‘ ieee . eon wen preening eo Ue ER EIR TE a YP YOR PLS DETR PSY ARS Ses RY M. KNOEDLER & CO. 856-8 FIFTH AVE. ; NEW YORK” Pe a Stee a a Att On a ee ee a ee ae j Nearer ray ie " “a i" ‘ 7, - . 4 9 ra ’ ts oe. > = : I ee ae ee ee eee a \ . ‘ ‘ . ON FREE PUBLIC VIEW FROM 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM TUESDAY, MARCH 3rp, 1914 UNTIL THE MORNING OF THE DATE OF SALE PAINTINGS, DRAWINGS AND STUDIES BY THE ne FRANCIS DAVIS MILLET, N.A. TO BE SOLD AT UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES ON FRIDAY EVENING, MARCH 6r7n, 1914 AT 8.15 O’CLOCK sey ase eran eh ey i i 1 J a | H | i } i ; i F i. i | i | | be : | ee {ee 2 CATALOGUE OF THE FINISHED PAINTINGS DRAWINGS AND STUDIES LEFT BY THE LATE _ FRANCIS DAVIS MILLET, N. A. {TO BE SOLD AT UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH ON THE DATE HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY, oF THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK 1914 | ee CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either de- cide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or. may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon pay- ment of the total amount due for all purchases at the sale. Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—be- tween the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on presenting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, how- ever, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7%. Guarantee is not made either by the owner or the Asso- ciation of the correctness of the description, genuineness or au- thenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot correctly, and will give consideration to the opinion of any trust- worthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as cata- logued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. SPECIAL NOTICE Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph or telephone, will be faithfully attended to without charge or commission. Any purchase so made will be subject to the above Conditions of Sale, which cannot in any manner be modified. The -Association, how- ever, in the event of making a purchase of a lot consisting of one or more books for a purchaser who has not, through himself or his agent, been present at the exhibition or sale, will permit such lot to be returned within ten days from the date of sale, and the purchase money will be returned, if the lot in any material manner differs from its catalogue description. Orders for execution by the Association should be written and given with such plainness as to leave no room for misunder- standing. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a de- posit should be sent or reference submitted. Shipping directions should also be given. Priced copies of the catalogue of any sale, or any session thereof, will be furnished by the Association at a reasonable charge. - AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. FRANCIS DAVIS MILLET AN APPRECIATION OF THE MAN By SYLVESTER BAXTER “Well for him who leaves behind him a treasure of love, esteem, honor and admiration in the memory of men. Such enrich- ment is his gain in death; thereby he acquires the condensed con- sciousness of the whole earthly estimate concerning him, grasping in full measure the bushel of which in life he could count but a few kernels. This belongs to the treasure which we are to lay up in heaven.’”—Frcuner, The Little Book of Life After Death. FRANCIS DAVIS MILLET—Frank D. Millet, as his friends always spoke of him—was typical of the flower of American man- hood at its finest. Born in Mattapoisett, he came of the best of New England stock—Pilgrim and Old Colony, State of Maine. Millet is a Catalonian name; the English Millets are traced to France, and probably the French Millets came from the ancient Spanish province. So perhaps the exotic quality that many of Frank Millet’s friends noted in him may have filtered down through the many generations from the Mediterranean shore. - On his father’s side some of his ancestors went to Maine from the Plymouth country towns where his mother’s people had always dwelt; some went from Sandwich on Cape Cod, on the other side of Buzzards Bay across from the town where he was born on Novem- ber 3, 1846. As a boy at Mattapoisett he was a friend of Henry H. Rogers in Fairhaven, the next town. In later years he was a beloved intimate of the Standard Oil magnate, who enjoyed nothing better than to secure Millet’s company in his steam yacht Kanawha. His mother, a Byram, numbered John Alden and Priscilla among several Pilgrim ancestors. She had brilliant quali- ties from her Washburn maternity and she gave her eldest son her Washburn eyes, black and sparkling, instantly taking in many things at once. Frank Millet was companionable, lovable, quick-witted and congenial, scholarly, uncommonly talented, capable of doing extraordinarily well almost anything he chose to put his hands to; industrious and resourceful, democratic, on an equal footing with the humble and standing without self-assumption on a parity with the best in the land. He was of remarkable executive capac- ity; had he cared for it he might have made a success of almost any business he undertook; he had method without routine, the ability to plan and to carry out what he planned. So it was that in his open and above-board way he gained the confidence of many men standing high in the world, and was enabled to do many things of the sort best worth doing. His friends often wondered how it was that he was able to do so much and yet seem to have plenty of time on his hands ‘to do it in. It was largely because he knew how to organize his activities and to make the best of every moment. He knew not what idleness was. In that way he enjoyed life at its best and made the best of it, taking keen zest in pleasure as well as in work. Such a man was, of course, much sought socially. He cared nothing for society as such and his democratic nature despised the shams of - social convention. But he loved the companionship of the world’s best and the world’s best sought his company. For many of his friends he seemed to be all over town at the same time, and all over the world, for that matter—now in London, now in New York, now in Rome, now in Washington—and at home everywhere. Indeed, one of his nearest of kin, when asked where his home was, could not make assured reply as to whether it was in England, or New York, or Washington, or Rome. His. work was pleasure and his play was work; he made it a business to get the. best out of everything. He enjoyed himself with heart and soul and gave himself to his work in the same way, attending to everything thor- oughly and leaving no loose ends behind him. A nature like that is informed with the essence of perpetual youth. A veteran of the Civil War must be well along in life when the year 1912 comes around. But Frank Millet was one who could never grow really old; however advancing time had molded his figure, whatever lines it had graven upon his face, in bodily movement and play of feature he was ever active, replete with energy, responsive to wholesome fun and keen with mental stimula- tion. Youth ever sought his company and accepted him as one with themselves; and his contemporaries in age, as did his elders, always esteemed him a young fellow. In this regard one classes him with two of his old friends, “Jack” Low and “Ned” Morse— the late John G. Low of beloved memory and Professor Edward S. Morse—dear old boys in the truest sense—the latter with us, as long may he be! Frank Millet’s life was rich with achievement from the first: At Harvard he was high in his class, brilliant with the promise > ty Peat ene Se ath that he never afterwards belied. He was a Phi Beta Kappa man; in the Society’s rooms at Cambridge hangs one of the earliest ex- amples of his work in art: a decorative poster for some theatrical event. A handsome youth, he played girls’ parts to perfection at college. _ He was trained in newspaper work with his college friend, Royal Whitman Merrill, on the Boston Daily Advertiser, and be- -came-one of the traditions of an office that in those days was a school of good workmanship. There he laid the foundations of the literary technique in which he came to rank high, and for the skill in news gathering which made him one of the foremost war correspondents of recent times: in 1877 in the Russo-Turkish War—decorated several times by the Czar for bravery on the battlefield—and near the century’s end in the Philippines. ‘His impulse to painting had been irresistible. While still doing newspaper work, in spare hours he worked at lithography in the ‘Forbes establishment—a road to painting followed by not a few eminent men. J. Foxcraft Cole and Mark Fisher were both gradu- ates of that establishment. - On the walls at the Advertiser office hung for a long time two examples of Millet’s skill in drawing. One was a portrait of George Bryant Woods, of the Advertiser staff, a remarkable Shakespearian scholar and dramatic critic of high quality, who died in early manhood. The other was a litho- graphic head of Signora Morlacchi, a celebrated danseuse of that day. ; When Millet went to Antwerp to study painting at the Royal Academy of Fine Arts he at once became a great favorite with his professors. His room mates in Antwerp were George Maynard, from Washington, and Elijah Baxter, of Providence. Other par- ticular friends there were Alfred Copeland, Edward Champney, ‘and George Weatherby, of Boston—the latter in London ever since the early seventies. Millet twice gained the highest honors for good work at the Academy. When crowned with laurel for excellence in painting the students organized a procession and _ marched with a band of their own to serenade him. Baxter, now at Newport, still treasures a leaf from that laurel wreath. One of Millet’s intimates at Antwerp was a young German, Otto Grundmann, whom Millet secured in 1876 as the first director of the School of Painting at the Boston Museum of Fine Arts. At Vienna in 1872 Millet had his first World’s Fair experience. He was still at Antwerp when he was appointed secretary of the Massachusetts Commission. The younger Charles Francis Adams was Chairman. They at once became close friends for life. Millet’s literary talent was so high that Howells, editor of the Atlantic when his first contribution came to the magazine in the middle seventies, urged him to give up painting and make litera- ture his vocation—assuring him a high name in it should he do so. Millet’s short story that brought him this compliment, the story of a little dog that in weird ways kept turning up on the trail of the writer, brought into the tale the element of mystery and romance in masterly fashion. It had the direct simplicity, blended with subtile imagination, that stands for the best of art. It was called “The Fourth Waits.” Millet’s other short stories were of like quality. They are collected in a volume called “A Capillary Crime and Other Stories.” His other books are “From the Black Forest to the Black Sea,” a delightful account of a canoe trip down the Danube; “The Expedition to the Philippines”; and a translation of Tolstoi’s “Sebastopol.” Millet was married in Paris in 1879 to Elizabeth Greeley Merrill, of Boston, a sister of his college friend. A younger brother of Mrs. Millet’s is William Bradford Merrill, formerly managing editor of the Philadelphia Press, of the New York World and now of the New York American. Augustus Saint Gaudens was in Paris at that time; his low relief of Millet, a replica of which is now in the Metropolitan Museum of New York, was made in March, 1879, probably as a wedding present. Millet was one of the first to discover the rare charm of the old English village, Broadway, in Worcestershire. A few years after his marriage he rented a place there and later bought “Russell House”; not long after he added to the property an ancient Priory next door. He took the same keen delight in faith- fully restoring it that some years before he devoted to reproducing for a studio an old-time Plymouth Colony interior at his father’s place in East Bridgewater. A studio, also, the more imposing Priory, furnished the setting for some of his most celebrated pic- tures. In the charming garden at Broadway, Mrs. Millet took unceasing delight and there she developed extraordinary skill in horticulture. This garden was the scene of some of John S. Sargent’s famous paintings, among them “Rose Lily, Lily Rose.” Russell House was the nucleus of one of England’s most famous artist colonies. After much distinction as a painter in England in company with artists like Sargent, Abbey, Alma-Tadema and Alfred Par- sons, Millet’s association with the expositions at Vienna and Paris led to a call to a responsible share in organizing the epochal Columbian World’s Fair at Chicago. As superintendent of deco- ration and master of festivities during the fair he originated the tonal scheme that made it the “White City”’—the name conferred by the late H. C. Bunner, the beloved editor of Puck in its best days. The mural decorations by Millet himself—the lunettes in the loggia of the Liberal Arts building and for the ceiling of the grand reception hall of the New York State building—were pronounced by architect McKim the highest achievements in that line at the exposition. McKim declared that there could be no doubt about it, Millet’s mural work marked him as America’s fore- most man in that field. This opportunity happily brought promi- nently into play the talents first exercised in 1876 when, as chief assistant to John La Farge in executing the earliest important mural work in this country at Trinity Church in Boston, he was responsible for some of the best qualities in the decoration. Millet had likewise a high talent in stained-glass design and is the author of an important window at the Harvard Memorial Hall, executed at about the same period. The late Frederick Law Olmsted, the designer of the Colum- bian World’s Fair at Chicago—still the greatest and best of ex- positions, though since surpassed in mere magnitude—was enthu- siastic about iMillet’s invaluable services there. Unfortunately a pictorial history of the Chicago Fair, to which Millet devoted ex- ceeding pains and many precious months, never reached publica- tion. The enterprise was wrecked by mercantile dishonesty. It would have been a historic record of the occasion that gave to American art its greatest impetus. The St. Louis Exposition would have been more of a credit artistically had its directors not perversely disregarded Millet’s advice. The management called him in for consultation; he took infinite trouble on their account, and was shabbily dealt with. Less equable men would have loudly protested, but he bore his treatment with characteristic philosophy. Millet’s initiative at Chicago established mural decoration in America as a distinct field of art. Mural painting as a calling by itself was unheard of in this country until he organized the work at Chicago and brought together a remarkable group of artists. For some years he did not reap for himself any of the fruits of the movement, being occupied at that period with activi- ties in Europe which kept him abroad most of the time. He might have had an opportunity at the Boston Public Library; a consider- able sum had been raised to decorate a room as a memorial to his friend Harry Codman, Mr. Olmsted’s young partner and associate at the Chicago World’s Fair. But Millet unselfishly represented that it would be better to use the money as a fund for establishing a Codman Library of Landscape Architecture at the Public Library. His advice was followed. When some years later he took up mural painting himself on an extensive scale his work splendidly justified the enthusiasm of McKim. Fine as his easel pictures are, it is as a great mural painter that his fame will last. His masterpiece is his monumental work for the Baltimore custom-house—a consummate development of a unique departure from the conventional traditions and one of the greatest achievements in decorative art on this continent. — These Baltimore decorations depict the evolution of naviga- tion: “Something different from the customary representations, such as-a group of young women in their nighties presenting a pianola to the city of New York,” as Millet remarked with char- acteristic native humor. A series in a similar vein intended for the New Bedford Public Library—depicting the history of the whale fishery—is lost to the world. Millet had given much thought to the scheme and with the happiest anticipations had looked for- ward to doing it. It seems as if the seed that was germinating in his mind with such beautiful promise must surely fructify in some way. Ever ready to serve the public and sacrifice his personal interests for much gratuitous work of that sort, Millet organized the American Federation of Arts for the National Academy of Art three or four years ago. He had been its secretary from the beginning. When Charles F. McKim founded the American Academy of Art at Rome, Millet was selected as one of the incorporators and served as secretary up to a few months before his death. Then, much against his inclination, at the earnest solicitation of J. Pier- pont Morgan—who, as fellow trustee with Millet at the Metropoli- tan Museum in New York, had conceived a high opinion of his executive capacity—he consented to become the Director of the Academy, together with the American School for Classical Studies at Rome, with the idea of reorganizing the work, affiliating or merg- ing the two institutions and housing them and their students in a way to place American prestige at the front among the several na- tional academies of other countries in the Eternal City. He gave himself to this work with all his best energy and enthusiasm and in the highest degree would undoubtedly have achieved the ends aimed at had his life been spared. It will be difficult to fill his place. But if the plans for the Academy should materialize the institution will be a lasting monument to his memory as well as to that of McKim, his friend and the founder. Millet once said that if he could choose his manner of death it would be to live his life in fulness to the end, then be shot in battle. In substance, he had his wish; his was a Hero’s death. Looking back upon the life lived with such rich measure of fair and good things wrought, one recalls the prophetic implication of the ceiling at Baltimore: The entrancing beauty of that vision of the most beautiful things that move upon the world of waters— ships under full sail, entering port amidst the perfect calm of an ideal summer sunrise, the blissful air informed with life and joy and peace in ultimate fulfilment. How goodly this world is— clothed as with a garment by the soft warmth of the early morning! For antithesis another picture: The calm of chilling waters when earthly life went out in mid-Atlantic under the starlit sky. After all, only the moment’s pang among the pallid icebergs. Then a white-souled company floats serenely home. Upon the long pennant of a noble ship in that home-coming fleet at Baltimore, modestly Premuaplouous, is inscribed the name “FD. Millet.” EPILOGUE Dear Frank: Over there in the Great Beyond, in the After Life, whatever it may be, we feel that somehow, in some way, you are yet with us, that your work here will go on to greater con- summations—yourself a part of it; and that our loving thoughts of you will draw you consciously to us; to the hearts that hold your affection, ever one with us in soul and spirit through all the trans- mutations of life everlasting. SYLVESTER BAXTER. SALE FRIDAY EVENING MARCH 6, 1914 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.15 o’CLOCK NOTE: The majority of the pictures have been surrounded by simple inexpen- sive frames, thus allowing the purchaser to exercise his own taste in using frames more worthy of the work. No. 1 DETAIL STUDY FOR THE TREATY OF THE TRAVERSE DES SIOUX (Now in the Gov- ernor’s Room of the Capitol at St. Paul, Minn.) (Oil) ul ee Height, 10 inches; width, 9 i pree ee a7 : An Indian chief in a state of nature, his black hair tied at either side with yellow ribbons, gazes haughtily with piercing eye far to the left, behind the onlooker. Head and shoulders. No. 2 DETAIL STUDY FOR THE TREATY OF THE TRAVERSE DES SIOUX (Oil) / 5742 Height, 15 inches; width, 9 rbcage : YNPA Head and shoulders of a tawny chieftain, his back to the spectator and face in profile to the left. — His hair is decorated with a long feather and vari- colored trappings. No. 3 DETAIL STUDY FOR THE TREATY OF THE TRAVERSE DES SIOUX (Oil): Height, 13 inches; width, 12 he V et ee en Eien An Indian chief of proud, st mien, looks calmly to the left, seen head and shoulders in pro- file. He wears the characteristic headdress of long feathers, the quills and brow-band painted in bright colors. No. 4 DETAIL STUDY FOR THE TREATY Ge THE TRAVERSE DES SIOUX (Oil) GU = Height. 11 tahoe, wi, Se A lean-faced aborigine in profile~to the left looks afar, with head thrown well back and the expres- sion of accustomed command. Head and shoulders. No. 5 DETAIL STUDY FOR THE TREATY OF THE TRAVERSE DES SIOUX (Oil) tg Ve F F oN ; Joe : ; 7 it g Height, 18 inches; width, ayn Lae | | Two chiefs of the red men, one wearing on his head a bunch of red feathers and a long brown feather, the other a single long plume, are seen at half- length in their red blankets—one facing the ob- server, one looking slightly to the left. No. 6 PEASANTS ON THE RUMANIAN SHORE (Danube Series) vy VEE Ly nts at Been é (Oil Sketch) s oe Height, 51% inches; length, 91. inches White-clad men to the number of half a dozen are walking up a sloping, broken field among rolling brown hills. One shades his eyes with his hand. Signed at the lower right, F. D. M. No. 7 GARDEN IN VENICE a | | (Oil Sketch) Ven. Bre oe Sere wf ge Height, 1414, inches; width, 11 inches Sunlight illumines the corner of a yellow-walled building, and dapples the ground of a garden in the foreground where fall the shadows of entangled green trees. No. 8 CAPRI—VESUVIUS IN THE DISTANCE (Oil Sketch) ( 0 sae Height, 43, inches; length, @Y, inche > Beyond a foreground warm with yellow, green and brownish-red vegetation—with a white wall bright on the right—is a smooth, deep azure sea; and afar, under a sky of subtle tones, the outlines of Vesu- - vius appear in a vaporous chromatic mist. No. 9 CAPRI FISHERMEN—STUDY FOR A LARGE PICTURE (Oil) A Height, 744, inches; length, 12fnches, A bold sketch with the masses blocked in and the colors recorded, depicting a number of fishers on their heavy, sturdy sailing-craft, under way through an indigo sea with a far mountain shore. No. 10 VOIE DES TOMBEAUX, POMPEII (Oil Sketch) Hi sos Height, 12 inches; width, 114, Anches Beall KYUYN Under a gray-white sky with lavender-pink notes, and the blue cerulean visible aloft, are monumental tombs in white and colored marbles, and tall Italian ~ cypresses bending in a breeze. At the lower left is the title. FOsnre tw, ates ie Le | No. 11 RED BUOY, VENICE (Oil) i oe Height, 6 inches; length, 9 inches .. ; Les A Glowing red and imparting its hue to the waters of the lagoon ahead of it, a huge anchorage-buoy floats in the foreground, white lateen sails and rosy walls of Venice seen beyond it. No. 12 SAN GIORGIO AND SANTA MARIA, VENICE (Oil Sketch) Height, 434 inches; length, 111%, inche aes A: nnn AAV Beyond a stretch of blue and green water, colored by reflections, are the tall brick-red campanile of San Giorgio Maggiore and its adjacent red roofs, laid in against a veiled blue sky, and to the right are discernible the domes of the Salute. No. 13 SAN GIORGIO, VENICE (Oil) ae Height, 5 inches; length, 1114 inches Vena — > 7) oo VIAV A In the foreground the waters of the bay are strangely green and blue and gray and red, beneath a sky as green and blue and gray, and across the vision comes the isle and buildings of San Giorgio Maggiore, the campanile a bright red, and in the distance the gray Salute. No. 14 ROCKS OFF CAPRI—VESUVIUS IN THE DIS- | TANCE | (Oil) S 4 sae Height, 43, inches; length, BY inchg¢s [9 /aA- Green-gray and purple-brown rocks with surfaces of velvet stand out in the shallows of a turquoise bay turned polychromatic in the vagaries of a Mediterranean sunset. Beyond the sea the hazy mountain. No. 15 GRAY DAY—VENICE (Oil Sketch) / Sb s4 nr Be Height, 8 incheszlength, 141% faches | TYn- | Under a heavy sky of lowering, cumbrous clouds, the impassive waters of the bay are a spectral green, dotted with shadowy forms of distant boats; and all is sombre, gray and still. No. 16 SHORE BETWEEN HONFLEUR AND TROU- VILLE | (Oil) oO 4 ane Height, 4% inches; length, 11%“inchés O A gray-blue arm of the sea indents a greqn ang wooded shore, the white ripples of spent wavelets scalloping on the low, sandy reaches of the beach. No. 17 VENICE—MEN SAWING WOOD (Oil—Panel) oe Height, 111% inches; width, 5 Be Oh rliieene Two men with a two-handled saw are sawing through a large pile or log laid across tall saw-horses, one man on the ground, the other atop of the log. Be- yond them the calm bay is turquoise-green. No. 18 BRIDGE AT VENICE (Oil) 3 A, ‘:. Height, 634 inches; le , 934 inches A gray, white and lavender- pink bridge, ade: brown in the shadows of its “ander-surface, spans a mottled green, blue and white canal, with gondolas, figures, lavender-rose walls and garden greenery on the farther side of the arch. No. 19 WAYSIDE SHRINE, CAPRI (Oil) od i - Height, 121, inches; width, as ae Ke fae Set into a wall by the Lene in eae of a gar- den of green trees, a gray shrine surmounted by a cross is dappled with brilliant sunshine. No. 20 BOATS—VENICE (Oil) 8 ji Height, 13 aie sacle wi 101% fnches (3, Picturesque and ee with their remark- able canvas of red and olive-yellow and bluish-gray, several of the clumsy Venetian boats with lateen sails pointing skyward are seen in a line on the © colorful bay. No. 21 PERGOLA—CAPRI . ‘ (Oil) _ 1 | Height, 13% inches; width, 7Anches al ie yn. toh Round columns rising fan a low white wall sup- port a rustic arbor overrun by a luxuriant green vine. Between the columns comes the sunlight from a shimmering blue sky. No. 22 PALM TREES—CAPRI (Oil) od ‘<— Height, 12 ee ae WO Li Tall palms lift their arching branches over lesser : foliage and gray and white sunlit walls, against a glowing azure sky which is seen beyond gray and green hills. ee No. 23 BOATS—VENICE (Oil) 3 4 ae. Height, 9%, inches; length, OU SL bia i. pre Several boats with sails up, their noses toward a shore of green trees, are lying close in line on a quiet day when the water is barely rippling, their red, gray, yellow and green canvas mottling the bay in chromatic variety. No. 24 AT VENICE . | (Oil Sketch) Height, 14 inches; width, 12%, incheg W/ ait DEE me Yun VV dA tr A heavy two-masted brown sailing boat with a green rudder, her canvas lowered, rides on undulating green water in the sunshine. Her occupants shade themselves with pink and brilliant yellow awnings strung in the rigging. No. 25 SHRINE ON CAPRI SHORE (Oil) | is Height, 18 inches; width, 1234 inches Ree oo ont. yas | 1 On a rocky promontory aes vocal | and stunted trees, a gabled shrine at a bend in the shore overlooks a sea which is a rich, bright blue in bril- liant sunshine. STREET IN VENICE 39 VENICE 3 J be Height, 10 inches; leng h, 121, ies GATHERING GRAPES—CAPRI 3 wae Height, 143, inches; width, 111% in No. 26 (Oil) pedi Height, 11% i¢hes; width, 7 inches /} ; One of the by-ways of Venice¢{ narrow and stone- paved, between gray, damp-gyeen and brown walls reinforced by arches overhead. On high a slant of sunshine reveals a window-box or roof-ledge of red flowers. I No. 27 (Oil) ‘4 On. Houses white and gray, red and yellow, beyond a green flowering garden beside a narrow green canal, rise against a hazy blue sky. Three windows of a palace appear beyond the garden. SE LETT IN PLETE NEE DE O5R, ees emaN hs ae Tee a No. 28 7 (Oil) High on a ladder a bare-legged man in white shirt and pale yellow trousers, his face in shadow of a small arbor, is plucking grapes from a vine which nearly reaches the roof. On the roof sheaves of ripe grain are piled against a parapet. COURTYARD OF THE VILLA NARCISSUS (Oil) § A, fs a (oe Height, 9 inches; length, 14 inches KATWIK Pervaded by light and with scarcely a shadow ex- cept within an open doorway, the courtyard within mauve-gray walls is brightened by vines and hang- ing baskets and tall earthen jars of green plants. A stone stairway descends to it about a round pillar. , No. 30 (Oil) ( —ge_. Height, AY, inches; fength, 11%—inches f) It is after sunset, the sky is pale yellow and Dae above the horizon, and the shallow waters along a low indented coast reflect the grayish-yellow, fading blue and purplish-pink of the vaporous glow. The green landscape recedes into shadows without detail. At the lower left is Karwix— No. 31 : STUDY—A FOURTEENTH CENTURY ATTIC (Oil) ae dy Height, 12 inches; width, & ay ae /» deo alee PVA Den beanie TL. A study in gray as well as architectural. The cor- ner of a gray room with gray arched walls, an open door revealing sunlight under the top of an arch- way beyond; greenish suggestions in a small-paned window and in a transom of tracery over a larger door of gray-brown. No. 32 LANDSCAPE (Oil) OF ye Height, 7%, wane length, 121) inches - A vine-covered country church stands in a lawn | at the border of a blue pond. Rising against a brilliant sky, its shadow comes forward across the aa water. About are slender trees. No. 33 ares re he STUDY OF A HEAD (Done in the artist’s student days) (Oil) / pyrene Height, 12 inches; width//1¥, inches A large and strong-featured, confident gentleman of swarthy complexion, with high forehead and full brown beard and mustache, is portrayed head and shoulders in profile to the left. He wears an _ emerald-green costume with .a close-fitting narrow lace collar. Neutral ground. No. 34 SWEDISH HOUSE, AALBORG (Oil) 154 Ril Height, 12% VW, eae Shine Es Dagan t 3 | A house with red tile roof 4 exterior beams, the ; ; | ground story white, the upper story yellow, stands close in the foreground on an earthen court. A man is at work, a duck eyeing him. At the lower left, Aarsore, 8/14, 1882. No. 35 COHASSET (Oil Sketch) one 0% Height, 834 inches; length, 1% nch peas Vy (BAA Under a pale blue sky with ohite and gray clouds a broad stretch of shallow sea rolls lightly, a low surf in the foreground, A sail and gulls well in- shore. No. 36 RAMPARTS, VISBY GOTHEAD (Oil Sketch) Of — Height, 834, inches; length, 16%, inches W/ (x vr BL pe Gray-brown walls of ancient broken fortifications ramble on the far side of a green slope, skirting a hither border of the sea. No. 37 OIL STUDY hs Height, 1414 inches; width, 11%, inches Ty y rae ees Pinpia~ Leet | oaega In a gray interior of heavy beams, with dull yellow relief, a stairway of three Beetiens with steps and rail in mahogany-brown—descends to a stone- paved floor. lS eee . eae ~ iy eee ; a4 aes - ae See ea aes 4 bs he is . ae No. 88 SWEDISH FARM (Oil Sketch) / “A —".— Height, 91, Mehes ae inches re Beyond a patch o and a rail fenced, < grainfield extends to a pink house. In the distance is a windmill. No. 39 SWEDISH CHURCH (Oi) ey 0 eee Height, 12%, inghes; length, 18 inches , /) : Wy, Gs * On a green knoll beside blue er a gray church stands amongst gray-green trd¢s and low, brown log outbuildings, in the sunshine... No. 40 SWEDISH FARM : ) (Oil Sketch) E sa a Height, 1134 inches; ake A I peelite t A red log-house At its nearby red barn, with a Pal foreground of trodden grass between them. From the porch a young woman looks out, some needle- work lying beside her. No. 41 CLOVELLY SUNSET (Oil) BS: a ¢ | Height, 12%, inches; length, 1734 in Nestling under a high, deep-green i. t the water’s edge is a gray-white cottage on a low stone terrace, with boats hauled out beyond it and its lowly doorway banked-with blossoming vines and flowers. No. 42 CLOVELLY y eae; Aan Cin__ a mottled-turquoise bay flecked with white, before encircling green hills. A boat with a red-ochre sail. In the foreground a gray stone and plaster cottage, at the shore end of a breakwater vari- colored by marine vegetation and weather. Height, 31% inches; length, 914 ie YY waka No. 86 THE FERRY (Pencil Drawing) 7 3 Vs Height, 41, inches; ie oa Two big loads of hay, drawn by oxen and Vie o stand one before the other on a long flat-boat which © is seen broadside, being ferried across a stream. — Signed at the lower right, F. D. Mitzer. he No. 87 TURKISH FLAT-BOAT / (Pencil Drawing). : A, —— Height, 31, inches; length aaa Long, broad and heavy, oa a harbor freight- } car float, the Eastern craft is piled high with mis- — cellaneous cargo, two men aboard, on a quiet stream. Signed at the lower right, F. D. M. No. 88 GOSSIPS—HUNDSHEIM (Pencil Drawing) if Q oe Height, 73, inches; width, of noe inches — Three peasant women are in the sei int an open space before a line of buildings. One carries a tub on her head, one a barrel-shaped basket on her back, and the third with arms akimbo 1 As telling them something. Signed at the lower right, F. D. Miter. No. 89 PEASANT GIRL—THEBEN (Pencil Drawing) / 3 6 Height, 6 inches; length, 11 inches ye Carrying strapped to her shod ee. nest of baskets or conical barrels, a pug-nosed peasant girl with _ spring in her step and supple body is walking cheer- fully up a hill. The “nest,” much longer than she is tall, projects far above and in advance of her head. Signed at the lower left, F. D. Miter. No. 90 A FAMILY WASH (Pencil Drawing) . Height, 61 inches; length, a (3. (2 ; ee. ae C Up to her knees in a stream, Gee woman is bathing two small boys. Back of her on the bank are three men in front of a house. Signed at the lower right, F. D. Mutter. No. 91 A CAMP—‘*THE COSSACKS” (Pencil Drawing) i vies —. -« Height, 4 inches; length, 7 em ner pd VL ct _ Along a line of poles or halberds thrust into/ the earth, a company of men are resting, seated or prone on the ground or standing in conversation. Their horses, unsaddled, are feeding or standing idly at hand. Signed at the lower right, F. D. Mixer. No. 92 MUSIC ON THE MARCH—“THE COSSACKS” i. 4! (Pencil Drawing) - / oa Boh, 16 inches; width, 101% inches Mounted halberdiers marching in formation come forward four abreast, singing, the file leader keep- ing time with his shi Signed at the lower left, F. D. Miviet. No. 98 LASSOING A TURK—“THE SACKS” /g Peat (Pencil Drawing) Jr: Tato Height, 41% inches; length, 1034 inches Out on a rolling field a mounted Cossack has over- taken a fleeing Osmanli, unhorsing him with his ac- curate lariat. The Turk has been dragged head- long backward to the ground, his mount galloping from under him. yA ae rp - A rf -. oy 5 Signed at the lower right, F. D. Mixzer. THE AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER, COMPOSITION, PRESSWORK AND BINDING BY er ee Naan a ae NY — a a x |: 105.00 aa «| 45.00