to the water’s edge, where a lugger has been beached. Beside it is a boat with a white sail, and other boats are drawn up along the shore that curves round to the right; to the left being a few cottages. On the opposite side (@:ixix:)) THE WARREN COLLECTION of the water stretches a low, sandy coast with green upon its top. | Pe Little red flags flutter from the masts against a gray sky, that —__ .” < » grows bluer towards the left and upper part. It is a quiet little \. bit of truthful painting, executed with breadth and freedom. 4! Signed at the lower left, Dausiany, 1871. Height, 134 inches ; length, 224 inches. nh : ; ; ¥ Contributed by the Artist to a sale held in New York, for the relief of the “Chicago Suf- ‘ ferers,” May 16, 1872. ae JEAN FRANCOIS MILLET wt) ‘PEASANT WOMAN AND CHILD y A PEASANT woman is reclining on a bank, with her right leg under her and the left hanging down, her right hand resting on the other wrist, which is passed through the handle of a basket. She wears a loose chemise-body and russet-green skirt, and turns her head, bound with a blue kerchief, to look at a nude child that crawls to her side. The green and brown foliage be- hind the figures is bathed in a golden atmosphere, which lends ~ an unusual richness to the color-scheme. Signed at the lower right, J. F. Mi.uet. Height, 18 inches ; nidth, 15 inches. J o From THE Cotiection or M. Sensrer, Paris. p From THE CoLttectTion or M. Perrau, Paris. From THE CoLLECTION OF ALBERT SPENCER, NEw York, 1888. uf » ufo UT oSxx ( Ixx ) CATALOGUE 3 “ if Vo B dhl No. 79 THEODORE ROUSSEAU. _ A PLAIN IN BERRI—SUNSET _ Tuere is an almost tragic intensity in this picture. The plain stretches before us, gloomy with shade, through which one can discern a woman in a white cap standing beside a stooping man, and pools of water in the hollows, showing faintly brown. ’ The awe and desolation are enforced by the scanty contrast of ___a few meagre trees, that break the level of the horizon, which 2 is slashed with a long scar of lurid white. The sky above is « mottled with blackish-drab clouds, scudding across the gray vault. The ground shadows, notwithstanding their depth, are extraordinarily penetrable, and the sky is marvellously mod- elled with substantiality of cloud, endless distance, and the mysterious pervasiveness of fading light. The picture repre- sents the master in one of his grandest moods, profoundly ob- servant, | terribly sincere, rendering a phase of nature that is austere and inaccessible. | Signed at the lower left, Tu. Rousseau. Height, 154 inches ; length, 244 inches. From tHe Coiiection or M. Enrter, Parts, { Stat Who bought it in 1872 from the French expert M. Perir. _ As Vs From tHe American Art ASSOCIATION SALE, 1892. Astro lS SE Vcr Gres <1.) mt) 4°" a THE WARREN COLLECTION No. 80 rd 4 Y, Mh Qing | ADRIEN GUIGNET A CONDOTTIERE THE robber-soldier stands in vigorous attitude, turned towards the right, the figure immersed in the gloom of the background, except where the light from the left touches the orange head- dress, steel shoulder-flaps, and the folds of his white tunic and crimson. sash. He holds his right hand to the belt, from which a sword hangs, and carries a spear over his left shoulder. Guignet founded his method on that of Salvator Rosa, and - the present picture well illustrates the dramatic character of his conceptions, the spirited attack of his brushwork, and his rich and juicy coloring. Signed at the lower left, A. GUIGNET. Height, 16 inches ; nidth, 9 inches. No. 81 KARL HAAG A MONTENEGRIN LADY A- ‘, Z Tue head and bust of a lady are shown almost full face against a green background, the large, handsome eyes glancing to the left. Her head-dress is a turban, with crimson crown and a broad edging of black velvet, over which hangs a soft, creamy veil. A plait of brown hair descends upon the right shoulder. Her white bodice is decorated over the bust and collar with ( Ixxii ) CATALOGUE : _ geometrical designs in pale blue and red, and she wears a neck- __ lace of sequins, and ear-rings formed of pendant gold trinkets. No. 82 HEAD OF A SPANISH WOMAN __ Tue handsome face is in profile to the right, against an almost black background. A head-dress of old rose and golden yellow :- ‘surmounts the dark hair; the eyes are lowered, and the fea-_ q tures have a languorous warmth of color. Over the bust is a creamy drapery, sketchily suggested. a Signed at lower right, W. M.H. yin monogram. Height, 234 inches ; nidth, 17% inches. Lh. eee ee FRANCISCO JOSE DE GOYA Y LUCIENTES HEAD OF A YOUNG GIRL IN his portraits of young girls Goya could yield to the fascina- tion of his model and merge his cynicism and frequent brutality _ in the tender attractiveness of his subject. He has done so in this charming little picture of a girl’s head, slightly inclined to the left; the brown hair brushed off the forehead and peeping at the sides in curls from the simple elegance of the lawn cap. The gray eyes are wide open, gazing frankly at the spectator, and C lexiii ) Signed at the lower left, Kanu Haac. Height, 14 inches ; width, 10 inches. WILLIAM MORRIS HUNT { 4 D ee ee ee a a ee THE WARREN COLLECTION the ivory tints of the features are suffused with warmth. The girl wears ear-rings and a necklace of pearls, a white lawn tip- pet being drawn close around the neck, over a white front and olive sleeves. The head is subtly placed against a dark back- ground, which gives a touch of mystery to the sweet, earnest expression of the face. | | Height, 8 inches ; nidth, 6 inches. FLEMISH XV nile No. 84 “\)" MADONNA IN AN ARCH (Pamrep on Lawn) THE Madonna is seated against a background of old rose, dia- pered with crimson and framed in by a flat arch of gold. Her brown wavy hair descends over each shoulder to the waist and is circled above the forehead by three strings of pearls, which are fastened in front by a jewel, composed of four pearls sur-— rounding a carbuncle. She inclines her head towards her left shoulder where the Infant nestles asleep, whose form she sup- ’ ports upon her left arm. Her hands are crossed upon her breast, the thumb of her right hand being clasped by the Child’s left thumb and finger. The latter’s robe is of gold, the folds of which are pencilled with vermilion, while the Virgin wears a dull blue robe, showing the geranium-colored sleeves of an undergarment and a cloak of blue, edged with a narrow pattern of gold. The features and hands are drawn with delicate precision, exquisitely modelled in tones of gray and white, with carmine on the lips. Height, 12 inches ; nidth, 9 inches. ( Ixxiv ) “wu ly dal ve ie es ee a CATALOGUE No. 85 7 UNKNOWN ot LIFE : On a dull scarlet cloth that partially covers a table painted to Beireent green marble, lies a dead jay. Behind it are a mass of orange and fawn colored fur and a powder flask of soft, buff leather with brass nozzle. | Signe at upper left corner, T. P. Korrman(?), 1845. a Height, 12 inches ; length, ee inches. i No. 86 PORTRAIT OF MARTIN LUTHER : THE head and body are shown facing three-quarters to the 4 right; the right hand resting on a bar across the bottom of _ the picture, and the left holding a wooden rosary. A baggy cap of black silk with ear-flaps partly conceals the fair hair; the __ keen eyes have a suspicion of humor, and the lips are set to- _ gether with a mixture of kindliness and determination. The ee Se pe iy Je 4 Se ie ” |e ” _ throat is enclosed in a white embroidered collar, around which are bands of white and fawn-colored fur with which the slaty- 4 blue robe is lined. The sleeves of the latter are full and open, | displaying the black sleeves of an undergarment. a Gaara ren a5 y — Height, 10 inches ; nidth, 74 inches. Clxxv ) THE WARREN COLLECTION _No. 87 vA Toh ee | A A Autts DUTCH SCHOOL, XVII CENTURY AN INTERIOR THE scene is a rude kitchen with bluish-gray walls, buff-brown doors and woodwork, and a brown ceiling, partly in shadow. It is occupied by two groups. Near the centre a peasant, in blue trousers and green waistcoat with red sleeves, turns his back as he sits at a table, playing cards with a woman, over whom a man leans, pointing to one of the cards. On the floor beside the first player are a green pottery jar, a red pipkin, and two pipes. In the group seated on the floor to the left, round a stool on which lies a red plate, a woman is feeding with a spoon a spaniel, held up before her by a man. The figures are gro- tesquely ill-shaped, but the color has something of the bloom and harmony found in the similar subjects of Van Ostade. Height, 12 inches ; length, 15 inches. No. 88 GODFRIED SCHALKEN . % % WISE AS A SERPENT . THA Yh, A. FAIR-HAIRED lady is seated in 1 front of a store pees to the right of which is a view of landscape with castle and rock. Fixing her eyes on the spectator, while her head faces three- : quarters to the left, she holds a snake on her lap and poises a (chxxyvi® ee Bee ee aye | oe CATALOGUE dove upon her raised left hand. Her gown is of pale rose, with _ a drapery of old-gold color over her shoulders and one of deep blue lying across her knees. Height, 13 inches ; width, 104 inches. Vs No. 89 LP : a PETER PAUL RUBENS CHRIST'S ASCENSION Hotp1ne on high a rose-colored flag and crushing under foot a creature with the head of a man and the extremity of a ser- pent, the Christ sits erect upon a stone tomb. The figure is nude but for a white drapery over the knees, superbly virile in its attitude and in the ripe, glistening color of the flesh. An angel ne eet ee a Tn ee re ea a ee + Ot ae = pan a ya a eS Eup ia! non r ’ vr i ed ’ £. holds a crown of thorns over the Saviour’s head ; another appears on the right in golden drapery, and a third, stooping on the left of the group, blows a tuba. Throughout the whole picture is a magnificent fervor of color and movement. Height, 11 ches ; nidth, 104 inches. From THE Prince Demiporr CoLLEcrion (PRATOLINO). AL ._ k JAN BREUGHEL, THE ELDER | je (CaLtLED “FLUWEELEN,” VELVET) No. 90 CIRCE CALLING ULYSSES Tue spot in the enchanted isle of Circe is represented as a cool retreat, carpeted with moss and darkened with the shade of e ’ ( Ixxvii ) < ; THE WARREN COLLECTION deep green trees, through a rift in which appears a glimpse of landscape, delicately blue in the distance. The thread of com- munication with the outer world is a stream which divides the foreground into two parts, terminating at the foot of a cave- upon the left. Here Ulysses leans upon a ledge of rock, while on the opposite side of the water Circe, poising a long dart, moves lightly over the bank. Beneath her feet is the inscription “Tu ne cede mals sed citra audentior,” and under his, “ Sedet aeternumque sedebit Infelx.” A coracle rocks on the water be- side the cave, and a snake and a Triton swim near.it; other creatures haunting the spot. Four cupids flutter in the air, a dragon crawls near the enchantress, and in the cave a cock con- fronts Ulysses, while two fierce dogs guard the fire from which mounts a thin spiral of smoke. The landscape is charmingly conceived, drawn with skill, and deliciously fresh in color, forming a rich and sumptuous back- ground for the gem-like brilliance of the figures and various objects. Signed at the lower centre, BREUGHEL, 1595. Height, 134 inches; length, 20 inches. No. 91 y/, os AART VAN DER NEER HARBOR SCENE, HOLLAND In the foreground, embrowned with evening shades, a man is driving three cows down to the water to drink. Beyond them is a small harbor with curving hills on each side, picturesquely dotted with houses. A vessel is sailing out with the tide and ( ixxvni) Fe ' ee ¢ rela aap simmons akan nnn — ‘Sars er oe ek ee Re, ao i ‘ ' = ey oe CATALOGUE others are visible beyond the narrow entrance. A pale primrose reflection caresses the water, as the sun sinks in a round orb be- hind a veil of vapor, leaving the sky a dark olive drab at the zenith. The picture is a charming example of Van der Neer’s beautiful moonlit scenes, tenderly harmonious in tone and full of exquisite subtlety in the transparency of the lights and shades. iy of { Deve x 2 | be a Height, 10 inches ; length, 15 inches. gt tune 3 s THE COBBLER | AN old man with grayish-brown beard and mustache is piercing No. 92 th he DOMINICUS VAN TOL the sole of a shoe with his awl. He is working beside an attic window, through which shows a peep of blue sky, reddening be- | low, and behind him the timbers of the roof and a rack con- , __ taining lasts appear through the gloom of the background. He wears a white ruffle round his neck and a brownish plum-colored gaberdine that leaves one knee exposed, the sleeves being turned back so as to display the scarlet lining. The hands and face and the various tools are painted with minute care after the manner of Gerard Dou, whom Van Tol, his nephew and pupil, closely followed. Height, 12 inches ; nidth, 94 inches. From THE Duke or Hamitton CoLtecrion. From THE CoLLection oF Herr Viannine, HoLrann. Fe 4 Colxxix>) 1) THE WARREN COLLECTION BRUSASORCI, THE ELDER (Reat Name, Domenico Riccio) LADY IN VENETIAN COSTUME Tne lady is seated in front of an architectural mass, to the right of which stretches a brownish landscape of bushy hill, with one tall tree sheltering a flock of sheep. The head is slightly turned to the right, while the body fronts us, seen as far as the elbows, with a little of the left arm visible below the sleeve. Her blond hair is coiled in plaits round the top of her head and frizzed over the forehead; the features are fleshly and warm in tint, and a string of pearls encircles the plump neck. The bodice, of dull purple brocade upon silk of the color of wine diluted with water, leaves the neck and chest exposed, covering the shoulders and being cut square above the bosom. Its edges down the front are separated by a V-shaped space, filled in with a creamy net, which is also drawn skin tight over the bosom and neck. The subject is a bold Venetian type of beauty, drawn with a sure hand and of color originally luxurious. Height, 28 inches ; length, 49 inches. Lonpon, Aue. 9th, 1902. Tue AMERICAN ArT AssocIATION: Sirs:— At the request of Mr. E. P. Warren I write to tell you that in my opinion the painter of the portrait of a Lady in Venetian costume . .. was Domenico Bru- sasorci, of Verona, and that you can, if you judge fit, name me as responsible for this attribution. Yours faithfully, BERNHARD BERENSON. Cale) eae Se he hee CATALOGUE ; No. 94 : VINCENZO CATENA : 00 MADONNA : + | Tue Virgin is seated beside a crimson curtain in a loggia, over- looking a small square. With figure inclined towards the right, ____ she looks down at the infant Christ, whose head is turned from her to gaze at the young St. John, standing on the right with crossed arms. The Christ, encircled by the arms of His mother, f has the right hand raised in blessing, while the other rests . upon His left knee, the right foot being raised. Over the Vir- : gin’s golden-brown hair is a white linen cloth, that hangs over her left shoulder, while a blue mantle falls in voluminous folds over a crimson robe. In the centre of the square, beyond the loggia, is a well-head with a man beside it; and a woman in _ white is crossing to a church upon the far side, whose single I door, elevated on steps, has a circular window above it. To the i left is a dwelling-house, roofed, like the church, with red tiles. a The skilful rendering of the view in the background is particu- a larly noticeable, and the figures have a tender repose, charac- teristic of this follower of Giovanni Bellini. Signed at the lower right, V. C. P. (Vincenzo Catena Pryxir). Height, 16 inches ; length, 203 inches. aK | . ( lexx1) i] . a ? a sera: En. ald — ; qe HARBOR VIEW Lo THE WARREN COLLECTION a No. 95 f ° BARTHOLOMEUS VAN DER HELST : A BURGOMASTER'S WIFE “J f | / LL AM THE figure, fine and dignified in carriage, is inclined Aowards the left, while the lady’s eyes are quietly intent on the spec- tator. Her face is wide-browed, with strong nose and kindly mouth; well preserved save for a few wrinkles round the cheek and chin. The brown hair is drawn back from the forehead under a white, gauzy cap which has a turn-over brim, edged beneath with narrow lace. A large white ruff is worn over the stiff, black silk dress. The portrait is full of foree and direct- ness, a characterization of genial and candid realism. Height, 21 inches ; nidth, 154 inches. No. 96 a On the right of the harbor a rocky as rises & he. crowned by a range of buildings with several towers. Upon the beach at its base is a group of persons, standing or sitting; con- spicuous among them being a pedlar in scarlet, standing be- side a white horse with panniers. Sail-boats are moored under the rock, and in the front of the composition a man is push- ing from the shore in a row-boat, and another boat, with five figures in it, is rowing to the land. The sky on the left is of ( Ixxxii ) SF LY ee Cia oral ead eer. ee See ay a ae a aS t = f s + _—" PS. ~~ 7 Pre , Pe PIBrER DE HOOGHE EW CATALOGUE slaty hue, while clouds with white edges form a ring round an open space of greenish blue on the right. The greenish gray of the water and russet-drabs of the rocks and buildings complete a color-scheme that is very mellow in hue and delicate in tone. The picture has the feeling and character of a seventeenth-cen- tury Dutch marine. Height, 20 inches ; length, 30 inches. No. 97 DUTCH INTERIOR a 4 Two women appear in the dimly-lighted brown interior, which . has a window at the back screened by a brown curtain. To the right of it a door opens into a little entrance-hall paved with drab and white tiles, and having a window, across the lower half of which is drawn a pale rosy curtain. The faint, pure light of dawn filters through this and streams in at the open door, beyond which is a peep of canal and of the opposite bank, on which a man is walking under the trees. This part lies still in shadow, but the daylight catches the roof and gables of some distant houses. One of the women on the left of the parlor has stooped to kindle the fire, turning meanwhile to the other, who stands in the middle of the floor with her basket on her arm. A little spaniel runs towards her, as if eager for the start to market. The picture is one of exquisite repose and freshness; illustrating De Hooghe’s mastery of color, of atmospheric effect and of ( lxxxilli ) ll THE WARREN COLLECTION light and shade; the latter, especially, being rendered with mar- vellous truth and poetic imagination. Signed at the lower left, P. pp Hooaue, 1656. Height, 22 inches ; length, 27 inches. j From THE CoLLECTION oF CHEVALIER DE LiIssENGEN, VIENNA. ¢ From THE CoLLEcTION oF BaRoN DE BEURNONVILLE, Paris. No. 98 GEORGE MORLAND if "READING THE NEWS Wy, yd 4 YW Lf P ibs | | with easy natural | SomE figures are grouped in the stable-yard, _ gestures listening to an ostler who is reading from a newspaper. The latter stands before an open door in a drab-walled building on the right, and near him the “boots” pauses in the act of pol- ishing a top-boot, while to the right of them a stable-man in red shirt and dirty buff breeches lounges with his elbows on a fence. On the opposite side of the yard, against the end of a building in shadow, a black horse is tied and a countryman in smock-frock stands with his left arm over the animal’s back. A dog is seated to the left. The picture is very harmonious and mellow in quality with a prevailing tone of dreamy gray-green drab, carefully and skilfully painted, with the charm of truth and simplicity characteristic of Morland’s best work. Signed at right of lower centre, G. Moruann, 1792. ! Height, 244 inches ; length, 294 inches. dp. S.C. PF. 44. /EGS Her. MSs mt CATALOGUE i SGN No. 99 | tae oo ABRIEL METSU YOUNG VIOLINIST A YOUNG man, shown as far as the waist, standing three-quarters turned to the right, is in the act of playing a violin. A hat with upturned brim, covered with fur, surmounts his head, which inclines towards the instrument, his eyes glancing with merri- ment and his lips parted in a smile. He wears a brown cloth jacket, over a white shirt that hangs open on the chest in a long loop. The hands are large and supple. The picture, which is a study in various tones of brown, illuminated with warm light, has been attributed by Mr. Van Gelder to Dirk, the brother of Frans Hals. _ Signed at the right of lower centre,G. Metsu. Height, 244 inches ; width, 19 inches. From tHe W. H. Aspinwatt Cottection, 1886. , Bgrrrr 7 No. 100 ~é= SCHOOL OF PERUGINO MADONNA AND CHILD | Tue figure of the Madonna is represented to the knees, sitting in front of a landscape, which has a knoll on the left, sprinkled | with thread-like trees, and on the right recedes in ranges of i hills. Her head is inclined over her right shoulder, while the aq eyes are directed towards the left; and the reddish-brown hair . (lxxxv*) | THE WARREN COLLECTION is bound with a fillet and partly covered with a wisp of veil, that falls upon her right shoulder and across her breast. She is arrayed in a bluish-green mantle over a crimson robe, which is cut straight across the breast and bordered with gold em- broidery. Her right hand is upon her lap, pointing to the Child, who sits upon a cushion on her knee supported by her left hand, towards which He is looking. His feet are crossed and He raises the right hand in blessing, the left being on His breast. He is nude except for a narrow white drapery across the body. The gracefully affected pose, the flesh-tints of olive and i ivory with delicate tinge of brownish carmine, and the senti- CRAIN ST RID = an PZ! gh) a ct Seal ty ment of wistful tenderness are full of recollection of Perugino. Height, 234 inches; nidth, 18 inches. From THE COLLECTION oF THE GRAND DUKE oF Tuscany. From THE COLLECTION oF THE DUKE oF Lucca. § No. 101 ; AGAINST a dark drab oval background the fcnvee is shown as far as the elbows, inclined towards the right, with the head turned three-quarters to the front. The body is encased in a suit of dark steel armor, over which a dull crimson cloak is draped, falling from the left shoulder partly across the chest. The ends of a soft cravat hang down over the corselet. In contrast with the martial costume are the white peruke and flabby, self-in- ( lxxxvi ) CATALOGUE 2 a i gent Fitce. ‘The eyes are large and flesh-laden; the bridge of — th € nose depressed ; the supple lips complacently set together; the e chin double and pendulous. Height, 30 inches; nidth, 25 inches. fe. No. 102 JEAN BAPTISTE GREUZE f HEAD OF A YOUNG GIRL fee picture, a good example of Greuze’s type of girlish inno- _ cence and beauty, shows the head and bust, the latter fronting three-quarters to the right and the head slightly tilted over the pret shoulder, and facing us. A dainty white lace cap covers. - the hair, its ends fastened beneath the chin. The eyes look from — under half-closed lids through brown lashes, and the ripe flush of youth tinges the cheeks, nostrils, and lips. Over the low- necked bodice of gray silk, a white fichu is worn, fastened upon - the bosom with a crimson rose. While there is some excess of q sentimentality i in the picture, it is fresh and juicy in color, and j painted with a breadth and freedom that have considerable vitality. An oval—height, 23 inches ; nidth, 19 inches. ( Ixxxvii ) Ay , ri uh ' . it a a civ. ie i wr ' : | ‘25 af Sem ot a = Be -- ; “ , ne es es Mg a i re es is Z aw tS veo 4 a ; if | il “RA * LS oa j iat 2 set a nae | - y , + $ he ? E| | a oA +t ; | OO a THE WARREN COLLECTION No. 103 THOMAS GAINSI “ll OUGH, R.A. 4k PORTRAIT OF cotstt? INE JOHN PHIPPS, SECOND BARON MUSGRAVE GainsBorouGu’s predilection for cool colors and especially for blue and, equally, the purity of his tones and silvery sheen of atmosphere, are illustrated in this portrait. The head and bust are shown against a drab background, facing three-quarters to the left; the figure being clad in a deep blue coat with facings of white silk, decorated with gold braid and buttons, worn over a lace cravat and white satin vest. The hair is powdered, form- ing a peak upon the forehead, brushed back from the brows and massed below the ears in full loose curls. The face has a mingling of shrewdness and kindly refinement; the brows being irregularly arched, the eyes fixed to a distant vision, and the lips slightly compressed with an expression of suspended judg- ment. The flesh is cool in hue, exquisitely modelled with gray, transparent shadows. The picture is admirably characteristic of the artist’s gracious elegance of portraiture; at once, subtle and truthfully direct. ant aes fit sh e : PH si Be AF i Height, 29 inches ; midth, 24 inches. ( Ixxxviii ) CATALOGUE No. 104 SIR J OSHUA REYNOLDS, P.R. A. _ PORTRAIT OF LADY HERVEY OF BRISTOL WiTrTH a gesture of graceful artifice the hands are crossed over the bosom and the head turned sideways over the right shoulder. _ This brings into relief against a background of dark olive foli- age the exquisite refinement of the profile, the stately shape of the head with its brown hair brushed off the forehead and Br simply fastened with old-rose ribbon, and the choice lines of the neck, sweeping down to the broad bosom. The flesh-tints, vibrant with life, are yet of exceeding delicacy, modelled with | scarce a shadow ape invested with a pale amber lustre. The hands, though large, are shapely and soft in texture. The cos- tume consists of a gown of dull salmon color, cut low upon the bosom, and a russet-green drapery, hanging over the right arm. The transparent paleness of the bosom is enhanced by two rivulets of black ribbon, SMa ee a locket tucked into the corsage. — a7 LAs | ie Height, 29 inches ; nidth, 24 inches. From tHe American Art AssocraTion CoLecTion, 1895. JET F tasSce Pass xix ) cP Nas eis We - i Pa " ® “ . os a rae a = ah ang , GH aN eee ke ee ee RS wm ~ arr a At vias ed ee donk Se i fk Bake oN aan ee ee A. ee ee ae x a ahs 8 i o 4 r= J Ole F 7 fs + 3 AN AE, = eee ages, poe a ‘te Meg, es PSeetaldlinent Argan. oa etal = el hh SINT oe Br Eo a A ee ee ene i ts Sir lini = é Ee 5 Z ‘4 ee 430° THE WARREN COLLECTION No. 105 SIR THOMAS LAWRENCE, P. R. A. LYNDHURST “6 Son of Copley, the American portrait-painter. Born i Bostde, May 21, 1772 ; died in London, October 12, 1863; Member of Parliament, 1518; Solicitor-General, 1819; Attorney-General, 1824 and 1526 ; Lord Chancellor, 1827, 1830, 1834, 1841 and 1845 | SHOWN against a golden-red background, the figure is seen nearly to the waist, in profile fronting to the left, the head be- ing turned three-quarters full, and the eyes fixed upon the spectator. The dark brown hair is worn in short, wavy confu- sion over the broad forehead; the eyes are greenish gray; the face full and tinged with carmine; the lips large and ripely colored. The short neck is encased in a soft, upright collar and cravat with a jewelled pin, while the black coat with large roll- over collar, buttoned across the chest, discloses the edge of a black satin vest. PORTRAIT OF JOHN Bab Sh a LORD Height, 29 inches ; width, 25 inches. From Messrs. Waris & Son, Lonpon. No. 106 0), f- 2 hn bh SIR THOMAS LAWRENCE, P. R. A. PORTRAIT OF LADY LYNDHURST THE charming subject of this portrait, a daughter of Charles Brunsett, was first married to Colonel Thomas of the Grena- ( xc ) gern, 2 Sabytds Fas ” ie Cpt 4 = “ mE ee ms —_ —— eee ee ee jie (ot 2 Saher syaniene uot nee "Bn Dh Sr DRS SOIREE i ls — CATALOGUE dier Guards and after his death at the battle of Waterloo, be- came the wife of John Singleton Copley, Lord Lyndhurst. She is represented with the fascinating esprit that Lawrence imparted to his best portraits of women; the bust nearly in profile and the face three-quarters full, the head being slightly tilted back, with a gesture that is a trifle coquettish, yet very gracious. The lace edging of a mob cap falls over bunches of chestnut curls, and its delicate frilled ends, fastened under the chin with a gold brooch, enclosing a sapphire, frames a youth- ful face of peculiar sweetness. The coloring is a delicate creamy pink; the eyes are blue, the nose softly rounded and the lips daintily recessed at the corners. A lawn stomacher is tucked into the straight-cut bodice of a green velvet dress, with tight sleeves tucked at the shoulders. The left hand is held near the waist, a gold bracelet encircling the cuff and a lace frill falling over the wrist. Upon the left of the background are some small brown trees, with a suggestion beyond of dark green foliage, above which is a strip of tawny-drab sky with a glint of blue, darkening above to a nearly black mass. Notwithstanding some perfunctoriness in the painting of the hand and curls, the por- trait exhibits the artist’s brilliant vivacity of style and elegant winsomeness of expression. Height, 29 inches ; nidth, 24 inches. From Messrs. Waits & Son, Lonpon. ( xci ) Dé aig. Se ee £5 a ER Ee ~~ 9 sr cers aes a eS Behe at apie ne SE a D “ =F > arn Sap ee setbants So te So =x : eee of et TE aa ~ se - “oes prem Spa he wie ca i Pe go a OF lenny a pe rn ee ay THE WARREN COLLECTION yy r( No. Fay awd EDUARDO ZAMACOIS ET) / ios ee » am dhe COURT JESTERS AT CARDS fe die eae STRETCHED at full length upon the grass, a — fool is play- ing cards with a dwarf, while a hunchback watches the game. The fool is dressed in a scarlet suit, with little brass bells on the scallops of his baldrick, the flaps of his cap, and the long pendulous loops of his sleeves. He holds two cards in one hand while setting down a third with great deliberation. The onlooker, who sits behind the huddled figure of the other player, has a blue silk cap with cock’s feathers of the same color. The three grotesque heads show against the paling light of the twilight sky. The picture is painted with Zamacois’s usual verve and color feeling and with more than usual senti- ment. For there is a weird contrast between these creatures of the court and the stern simplicity of the landscape, and some pathos in the association of the waning light with these sports of fashion. Signed at the lower right, EK. Zamacois, 67. Height, 103 inches; length, 21 inches. ‘ ULL G Ween No. 108 JEAN FRANCOIS MILLET JGARDEUSE DE CHEVRES EN AUVERGNE. Crayon J” A pRasant girl is standing in the middle of a pale yellow moun- tain pasture, sprinkled with a few stones. She carries a distaff (Sx cll) 4g 5 CATALOGUE _ twined with wool, projecting in front from under her left arm, _ and from her right hand, extended beyond her back, hangs a 4 "spindle. Her figure is in profile, facing to the right; clad in § a blue tippet, a pinkish dress with the skirt folded back, and a f high straw bonnet. The flock extends behind her in a curve along the edge of the grass, and one goat is perched on a crag of rock a short distance off on the left. Pale green mountains _ rise in the background. In the character and freedom of the .. gesture and in the quiet absorption of the girl in her work, the artist has depicted more than an incident. The drawing has the comprehensive significance, marvellous in view of the sim- plicity of means employed, of a type. Signed at the lower left, J. F.Muxer. Height, 214 inches; width, 174 inches. From tHE CoLiection Marmonttt, Paris. From tHe American Art Association CoLLEcTION SALE, 1892. W3S - wr Ame2sx— f Vy fe bd ao. 109 oy JEAN BAPTISTE CAMILLE COROT He PARIS SEEN FROM ST. CLOUD v Tue picture offers a very sweet example of the tender delicacy of Corot’s method and feeling; being invested with an atmos- phere that is extremely subtle in its gentle monotony. The foreground is a kind of sandy hollow with a knoll on the right, covered with light and darker foliage, in front of which are some silver birches. Others appear in the centre of the middle dis- tance, and, in a dell beyond, a pink house peeps out, to the left of which is an orchard with a white cottage on the far side gk ¢ (x61) -) fe | _nopihee ONY YAN fe? $4 + i ; uf F - . } ee i % , & ii 5 4 eX sd ca RERUN I 5 THE WARREN COLLECTION of it. Across the level distance shows the white strip of Paris. On the left of the foreground a figure kneels by a paling and a woman with baby stands beside a child, while on the right a woman and cow are visible in the shelter of the rough bank. Signed at the lower right, Corot. . Height, 18 inches ; length, 30 inches. From tHE Coxtuecrion or M. Dexkeus, BrusseEts. yd / 3 3 From tHE American Art AssoctaTION CoLLEction, 1892. vw Fae Ca al No. 110 HONORE DAUMIER . ‘A PRISON CHOIR Jk }p tty THE picture shows the heads and shoulders ah threes men, grouped around a music stand which occupies the right of the — composition. Two of them are dressed in white, and the one in ~ front, who turns his back to the spectator, directing the sing- ing, has a blue scarf round his neck. Their hair is cropped, which adds to the sharpness of their features; yet as they throw back their heads to sing lustily, there is a certain ecstasy of expression on their faces. It is one of those studies deeper than the surface, such as characterized the work of this famous eari- caturist, who might be more fitly called the pictorial historian i of his age. I ge ; ep Ur fi \ \ " y ‘nih \ Height, 19 inches ; length, 234 inches. . ws NI Ci xciy”) CATALOGUE — No. 111 os “WILLIAM MORRIS HUNT _ SLEEPING MOTHER AND CHILD THe mother is seated in a rough wooden chair, seen in profile — to the left, with her head turned in sleep over the face of her sleeping child, and her arms extended across the picture, until _ they meet around the child’s form. She wears a low, white bodice with a red kerchief round her neck, and the child is in a _ purple-brown dress with its bare arm hanging over its mother’s . : sleeve. A light from the right touches the latter’s cheek and the child’s face. The picture is exceedingly handsome in the ~ ampleness and simplicity of its composition, and full of tender sincerity of feeling. | 9 . Signed at the lower left, W. M. Honr. Height, 23 inches; length, 284 inches. ZA | O2®*OY PIERRE PUVIS DE CHAVANNES ik *) “4 a THE ELDER SISTER 2 UAE er : a THE picture would appear to be an early example of the master, _ | I q when he fully modelled his figures and had not yet rarefied | __ his scheme of color, and may well be a recollection of his brief visit to Italy. For, behind the figure of the little girl, nursing _her baby brother, the green fades into blue with a suggestion of water, and in the distance appear a campanile and smaller Gsxcy:)) a THE WARREN COLLECTION tower. The elder sister, with dark complexion and brown, taggy hair, wears a shabby white bodice and dark blue apron, while the chubby sleeper is dressed in a dull red skirt with white body. The girl’s arm encircling the child, and the latter's rosy feet, are drawn with particular charm of feeling. | Signed at lower right, P. Puvis pe Cuavannes. Height, 41 inches ; width, 234 inches. No. 118 NARCISSE VIRGILE DIAZ DE LA Wis DESCENT DES BOHEMIENS \ ¢~ f Tuts picture was exhibited at the Salon of 1844 under the title ~ of “Bohémiens se rendant 2 une féte.” It received an extended notice in “Le Charivari” of Sunday, March 24, in that year; the writer praising the audacity of the subject and favorably comparing its manner of painting with that of Decamps, as “exhibiting less deliberation and procedure; being more frank and naive, less dry and hard; smacking more of nature and less of the studio.” | Down a steep descent between rock and fern and under the canopy of birch and forest oaks the joyous band of men, women, and children wind, a rivulet of color and lively animation. At their head strides a woman with a basket of fruit upon her head and a little child by her side. In front of these a woman has turned to look back at the procession and conspicuous among the brilliantly-colored costumes is a girl’s geranium skirt. At the foot of the incline is a spring of -water, near which stands a youth with a sheepskin strapped across his shirt. A (ex cv1*) _ under the shadow of some birch trees, a mother nurses her baby. | nation; of the brilliant fantasticalness of his composition and . _ Signed at the lower left. Height, 39 inches ; nidth, 314 inches. | 7 _ the lyre, which he holds up before him, as if relying on its CATALOGUE 3 ~ rough black and white hound is by his side and another stoops __ to drink the water. On an elevation to the left of the spring, The picture is a grand example of the artist’s fervent imagi- _ of his ine resourcefulness as a colorist. At. P-XKK™ No. 114 aA. JEAN BAPTISTE CAMILLE COROT ORPHEUS AND EURYDICE We OrruHeEus is represented holding the hand of his wife, hurrying a if? og : a a little in advance; with gaze averted from her and fixed upon magic influence. Their figures are on the right of the composi- e « 4 tion, between a large tree with ivy on its trunk and a group of ip nA, stems, whose foliage unites above, in a sprinkled mass. Already the clear air of the upper world begins to enfold them, for they an have passed the Styx which glides across the scene, separating a | s {> i them from the other bank where a chill misty atmosphere ren- = #*™ ders indistinct the grove and the Shades which haunt it. One can distinguish a figure drooping upon the shoulder of another, ij three moving languidly side by side, and others lying on the | ground. | The subject is one that Corot painted several times, and a doubt has been expressed as to whether Corot is responsible for the present eee on as a whole. On the other hand (to ( xcvil ). THE WARREN COLLECTION quote the doubter), “it is nearly certain, as shown in the illus- trated catalogue of the Saulnier Sale of 1881, that the painting called ‘Orphée Entrainant Eurydice’ in that collection is the Warren Corot. It is certain that the picture was more or less repainted many years ago, probably by Corot. Formerly there was a tree between the two figures. This was painted out and the figures made to join hands.” jj) /-/ 3% OK & Signed at the lower left, Corot. Height, 43 inches; length, 53 inches. From tHE For-Smit Co.titection, Rorrerpam. CONSTANT ay Eee COAST NEAR VILLIERS U. ; " I: A suaty sky, full of rain, lowers over the pale Gene -blue sea, ruffled into lines of white foam as it rolls up on to the sandy shore. The latter stretches back through the right of the com- position ; bordered in front by scrubby grass, in the middle dis- tance by dark olive cliffs, sprinkled with patches of yellow wheat, and in the extreme distance by dull purple cliffs. The scene is lit by fitful gleams of cold light and animated by many figures. On the left two men on white ponies are riding up from the beach; nearer to the centre is a sportsman with a gun, in front of whom two men with a bat-fowling net are search- ing in the grass. More distantly, along the road that skirts the shore to the right, a rider approaches on a donkey; two women follow behind, and other figures are visible on the distant beach. It is an early example, which proves Troyon’s command of ( xevili ) or ee oe ee LA Gee de. ee eee ye rae AS irs CATALOGUE __ landscape before he added to it the crowning achievement of cattle painting; a stirring, masterly composition, full of simple truth to pure, big in conception, broad and forceful in exe- cution. Add nxxux | fb S49 %"7 Signed at the lower left, C. Trovon.. Height, a inches ; length, 37 inches. ~. \e\o4 From THE Mary J. Morcan Co.tecrion, 1886. a f S M7 7h war sa ore aaa Ara PA as No. 116 FERDINAND VICTOR EUGENE Me a TA {E87 i pe | f ; HERMINIE ET LES BERGERS a 4 aes ae y (d \ Tue landscape is one of sloping swards, bounded by hills, a | scene of fresh and juicy verdure. Towards the left of the fore- . poe” att a ground beside a green bush stands a yellow, brown-thatched : , é) 0 cottage, from the door of which a child is approaching a group | 2. al of peasants in the centre. They are startled at the appearance | of Herminie, who comes forward from the right, leading her fine chestnut charger. An old man stops in the act of making a basket, to look up hurriedly; a little child on the ground makes a movement towards him, and a woman behind, who holds a distaff and has beads upon her bare, brown breast and a dark blue cloth round her loins, stares dumbly at the visitor. On the extreme left a shepherd, wrapped in a dark pelt, leans upon his crook, while his dog advances barking. Herminie, ac- coutred in steel armpieces and corselet over a short maroon- colored skirt edged with white fur, has a figure of noble mien and a face radiant with spiritual refinement. The subject 1s : | (xeix'-) i dt. fh exch: THE WARREN COLLECTION represented very simply and naturally and yet the romantic suggestion is most strongly felt. Signed at lower right, Kua. Devacrorx, 1859. Height, 32 inches ; length, 39 inches. From THE GoLpscHmMIpT CoLLECTION, Paris. rte: Ze & a f & &s - Wrs NKXK ka pombe Prt feats No. 117 f RICHARD WILSON, R.A. wy! TIVOLI LANDSCAPE SA? flpe PAG , ve and In the foreground is a rocky knoll clothed with rich *russet hues, on which a peasant woman is reclining beside her basket. A white cloth partly covers the latter and the woman's © costume is a white apron over a blue dress. A greyhound thrusts its nose into her lap, and another is looking up at a man who stands in conversation with her, gesticulating with his left arm. A. wall at the back of the group is surmounted by a small shrine, beyond which rises a steep, woody hill. Its summit is crowned with ruins; among which may be distinguished the temple of Vesta, a campanile, and a square tower on the brink of the profile. The latter, fringed with delicate trees, slopes gently down across the composition to the right, where three slender trees entwine their stems and form a single canopy of loose, brownish-green foliage. Beyond the hill extends a flat plain, whose yellow tract is sprinkled at intervals with smoke wreaths and bounded by faint, gray hills. There is a simmer of ; oe eines a _ ” = = ‘ rT F ms al tae aes - . = MY Fan ecg ee TY $ pe ee ee Sas — rose-tinted cream upon the horizon, and above it a sky of most delicate greenish blue, with puffs of warm white cloud. The — (c ) CATALOGUE picture is a memorable example of Wilson’s poetic art; a finely balanced composition, pure and rich in tone, with subtlety of atmosphere and spiritualized grace of sentiment. Height, 39 inches ; length, 494 inches. FoRMERLY IN THE CoLLEecTiIon oF Sir Henry Haw tey, Barr. ee ATO. Cee Saree oedema Sk 8 2TH amy aide Exursirep at tHE Royat Acapemy Exurprrion OF OLD Masters, 1879. : Ma - be . ; 4 ie Fo = Coa > ' bs ~~ : ?. “ : By a — é . * = L a i. Pe es Le 7 oat 1 ad SP i ALS SE NR ANI PTE ee A hr SEU Se ee eran eae sacar ee as THE AMERICAN ART ASSOCIATION MANAGERS Tuomas E. Krrsy, AUCTIONEER. . : Fa 3 t f ‘ “ Ky P ¥ oe MS . Sol é * eet ae et FP ew eS - s Bt ~ ~ ees Sat — Sens s . ° Z a Je = * . s Le é a ¥ a a oS ys > jo ~ weve See Te Bee Se oe ae se ee ere te aie ee Xx OTES AND INDE EVN rr 1 i rane fe Ad) tie dk ears a BIOGRAPHICAL NOTES OF ARTISTS REPRESENTED AND AN INDEX OF THEIR WORKS BARGUE, CHARLES NUMBER Born in Paris, he began his career as a lithographer and was awarded medals for lithography in 1867 and 1868. Then he studied with | Gérome and became identified with genre subjects, distinguished by excellence of color and masterful technical execution. These pictures were never sent to the Salon and are very few in number. He died in 1883. B Turkish Sentinel ; 19 BARYE, ANTOINE LOUIS A son of Paris, where he was born in 1795, Barye became a pupil of Bosio and Gros and of the Ecole des Beaux-Arts. But his real in- spiration came from Buffon, Lamarck, and Cuvier, and from the fine collection of animals in the Jardin des Plantes. So by his studies of ah _ animals he widened the range of French sculpture, at the same time rt strengthening the protest against the classic restriction of study to the nude human form, and illustrating the grandeur of broad and massive style over that of minute detail. He died in Paris in 1875. Tiger in Lair 5 Stag Walking | 6 BERCHERE, NARCISSE Born at Etampes in 1822. A pupil of Renoux and of Rémond, he has identified himself particularly with Oriental landscapes. Legion of Honor, 1870. ¢ The Walls of Jerusalem 61 BONINGTON, RICHARD PARKES i An Englishman by birth, born near Nottingham in 1801, Boning- HY ton was at the age of fifteen taken to Paris by his father, a strug- gling portrait-painter. Thenceforth his life was spent in France and Italy, though his art in its poetic realism is akin to Constable’s, and with the latter’s exercised no inconsiderable influence upon the ( cix ) THE WARREN COLLECTION NUMBER growing school of nature-painting in France. Delacroix was enthusi- astic over the genius with which he handled water-colors and oils, in subjects mostly of marine and landscape, though he also treated figures. His brilliant career was cut short by a sunstroke in 1828. Hillside ; 62 BRETON, JULES ADOLPHE Born at Courriéres in 1827. He became a pupil of Drélling and De- vigne, marrying the latter’s daughter. From the appearance of his “Return of the Reapers” in 1853, he has been in the front rank of the French painters of peasant subjects. His works have a consider- able charm of poetic sentiment, though the criticism of Millet is apt that he paints girls too beautiful to live in the country. He has been an Officer of the Legion since 1867, and won all the honors that France can confer upon a popular painter. Brittany Peasant 59 BREUGHEL, JAN. (Cattep “FLUwEELEN,” VELVET) The son of Pieter Breughel, the Elder, he was born at Brussels in 1568. He was a pupil of his father until the latter’s death, when he was taught to paint in miniature by Pieter Koeck Van Aalst, finally obtaining instruction in oil-painting from Pieter Goekindt. His early pictures are of fruit and flowers executed with incredible deli- cacy; but, after his sojourn in Italy for three years, he added to his subjects landscapes, seaports, and markets, thronged with figures. He settled in Antwerp, was made a citizen, and became dean of the Artists’ Guild. Frequently he worked conjointly with Van Balen, Rottenhamer, and Rubens, with whom he was allied in close friend- _ ship. He died in 1625. Circe calling Ulysses 90 BRUSASORCI, THE ELDER. (Reat Name, Domenico Riccio) Born in Verona in 1494. He was a pupil of Carotto, according to Ridolfi, or, according to Lanzi, of Niccolé Giolfino. Later he studied : in Venice the works of Titian and Giorgione, whose styles he learned . ( cx ) BIOGRAPHICAL NOTES AND INDEX NUMBER to imitate, though not to the complete loss of his own individuality. His mural works are to be seen chiefly in Verona, the most notable being the “Entry of Clement VII and Charles V into Bologna,” which he painted in a hall of the Casa Ridolfi. He died in 1567. Lady in Venetian Costume CATENA, VINCENZO. (Reat Name, Vincenzo p1 Bacio) Born at Treviso about 1465. He was a pupil of the Bellini, and based his style on that of Giovanni. He worked in Venice, at first as a journeyman in the Sala del Gran Consiglio, but by his indus- try obtained a considerable reputation and the patronage of the wealthy. He died in Rome in 1531. Madonna CHARLET, NICOLAS TOUSSAINT Born in Paris in 1792. While studying with Gros he supported him- self by giving lessons in drawing. He was intimate with Géricault, and accompanied him to England in 1836. Genre subjects occupied his brush, but his most characteristic ones are military, in which he displayed his thorough acquaintance and sympathy with the Soldier of the Empire. He died in 1845. A Grenadier COLE, J. FOXCROFT Born at Jay, Maine, in 1837. Pupil of Lambinet and of Jacque, he achieved considerable reputation for his faithful rendering of native landscapes. Died in Boston in 1892. View of Boston Common View near Providence COROT, JEAN BAPTISTE CAMILLE Born in Paris in 1796, the son of a court modiste. He was sent to the high school at Rouen and then apprenticed to a linen draper, his father, after eight years’ opposition, finally yielding to his desire to be a painter, and allowing him a yearly maintenance of twelve hundred francs. He studied under Michallon and Bertin, accom- ( cxi ) 93 94 18 40 54 THE WARREN COLLECTION NUMBER -panying the latter in 1826 to Italy. Here he practised and achieved the accomplishment of rapidly portraying the action of moving figures, a skill that he afterwards extended to the delineation of foliage stirred by air. His early pictures, whether of figures or land- | scape, are of the orthodox academical type, hinting at the future Corot only in the exceeding delicacy of their tonal effects and their increasing regard for the qualities of atmosphere. It was not until he had returned from his third visit to Italy, in 1843, that Corot — fell under the influence of Rousseau and discovered the charms of French landscape. In Provence, Normandy, and Fontainebleau, he studied nature, recommencing his artistic life at the age of forty and studying for eight years before the Corot that the world now recognizes as a master was finally evoked. Communing with nature in Ville d’Avray and painting in his studio in Paris, he produced during the next twenty-five years a series of masterpieces, distin- guished as much by truth to nature as by their exquisite poetry. The latter was an effluence of his own quiet happy spirit, and of the perennial youth of his soul, that found its pleasure in music and in nature and in the companionship of his friends. He lived with his sister, who died in 1874, and the old bachelor followed her the next year. “Rien ne trouble sa fin, c’est le soir d'un beau jour.” ee Gray Morning 26 —« Lombardy Poplars | | evi ——Regretiant la Patrie 73 mm. Landscape with Tree 75 aw. Paris seen from St. Cloud 109 seuss OTpheus and Kurydice 114 COURBET, GUSTAVE Born at Ornans in 1819. Originally destined for the law, he deter- mined in 1837 to become a painter and began to study under a local artist. When, two years later, he arrived in Paris, it was not to attach himself to any particular teacher; but by studying the old masters in the Louvre he acquired a power of execution full of bra- ( exii ) me BIOGRAPHICAL NOTES AND INDEX vura. Massive in frame, he was a man of vigorous independence, riding full tilt at the theories of the day and proclaiming sole alle- giance to “la vérité vraie.” He first attracted attention by “Dinner at Ornans” in 1849, and thenceforth became one of the most no- table figures in French painting. At the Exposition of 1855, being dissatisfied with the placing of his pictures, he displayed them in a hut erected outside the gates. Again at the Exposition of 1867 he made a separate exhibit, and two years later a special room was set apart for his work at the Munich Exposition. He accepted the Bava- rian Order of St. Michael, and rejected the ribbon of the Legion of Honor. During the Commune he was elected Minister of the Fine Arts, and obliged to consent to the destruction of the Colonne Ven- déme, though he saved the Louvre. For this he was condemned to six months’ imprisonment, at the expiration of which he retired to Switzerland, where he died in 1877. Coast View DAUBIGNY, CHARLES FRANCOIS. Born in Paris in 1817. After studying with his father Edmé Francois, he visited Italy and on his return spent some time in the studio of Delaroche. From 1838 he was a constant exhibitor at the Salon and became identified with subjects drawn from the Seine, Marne, and Oise, navigating these waters in a floating studio. He had spent much of his childhood in the country near L’Isle Adam and, as an artist, turned unreservedly to nature study. The youngest of the Barbizon group, he entered into the harvest of recognition won by the older men. His art was delicately individual. He saw everything with the curiosity and love of a child, and despite his dexterity his work always retained a delightful spontaneity and freshness. His death occurred in 1878. ~— River-bank,. Spring Landscape with Storks Marine with Yacht mmm Boats on Shore ( cxili ) NUMBER 4] 29 69 72 77 THE WARREN COLLECTION DAUMIER, HONORE | : Born in Marseilles in 1808. During the bourgeois régime of Louis NUMBER Philippe, Daumier was the great caricaturist of politics, and later by his studies of misfortune and vice and of the street life of Paris achieved a wonderfully comprehensive record of his time. It has the value of historical data and is at the same time great art by reason of the largeness and simplicity of line, the form of characterization, and the avoidance of all triviality. He died at Valmandois in 1879. A Prison Choir ~ 410 DECAMPS, ALEXANDRE GABRIEL A native of Paris, where he was born in 1803, Decamps became a pupil, successively, of Abel de Pujol, David, and Ingres. In his boy- hood he had spent many years upon a farm, and his love of the coun- try led him to shake off the principles of classicism and to study nature. A visit to Constantinople and the East with Garneray, a. marine painter, exercised a marked influence upon his ideas and style. A more romantic element crept into his pictures, a more fervent glow of color and greater fascination of light. He painted many kinds of subjects, though Oriental ones are his most characteristic works, and in all proves himself a painter to the finger tips. He was closely allied in art and comradeship with the Barbizon group, and died at Fontainebleau in 1860. Bazaars in Cairo 21 Sunset,— Tombs near Cairo 42 DELACROIX, FERDINAND VICTOR EUGENE Born at Charenton, near Paris, in 1799. Like Géricault, he was a pupil of the timid classicist, Guérin; though even then he was tak- ing counsel, not of the antique, but of Rubens and Veronese. He served as a model for the drowning man in Géricault’s “Raft of the Medusa,” and himself exhibited in 1822 “Dante’s Bark” —“in a pic- torial sense the first characteristic picture of the century.” It obtained a decisive success; but the “Massacre of Chios,” exhibited two years ( cxiv ) BIOGRAPHICAL NOTES AND INDEX later, was described as “the massacre of painting.” Thus began the battle of the Romanticists. In 1825 Delacroix visited England. He was already fond of Shakespeare, Byron, and Walter Scott, and now through an English opera became acquainted with Goethe’s “Faust.” Henceforth these writers entered into the foreground of his works. A visit to Algiers and Spain in 1832 added fire to his imagination and brilliance to his palette. During a period of forty years, working with incredible energy notwithstanding feeble health, he produced nearly two thousand works, including such monumental decorations _ as the ceiling in the Louvre and the mural paintings in the Church of St. Sulpice. Shortly after the completion of the latter in 1863, he died; having, as Silvestre says, “sounded the entire gamut of human emotions, with a grandiose and awe-inspiring brush passing from saints to warriors, from warriors to lovers, from lovers to tigers, and from tigers to flowers.” Fight between Lion and Tiger The Flagellation we Herminie et les Bergers DIAZ DE LA PENA, NARCISSE VIRGILE He was born in 1807 at Bordeaux, whither his parents, who were Spanish, had taken refuge from the Revolution across the Pyrenees. Losing his father early, he was brought to Paris by his mother, who supported herself by giving lessons in Spanish and Italian. Through the bite of a poisonous insect he lost his leg and stumped the streets of Paris as a lame errand boy until he obtained employment in the porcelain factory at Sevres. But his independence cost him his posi- _ tion, and, thrown upon his own resources, he painted little figure sub- jects of nymphs. Finally he met Rousseau, whose influence drew him to Fontainebleau and to landscape. Now commenced the art on which his fame endures,—subjects drawn from the recesses of the Forest where the play of light was most enchanting, and rich harmonies of tone called forth his brilliant powers as a colorist. Often he would people them with figures, glowing masses of hue set amidst the ver- ( cxv ) NUMBER 116 THE WARREN COLLECTION ea dure. In 1876 he was attacked with an affection of the chest and sought Mentone, but only to die there. Girl and Pet 24 : Hunting Dogs BQ - Bohemians 67 yo. Descent des Bohémiens — | 113 DOMINGO, JOSE A Spaniard by birth, he was a pupil of Fortuny and Meissonier, to whose works his own bear some resemblance. The Card Players 15 DORE, GUSTAVE PAUL Born in Strasburg in 1833. His drawings date from 1844, rk at fifteen years old he accepted a position in Paris upon the staff of the Journal pour Rire. The same year he exhibited some pen-and- ink drawings at the Salon. In 1855 appeared his first oil-painting, “Battle of the Alma,” but he did not attract notice until 1863, with “Paolo and Francesca da Rimini.” During the seventies he produced a series of colossal sacred subjects, which prove him to have been possessed of a wealth of imagination and an astounding facility of hand. He died in Paris in 1883. Man on Wooden Legs | 1 DUPRE, JULES Born at Nantes in 1812. While engaged as a youth at the Sevres porcelain factory, he studied nature in his leisure hours, making in- numerable drawings. During a visit to England he became acquainted with the work of Constable, and his two pictures exhibited at the Salon in 1835 already proclaimed him a master. With Rousseau he became a prime force in the Barbizon movement, himself linking the new school of nature with the passing group of Romanticists, for the poetry inherent in his pictures is of an intensely passionate quality. He established his home at L’Isle Adam, making up for the scant ( cxvi ) as a BIOGRAPHICAL NOTES AND INDEX NUMBER opportunities of his youth by constant reading, welcoming his friends and rarely missing his evening work. He died in 1889. Sunset 287 women the Cliff 56 - Twilight on the Seine 14: ~ DUTCH SCHOOL, XVIT CENTURY An Interior 87 FERRARIS, ARTHUR VON Born in Hungary in 1864, Ferraris at the age of eighteen entered the art school in Vienna. He became identified particularly with por- traiture, enjoying a great reputation. Having painted a portrait of the Emperor of Austria and Hungary, he was made a Knight of the Order of Francis Joseph, and later was admitted into the Order of the Crown by Emperor William II, the portrait which he painted of that monarch being one of his most striking works. Scene in Cairo 39 FORTUNY Y CARBO, MARIANO Born at Réus, Catalonia, in 1838. From the Barcelona Academy he won the Prix de Rome in 1856, and Rome became thenceforth his principal place of residence. In 1859 he was sent to Morocco by the | Government to paint the incidents of General Prim’s expedition. In 1866 he went to Paris and thence to Madrid, where he married the sister of Raimundo de Madrazo and studied the works of Velasquez, Ribera, and Goya. In water-colors and oils he was a technician of amazing versatility, who gave a new momentum to genre painting. Died in 1874. Street Scene | o Entrance to a Cave 35 FROMENTIN, EUGENE Born in La Rochelle in 1820. As a youth he commenced the study of law, until acquaintance with Cabat, the landscape-painter, turned his attention to art. He studied with him and with Rémond, and ( exvil ) gil _ The Escape ae : from 1846 to 1848 and in 1852 resided in Algiers, which gave the THE WARREN COLLECTION NUMBER particular bias to his motive. He became the painter of the Kast, expressing its brilliant spirit with the grace and delicate refinement of French technique. He was also a successful writer of romance, and in 1876 published the results of a tour through the galleries of Hol- land and Belgium in that classic of criticism “Les Maitres d’Autre- fois.” He died the same year at St.-Maurice, near La Rochelle. The Smokers Arabs at the Fountain FULLER, GEORGE, A.N. A. Born at Deerfield, Massachusetts, in 1822, the son of a farmer. At thirteen he was set to work in a store at Boston, having already dis- played an aptitude for drawing. 'T'wo years later he joined a railway survey in Illinois and then again returned to school. Still eager to be an artist, he next rambled through the smaller towns of New York State with his brother, executing portraits. Henry Kirke Brown, the sculptor, invited him to his studio in Albany, where he studied drawing for nine months. In 1846 he sold his first imagina- tive picture, “A Nun at Confession,” for six dollars, and in the fol- lowing year moved to New York. Here for ten years he worked, with occasional visits to Philadelphia and the South. In 1859 both his fa- ther and elder brother died and the care of the home-farm devolved upon him. But before entering upon his duties he made a tour of five months, visiting London, — where he met Rossetti and Holman Hunt, —Paris and the chief cities of Germany, Italy, Belgium, and Hol- land. Then for fifteen years he disappeared from the world, and lived the life of a farmer. Financial trouble forced him once more into the field of art, and it then transpired that in his retirement he had been steadily laboring at his art, until he had found for himself an indi- vidual style that could adequately express the deep, tender sentiment @exxi1®) 22 53 64 g 4 BIOGRAPHICAL NOTES AND INDEX NUMBER of his conceptions. During six years he produced a series of beautiful works, which were cut short by his death in 1884. The Little Dunce The Quadroon GAINSBOROUGH, THOMAS, R. A. The son of a clothier, Gainsborough was born in 1727 at Sudbury in Suffolk, fourteen miles from the birthplace of Constable. Making little progress at the local school, he was sent to work with a goldsmith in London, through whom he made the acquaintance of Gravelot, an engraver. ‘The latter recognized his inclination for drawing, instructed him, and procured him admission to the St. Martin’s Lane Academy. After an ineffectual effort to make a start as a portrait-painter in London, he returned home and married a young lady of moderate means, Mary Burr, with whom he moved to Ipswich. For fifteen years he resided here, painting portraits for a livelihood and land- scape for pleasure; when, by the advice of friends, he moved to Bath. In this fashionable watering-place his success was immediate and he had extended opportunity for indulging his passion for music. He was a foundation member of the newly founded Royal Academy, and regularly contributed to its exhibitions, so that when he transferred his studio to London in 1784, he was at once hailed as the rival of Reynolds. He died in 1788 and was buried in the churchyard at Kew. Landscape Constantine John Phipps GALLAIT, LOUIS Born at Tournay in 1810. After studying at the academy in his native city, he won the first prize at Ghent in 1831, and then proceeded to the Antwerp Academy. In 1834 he went to Paris, where his portraits and historical pictures were highly esteemed. His “Abdication of Charles V,” painted at Brussels in 1841, placed him at the head of Belgian historical painters. Died at Brussels in 1887. A Young Mother (pexix 4) 118 66 103 31 NUMBER THE WARREN COLLECTION GERICAULT, THEODORE Born at Rouen in 1791. During his short stay in the studio of Charles Vernet, he had already taken an interest in cavalry and begun those studies of horses which he continued through his life. Afterwards, while working with Guérin, he found time to study the old masters in the Louvre and especially Rubens. In 1812 appeared the “ Mounted Officer,” and two years later the ‘‘Wounded Cuirassier.” In 1817, after serving three years in the army, he visited Italy and on his return produced “The Raft of the Medusa.” Its success in London induced him to visit England, where he painted “'The Race for the Derby.” Soon after his return to France he was thrown from his’ horse, injuring his spine; and after lingering suffering died two years later, in 1824. Horses in Stable | 44. GEROME, JEAN LEON Born in Vesoul in 1824, A pupil of Paul Delaroche, he accompanied his master to Italy and upon his return studied with Gleyre. He failed to secure the Prix de Rome, but won a third-class medal for his “Cocks Fighting,” in 1847. Then he visited Russia and Egypt, bringing back from the latter a large stock of pictures, which in- stantly established his reputation. During the next twenty years he alternated Oriental subjects with classical pictures, such as “Phryne before the Tribunal” and the ‘‘Death of Cesar,” which placed him in the front rank of contemporary historical and genre painters. He has been an indefatigable student of the manners and accessories of the various periods which he paints, is a learned draughtsman and a master of characterization, and has reaped every honor that France bestows upon a favorite painter. L’Eminence Grise 55 GOYA Y LUCIENTES, FRANCISCO JOSE DE Born at Fuendetodos, Aragon, in 1746. At fourteen, having already painted frescoes in the church of. his native place, he went to Sara- CCK’) BIOGRAPHICAL NOTES AND INDEX NUMBER gossa, as an apprentice. Falling foul of the Inquisition, he fled to Italy, where for several years he resided in Rome, until through a commission to design cartoons for the Spanish manufactory of tap- estries he was brought into contact with the Court. He returned to Madrid, was elected a member of the Academy of San Fernando and later appointed Painter to the King and Director of the Madrid Academy. His brilliant audacity found vent in pungently satirical etchings, such as “ Los Capriccios” and “ Miséres de la Guerre”; while his paintings included religious subjects and portraits. Some of the latter are especially fine and in his rendering of young girls the irony of his temperament yields to a seductive grace. He died in Bordeaux in 1828. Head of a Young Girl 83 GREUZE, JEAN BAPTISTE Born at Tournus, near Macon, in 1725. After studying with Grandon at Lyons, he entered) the Academy School in Paris, 1755, and the same year exhibited “Father reading the Bible to his Children.” It was greatly admired, and at the close of the year he was taken to Italy by the Abbé Goujenot. After his return he exhibited at the Salon, until in 1767 he retired from Paris, indignant that he should have been received into the Academy, not as a painter of historical but of genre subjects. He returned, however, and exhibited in his studio, his pictures attracting all Paris. The times were witnessing a reaction from the previous licentiousness of the Court, and it was Greuze’s métier to paint the beauty of virtue, the sentiment of a happy and innocent bourgeoisie. Thus he was the father of French genre painting, though he lives to-day mainly through his ideal heads of girlish beauty. He amassed a large fortune, which, however, was lost at the Revolution. He died, neglected and in poor circum- stances, in 1805. Head of a Young Girl _ 102 GUIGNET, ADRIEN Born at Annecy, Savoy, in 1816. He was a pupil of his brother Jean (*¢exx1: ) THE WARREN COLLECTION : NUMBER Baptiste and also of Blondel; and took Salvator Rosa and Decamps for his models. Died in Paris in 1854. A Condottiere 80 | HAAG, KARL Born at Erlangen, Wirtemberg, in 1820. After working in the Nu- remberg Art School, he continued his studies in Munich and Rome; and in 1847 went to England, where he confined himself to water-— colors. In 1858 he visited the Libyan Desert, dwelling among the Bedouins, and has since visited Egypt and other parts of the Kast. A Montenegrin Lady 81 HARPIGNIES, HENRI Born at Valenciennes in 1819. He was a pupil of Achard and has exhibited regularly since 1852, winning his full complement of honors. Both in oils and water-colors he holds rank amongst the foremost living French landscapists. L’Etang, Clair de Lune ~ 50 HELST, BARTHOLOMEUS VAN DER Born at Haarlem in 1613 (?). He may have studied under Frans Hals or taken the latter for his model, and seems also to have been in- fluenced by De Keyser. At any rate, he stands apart from the men of his time, who were following Rembrandt. He was a realistic painter, — whose portraits were highly esteemed by his contemporaries and rank to-day among the best of their kind. He lived chiefly at Amsterdam, where he and Nicolas Stokade founded a guild of St. Luke. His principal works are to be seen in the Gallery and Hotel de Ville of that city. He died in 1670. A Burgomaster’s Wife 95 HENNER, JEAN JACQUES Born in Bernwiller, Alsace, in 1829. After studying for some years with Gabriel Guérin at Strasburg, he entered the Fcole des Beaux- Arts and became a pupil of Drélling and of Picot. Winning the Prix de Rome in 1858, he spent five years in Italy, afterwards painting in (tex i) BIOGRAPHICAL NOTES AND INDEX NUMBER Dresden and travelling in Holland. His “Susannah,” in 1865, aroused enthusiasm and succeeding pictures established his reputation as the painter of the nude and of female ideal heads. La Plewreuse HOOGHE (or HOOCH), PIETER DE Born in Rotterdam, probably in 1632. He formed his style under the influence of Fabritius and Rembrandt and worked at Delft, where he became a member of the Guild in 1655. He was one of the most original painters of the Dutch School; fond of red as a local color and introducing it with great delicacy of distinction in various planes of distance. He was a master in the delineation of atmosphere and in the play of light and shade. His death appears to have occurred in Haarlem in 1681. Dutch Interior HUNT, WILLIAM MORRIS Born at Brattleboro, Vermont, in 1824. It was his original intention to be a sculptor and with that idea he studied for nine months in Diisseldorf. Thence he went to Paris and entered the studio of Cou- ture. But it was not until he made the acquaintance of Millet at Barbizon that his sympathies were truly aroused. Upon his return home, he brought back many of that artist’s pictures and was the first to make the Barbizon pictures known and valued in this coun- try. He opened a studio in Newport, Rhode Island, and later moved to Boston, where he became the centre of an enthusiastic band of students and amateurs. His last works were the frescoes of ‘‘Morn- ing” and “Evening” in the Capitol at Albany. They were executed under great pressure of time, which told upon his strength, and on September 8, 1879, he died at the Isles of Shoals. Wood Interior, Artichoke River Head of a Spanish Woman Sleepng Mother and Child ( cxxill ) 20 97 23 82 111 THE WARREN COLLECTION MNES JEAN AUGUSTE DOMINIQUE Born at Montauban in 1780. After studying with Roques in Tou- louse, he became a pupil of David in Paris, and upon the latter’s: NUMBER death kept alive the classic principles of that master. He won the Prix de Rome in 1801, but being unable to go to Italy in conse- quence of the war, studied the pictures in tlte Louvre for five years, meanwhile supporting himself by giving lessons in drawing. In 1806 he was able to proceed to Italy, where for fourteen years he lived in Rome, studying the works of Raphael with devotion, and after-_ | wards living for four years in Florence. Then he returned to France and enjoyed a great reputation until his death in 1867. He was one of the first draughtsmen among French artists, and some of his por- — traits are masterpieces of characterization. Cardinal Bibbiena espousing his Niece to Raphael 52 INNESS, GEORGE, N. A. Born at Newburgh, New York, in 1825. His fiber a retired grocer, would have opened a store for him, but his mind was set on art. He was apprenticed to an engraver, but the work proving too severe for his strength, he took up painting, receiving a little help from Regis Gignoux. But he was really self-taught. At the age of twenty-five he made his first visit to Europe and fell under the spell of the Barbizon painters, whose work endorsed his own strivings after na- ture study. From this time forward his progress was logical, sound, and brilliant, continually towards breadth and simplification and an impressionistic rendering of the poetic feeling with which nature inspired him. He had a powerful but erratic mind,—at one time plunging into the study of Swedenborg, — always eager and restless; a soul of energy within a frame constantly harassed by ill-health. He died in 1894, during a visit to Scotland. Evening, Medfield | 119 INNESS, JR., GEORGE, N. A. Born in New York in 1854. A pupil of his father and for a few months ( cxxiv ) # 0 @ i aie eee ee 2 oe \ ot il alae “ ’ BIOGRAPHICAL NOTES AND INDEX NUMBER of Bonnat, he has painted in various parts of Europe and won dis- ! tinction in animal and landscape subjects. Hunting Scene : 58 ISRAELS, JOSEF ~ Born at Gréningen, North Holland, in 1824. As a boy he wished to be a rabbi, but on leaving school entered his father’s small bank- ing business, and in 1844 went to Amsterdam to study under the fashionable portrait-painter, Jan Kruseman. But it was the ghetto of the city, swarming with life, that affected his imagination. The following year he proceeded to Paris and worked under Picot and Delaroche, entering the latter’s studio shortly after Millet had left it. Like Millet, he had no inclination for “grand painting,” and, though he tried to practise it upon his return home, it was in the little village of Zandfoord, whither he went for his health, that he discovered his true bent. Again, like Millet, he found his inspira- tion in the lives of the poor; but, unlike the French master, invests his subjects with intimate peace and lyrical melancholy, veiling his figures in an exquisite subtlety of subdued atmosphere. Amongst the moderns he is “one of the most powerful painters and at the same time a profound and tender poet.” A Cottage Madonna 37 JACQUE, CHARLES EMILE Born in Paris in 1813. In early life he was apprenticed to a map- engraver. After serving his time in the army, he practised wood- engraving and then passed to etching, in which he proved himself a master. He began to paint in 1845, but it was not until the Salon of 1861 that any of his pictures received a medal. From now on his subjects of sheep and poultry were in great demand. He was an en- thusiastic fancier of fowls, breeding them and writing a book upon the topic. He died in 1894, the last survivor of the Barbizon bro- therhood. : The Poultry Yard 51 ("exxy) THE WARREN COLLECTION JOHNSON, EASTMAN, N. A. Born in Lovell, Maine, in 1824. In 1849 he commenced a two years’ NUMBER course at Diisseldorf and later studied and painted in Italy, Paris, Holland, and, for four years, at The Hague. He has been a member of the National Academy since 1860. He has painted some fine por- traits, but is more widely known by genre subjects of American life. He is a tonalist of great distinction and a skilful technician. The Culprit 33 JONGKIND, JOHAN BARTHOLD Born at Latrop, Holland, in 1822. He was a pupil of Isabey, and as early as 1852 received a third-class medal at the Salon, after which his pictures were rejected. He was one of the influences under which Monet came early in his career, and represents a link be- tween the group of Fontainebleau artists and modern Impressionism. For he still retained the architectonic composition of his picture, but was thoroughly modern through his feeling for transparent air. He painted the old canals of Holland, the tortuous streets of Brus- sels and Toulon, the river life and ‘Quartier Latin in Paris, and the landscape of Nivernais. He died at Céte Saint André in 1891. Near Dordrecht | 38 KNAUS, LUDWIG Born at Wiesbaden in 1829. From 1846 to 1852 he was a student at the Diisseldorf Academy under Sohn and Schadow, then spent a year in Italy and about the same time in Paris, his technical ability be- ing highly appreciated by French critics. After settling in Berlin for five years, he moved to Diisseldorf, to return, however, to the former in 1874 as a professor of the Academy. He has exercised a great influence on the younger Diisseldorf school and been recognized as the foremost genre painter in Germany. A Young Satyr | 16 LAFARGE, BANCEL Born at Newport, Rhode Island. After a course of study in the Medi- (UGX sy 1.8) —see pS p - 5 | an i oe BIOGRAPHICAL NOTES AND INDEX NUMBER cal Schools he entered the studio of his father, John Lafarge. After _ being pupil, he became collaborator in the latter’s stained glass dec- orations. Since 1899 he has studied the figure with Sergeant Kendall, — and devoted much attention to marine painting. Surf at Narragansett 2 LAFARGE, JOHN, N. A. Born in New York in 1835. He received a classical education, and his father’s house in Washington Square was a rendezvous of cultivated people, many of them émigrés of the French Revolution or refugees from St. Domingo. He was taught to draw by his grandfather, Binsse Saint-Victor, a miniature painter of some talent. Visiting Europe, he continued the study of art, as an accomplishment, and presented himself to Couture, who recommended him to copy the drawings of the old masters. This he did with assiduity at the Louvre and in Munich and Dresden. Next he made a short stay in England, where the color-aims of the pre-Raphaelites attracted his interest. Return- ing home, he entered a lawyer's office, until finally,.by the advice of William Morris Hunt, he determined to take up art as a profession. He first settled at Newport, Rhode Island, subsequently moving to New York. He passed from landscape to figure subjects, and among his early works drawings such as those in illustration of Browning's poems take high rank. A commission to decorate Trinity Church, Boston, was the commencement of a long series of noble mural paint- ings. But the distinctive feature of his career was the application of opal glass to stained glass windows, whereby he has created a new art, which gives abounding opportunity to his extraordinary power as a colorist. He has proved himself also a graceful writer and a critic of eminent distinction. Fisherman and Djinn 9 A Cup of Cold Water 10 Dance on the Beach, Samoa 11 Angel 12 St. Elizabeth 13 ( cxxvii ) THE WARREN COLLECTION The Wise Virgin Old House, Newport Afterglow LAMBINET, EMILE Born at Versailles in 1815. He was a pupil at first of Boiselier and later of Drélling and Horace Vernet. His landscapes were awarded medals at the Salon, and in 1867 the ribbon of the Legion. He died at Bougival in 1878. | Lock on the Seang re near Bougival — | 46 8 LANDSEER, CHLARERS, R. A. Born in 1799, the son and pupil of John Landseer, an engraver and elder brother of Sir Edwin. He studied also under Haydon and at the Royal Academy schools. He is represented in the National Gal- lery by “Sacking of Basing House” and ‘‘Clara Harlowe in the Sponging House.” He died in London in 1879. | The Little Actress ; 63 LAWRENCE, SIR THOMAS, P. R. A. : 7 Born in 1769 at the White Hart Inn, Bristol, of which his father, the son of a clergyman, was landlord. Drawing came to him as a natural gift, and, as the lad’s proficiency increased, his father took him to Oxford and Bath, following the seasons of fashion and se- curing him sitters for pastel portraits. In 1787 he began to study at the Royal Academy, receiving advice from Reynolds. His first marked success in oils was the portrait of “Miss Farren,” painted about 1790, which secured him the patronage of the king. The latter insisted on his admission as an Associate of the Academy, though under the prescribed age, and in 1794 he was elected a full Acade- mician. He settled down in Old Bond Street and entered upon a career of extravagant expense which left him short of money through- out his life, although his success was phenomenal. He was favored by the Prince Regent, afterwards George IV, and painted all the notables of the time. The Academy of St. Luke elected him as a ( cxxvili ) a Si : BIOGRAPHICAL NOTES AND INDEX member, as also did the newly founded American Academy of Fine Arts, and those of Venice, Vienna, Florence, and Denmark. At the Congress of Aix-la-Chapelle he was commissioned to paint the por- traits of the allied sovereigns. He was elected President of the Royal Academy in 1820, from which year dates the ripest period of his art, that was suddenly concluded by his death in 1830. He was buried in St. Paul’s Cathedral. / Portrait of John Singleton Copley, Lord Lyndhurst 105 7A Portrait of Lady Lyndhurst 106 _ LUMINAIS, EVARISTE VITALE Born at Nantes in 1822. His teachers were Léon Cogniet and Troyon ; and he has chiefly devoted himself to scenes of Breton life and to pictures of the Gothic barbarians. NUMBER Teutons crossing the Rhine 36 _ MAUVE, ANTON 3 | Born at Zaandam, Holland, in 1838. He studied with P. F. Van Os, and his early pictures showed the painstaking finish of that master. Gradually, however, as he became a student of nature his art grew broader and more impressionistic, charged with a delicate sentiment and tonality. His pictures won medals at the Salon and have found their way into the great collections of Europe and America. He died in 1888. Donkey and Cart 34 METSU, GABRIEL Born in Leyden in 1615. He was the son and probably a pupil of Jacob Metsu, a Fleming who had settled in Holland. Later he passed under the influence of Gerard Dou and Rembrandt. In 1648 he was admitted to the Guild, but two years later left his native city and settled in Amsterdam, where he married and was received into citizen- ship. He painted subjects chiefly of the upper classes of society, but represented also market-scenes, huntsmen, cook-maids, and the like. _ He also treated mythological and allegorical subjects. Died in 1667. a Young Violinist | 99 (cxxix ) THE WARREN COLLECTION MICHEL, GEORGES | When Michel died in 1843, his works were known fe ise a narrow circle of art-lovers and it was not until the Exposition of 1889 that — the world recognized him as a genius, long misunderstood. He was born in Paris in 1763; shirked school to sketch in the fields; ran away with a laundress at fifteen; was already the father of five children at twenty; married again at the age of sixty-five, and worked to his eightieth year. He is said to have exhibited classical landscapes until 1814, when he was rejected from the Salon for his & revolutionary tendencies. As a restorer of pictures many Dutch pic- a tures passed through his hands, and he learned from’ them to study — | nature and to find enough material close to his hand. In large and serious conception, in the breadth and fulness of his brushwork, he is a genuine offspring of the old Dutch masters and a forerunner of Rousseau. After the Shower : | 49 MILLET, JEAN FRANCOIS . Born at Gruchy, near Cherbourg, in 1814. He worked upon his fa- ther’s farm until he was twenty, in his leisure moments drawing con- stantly in charcoal. It was then decided that he should take lessons with Mouchel and Langlois in Cherbourg. But two months later his father died and he again resumed his work upon the farm. Three years later a subsidy from the town of Cherbourg enabled him to go to Paris, where he entered the studio of Delaroche. But he had as little sympathy with the Romanticists as with the Classicists, his ear being haunted by “le cri de la terre.” He left the master and for a livelihood painted little nudes and figure subjects, until in 1848 he produced his first peasant picture, “The Winnower.” It was sold, and Millet resolved henceforth to follow his own instincts. With Jacque he joined the colony at Barbizon, being then thirty-five years old. For seven years he sold his pictures with difficulty; even after 1855 they brought exceedingly small prices and he was excluded from the Salon for yet ten years more. At the Exposition of 1867, however, (cox mx ) ori i ia $ = ~~ oid i . a? 7 NEER, AART VAN DER BIOGRAPHICAL NOTES AND INDEX NUMBER he was awarded the great medal, and at the Salon two years later was a member of the hanging committee. He died on January 20, 1875, and was buried near Rousseau in the churchyard of Chailly. Coming from the Fountain The Shepherdess Peasant Woman and Child Gardeuse de Chévres en Auvergne MOORE, ALBERT Born in York, England, in 1840. He was a son and pupil of William Moore and later of the school in York and of the Royal Academy. His province was ancient Greece, but he did not attempt to recon- struct classical antiquity as an archeologist. He used it merely as a basis of beauty, and introduced into it the soft tones and delicate harmonies that he had studied from the Japanese. He died in London in 1892. Hair-pins MORLAND, GEORGE Born in London in 1763. The son of a portrait-painter, he received instruction from his father, studied at the Academy schools, and as- siduously copied the Dutch and Flemish pictures. As early as 1779 his sketches were exhibited at the Academy. At nineteen he threw off all home ties and began a career of recklessness. For a time he was the slave of a picture-dealer, from whom he escaped to France. Later he lived with his friend William Ward, the mezzotint engraver, whose daughter he married. His pictures, distinguished by truthful- ness of representation, skilful technique, and qualities of color and light, were prized during his own life and are still sought by con- noisseurs. Died October 29, 1804. Reading the News - Born at Amsterdam in 1603. He was a friend of Cuyp, who occa- sionally supplied the figures in his landscapes, as in the fine example (¢xxxi-:) 25 76 78 108 98 THE WARREN COLLECTION NUMBER in the National Gallery. His favorite subjects were canal scenes, in which he shows a preference for effects of moonlight and twilight. He died at Amsterdam in 1677. Harbor Scene, Holland : 91 NORTON, W. E. An English water-color painter of considerable reputation. Beached at Low Tide | 4 PASCUTTL SA; An Italian genre painter. Pupil of the Academy of Fine Arts, Venice. The Duet 60 PERUGINO, SCHOOL OF Madonna and Child 100 PUVIS DE CHAVANNES, PIERRE Of Burgundian parentage, Puvis was by training a Lyonnais, for he was born at Lyons in 1824, his father being engineer of bridges and ~ roads. Thus, to a poetic temperament was joined a scientific educa- tion. After completing his studies at Lyons, he entered the Lycée Henri IV and later the Ecole Polytechnique. He paid a visit to Italy and then joined the atelier of Henri Scheffer. A second visit to Italy followed, and brief attendance in the studios of Delacroix ‘and Couture. During his travels in Italy he was particularly influ- enced by the works of Piero della Francesca, Fra Angelico, Signorelli, and Ghirlandajo. In.1861 he executed for Amiens the first of his mural decorations, which was followed by other monumental works at Amiens, Marseilles, and Lyons, in the Panthéon and Sorbonne in Paris, the Boston Public Library and elsewhere. It was not until 1890 that official recognition was bestowed upon his work, when the long-deferred triumph found him as undisturbed by success as by neglect. In 1896, two years before his death, he married the Princess Cantacuzene, an intimate friend of thirty years, but their union lasted - ( exxxii ) BIOGRAPHICAL NOTES AND INDEX NUMBER little more than eighteen months. When she died, he survived only 7 a few weeks. The Elder Sister eet hes Femmes a la Fontaine (La Source ) 121 REYNOLDS, SIR JOSHUA, P.R. A. A native of Plympton in Devonshire, where he was born in 1723, Reynolds went to London at the age of seventeen and became ap- prenticed to Hudson. Two years later he established himself as a portrait-painter in Devonport, and in 1744 moved his studio to London. In 1749 Commodore (afterwards Admiral) Keppel invited the young painter to accompany him to the Mediterranean, and he was thus enabled to spend four years in Italy, during which he studied the old masters to such purpose that his own work re- produced their qualities. Subsequently he added to his research of Italian art that of the Dutch, and in his discourses delivered before the Academy proved himself a master of penetrating criticism. He founded “The Club,” and in 1768 was elected first President of the Royal Academy. Angelica Kaufman having declined his hand, he remained a bachelor and in his splendid house in Leicester Square lived luxuriously, on terms of familiarity with the greatest men of his day. He died in 1792 and received a public funeral in St. Paul’s Cathedral. F Portrait of Lady Hervey of Bristol . 104 RIBOT, AUGUSTIN THEODULE Born at Breteuil in 1823. He married early and supported himself by painting frames for a manufacturer of mirrors, meanwhile edu- cating himself in drawing and painting by lamplight at night. His first pictures, from 1861 to 1865, were for the most part scenes from the household and kitchen. Then he painted religious subjects in a realistic manner and finally became identified with figure subjects, which are plunged in darkness, pierced by a gleam of light. He died at Colombes, near Paris, in 1891. Among the followers of Courbet ( exxwiil ) THE WARREN COLLECTION | NUMBER he was one of the strongest, and, as a painter, among the best of modern Frenchmen. | The Chastisement 48 : ROUSSEAU, THEODORE Born in Paris, April 15, 1812. Son of a tailor, he showed early a taste for mathematics, and aimed at becoming a student in the Polytechnique. He entered, however, the studio of the classicist, Lethiere, but, failing to secure the Prix de Rome, shook off the dust of academical traditions, and sought nature for a teacher on the plain of Montmartre. Even his first little picture, “The Telegraph Tower” of 1826, announced his desire to be a naturalist. His first ex- cursion to Fontainebleau occurred in 1833, and in 1834 he painted his first masterpiece, ‘“‘Cotés de Grandville.” It was awarded a third- class medal at the Salon, but the following year his pictures were rejected. He was considered to be a dangerous innovator, and it was not until thirteen years later, when the academic committee as well as the bourgeois king had fallen before the Revolution of 1848, that the Salon was open to him again. These had been years of penury, in which, however, his powers had ripened fully, and he had become recognized as the “‘Eagle” of the little group at Barbizon. But he still had to contend with the prejudice of officialdom and of the public, and it was only at the Exposition Universelle of 1855 that the world began to realize he was indeed a master. By this time the evening of life was upon him, and it was clouded by the domes- tic sorrow of his wife’s insanity. In tending her he spent his strength, and when, at the Exposition of 1867, the officership in the Legion was withheld,—an honor that was his due, since he had served as president of the jury,—his spirit was broken, and he died the same year. He lies buried in the churchyard at Chailly, on the edge of the Forest, and upon the “Barbizon Stone” a panel in bronze, executed by Chapu, bears the sculptured portraits of himself and Millet. womm, Sunset Landscape 27 ( cxxxiv ) BIOGRAPHICAL NOTES AND INDEX NUMBER Sunday Twilight 70 w= A Plain in Berri—Sunset 19 RUBENS, PETER PAUL Born at Siegen in 1577, on the Festival of SS. Peter and Paul. His father was one of two principal magistrates of Antwerp, and his mother, Mary Pypeling, belonged to a distinguished family of the same city. His genius for drawing was early displayed, and, after studying with Adam Van Noort, he passed four years with Otto Veenius, painter, poet, and scholar. In 1598 he was admitted to the Guild of painters in Antwerp. In 1600 he went to Venice and studied the works of ‘Titian and Veronese, attracting the notice of the Duke of Mantua, in whose service he remained for eight years. His know]- edge of Latin and proficiency in many languages procured him many diplomatic engagements. Returning to Antwerp in 1608, he was ap- pointed Court Painter to the Archduke Albert, Governor of the Netherlands. In 1620 he visited Paris at the invitation of Maria de’ Medici, and in 1628 was sent on a mission to Spain and the follow- ing year to the Court of Charles I of England. In 1609 he had mar- ried his first wife, Isabella Brandt, and four years after her death, in 1630, took for second wife her niece, Helen Fourment. Both served him frequently for models. He died in 1640 and was buried in his private chapel in the Church of St. Jacques. Christ's Ascension SCHALKEN, GODFRIED Born at Dordrecht in 1643. A pupil of Samuel Van Hoogstraten and Gerard Dou. He visited England and there executed small portraits, among them one of William III. Occasionally he painted historical pictures, but his best works are genre subjects, lighted with artificial light. He died at The Hague in 1706. Wise as a Serpent \ SCHREYER, ADOLF Born in Frankfort-on-the-Main in 1828. He studied first at the Stidel | ( cxxxv ) 89 88 THE WARREN COLLECTION NUMBER Institute at Frankfort and then successively 'in Stuttgart, Munich, and Diisseldorf. Always fond of horses, he studied them anatomically and in the riding school. In 1848 he travelled through Hungary, Wallachia, and Southern Russia with Prince Thurn and Taxis and six years later accompanied the Austrians in their march through the Danubian principalities. He visited Syria and Egypt in 1856 and Algiers in 1861. Upon his return he settled in Paris until 1870, when he acquired the estate of Kronberg, near Frankfort. Between this and Paris he divided his residence until his death in 1899. Return of the Foragers 14 TOL, DOMINICUS VAN Born at Bodegraven, between 1631 and 1642. He was the nephew and pupil of Gerard Dou, whose manner he closely imitated. He died at Leyden in 1676. The Cobbler : 92 TROYON, CONSTANT Born at Sevres in 1810. His labors in the porcelain factory, the _ classical views with which he made his first appearance at the Salon in 1833, and the impulse derived from Roqueplan were the incidents of his youth. The real direction of his art was found when he made the acquaintance of Rousseau and Dupré at Fontainebleau. “Here, in the first instance as a landscape-painter, he was attracted by the massive forms of cattle, which make so harmonious effect of color in the atmosphere and against the verdure, and the philosophic quietude of which gives such admirable completion to the dreamy spirit of nature.” A journey to Holland and Belgium in 1847 con- firmed him in his resolve to devote himself exclusively to this branch of painting. His “Oxen going to Work,” painted in 1855, now in the Louvre, represents him in the zenith of his power. But apart from his cattle subjects he still stands forth in the very first ranks of French landscapists. He died in Paris in 1865. Coast near Villiers 115 ( cxxxvi ) BIOGRAPHICAL NOTES AND INDEX a NUMBER . UNKNOWN Still Life 85 Portrait of Martin Luther : 86 Harbor View 96 Portrait of Sir Robert Walpole 101 VAN MARCKE, EMILE Born at Sevres in 1827, of Belgian descent on the father’s side. He _ made the acquaintance of 'Troyon in Sevres and became that master’s pupil, working with him at Fontainebleau. To the occupation of painting he added that of landed proprietor, breeding cattle exten- sively on his own farm at Bouttencourt in Normandy. He died at Hyeres in 1891. Landscape and Cattle VEDDER, ELIHU, N. A. Born in New York in 1836, of a family descended from the old Dutch settlers. His talent asserted itself while still a boy and after some experience with T. H. Matteson at Sherburne, New York, he studied the old masters in Italy and painted under Picot in Paris. Return- ing to America, he set up a studio in New York and supported him- self by drawing on wood for publishers. For many years he has re- sided in Rome. Alike in his figure subjects, mural paintings, and drawings, such as the designs for the “Rubdiydt,” he has proved himself an artist of powerful intellect, rare imagination, and decora- tive skill. | Ideal Head, — Tito WILSON, RICHARD, R. A. Son of the parson of Pinegas, Montgomeryshire, where he was born in 1714, Wilson’s taste for drawing attracted the attention of Sir George Wynne, who introduced him to a portrait-painter in Lon- don named Wright. In the same branch of art he contrived to make a living until 1749, when he visited Italy; and by the advice of Zuc- carelli devoted himself to landscape. After six years’ stay in Italy he ( cxxxvil ) 17 45 THE WARREN COLLECTION NUMBER returned home to find Zuccarelli worshipped and himself neglected. In 1760, however, his ‘‘Niobe” made a great impression and at the foundation of the Academy in 1768 he was one of the thirty-six original members. His struggle with poverty was slightly alleviated by his appointment as Librarian of the Academy, but it was not till he received a legacy in 1780 that he was able to return to a pleasant — home in Llanberris, where he died two years later. It has been re- served for posterity to hail him as one of the great masters of land- scape. | / Tivoli Landscape — ) WOHLGEMUTH, MICHAEL Born at Nuremberg in 1434. After receiving instruction, probably from his father, he, like other apprentices, spent three years in wan- dering through Germany and the Netherlands. Returning to his native city, he opened a large studio, in which, assisted by numerous apprentices, he painted religious pictures to order or made such wood-cuts as those which fill the pages of the famous “Chronicle of Nuremberg.” Among his pupils was Albrecht Diirer. He is repre- sented in the Louvre; the Aschaffenburg Gallery; the Old Pina- kothek, Munich; the Germanic Museum, Nuremberg; the Leichten- stein Gallery, Vienna; the Liverpool Institution, and elsewhere. He died at Nuremberg in 1519. . J Death of the Virgin ZAMACOIS, EDUARDO Born in Bilbao in 1842. He studied with Balaco in his native city, afterwards entering the Madrid Academy under Federico de Madrazo. Thence he proceeded to Paris, where he was a pupil of Meissonier. His subjects are largely costume pieces of the seven- teenth century; fine in color and full of ésprit. He was one of the most brilliant of the Spanish group in Paris, until his untimely death in 1871. 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