. p iBrice at Hermann Sale. is te oe Masters at the Rage + Dammam eat His aad’ a S ranse erly in the Gallerie Gustav Ritter | von Muhlheim, _ Prague, t the Migheds price at the Ferdi- | ‘Hermann sale of ancient and mod- erm niasters at the Plaza last. evening, ( the sue sie ef the American Art OC. Thomas. H. Kirby, Aue; ‘ going to Roary, aoe for poo. | which, crouched to the sia at him appealingly while. with a swo stands at one. travelers on horseback are in- ‘ound, The picture started at ran up quickly by thousands. é iselting, po i cient the second highest price, ‘also to Leet agent, and — chased | his | sale in WhO and. . former Ribs t oripait: of Phndrsas" R gab pics a anel, 23 her of the old a tent. ee of - the higher’ ent iets Barnet, ANS for $3,700. ret ard,” si ea: by. yee rye A dated ° cog to Knoedler & C . rogers price. pao neayare ches, the re eep tone throu Fishe ina 6 nen ac rishe dier ‘Ci spi ey The. : Maiewing is a Net ‘of = aise axists, buyers, and prices: 4-The | Return of the Forag ee Pr ecoih olin PEN Sry ae cs Woman and | harcoal, oe A "side Canal, Ve ; tt cm iielnbers ; as : tae Dewtuner: oy nal mank i bar Sauipe! a vate River Bank, (canvas)—Kruseman done Blten. S. G. Hess,‘ agemt...... 330. | T3—A. Landscape, ‘(eanvas)—H, ‘De, Har- 3 ny Ge Holland Galleries ...+--- ey T Road He the ab: ob canvas) Pupre; Bernet, agent. ...-.ee++ ee epee eres: Bes ci Se Sear ae er Siar a Saran: is a striking picture, a panel, the | n brilliant Oriental rebes, beat- | nt. “The Hermit,’ * ‘another : age Contract, "(na it of: a Young Bg rh cy Sete e Kovess 8, ae tA ar #8. Hess, agent,..... oan Portrait ‘of a Boy, (canvas) —Franz ‘¥en Lenbaeh; Pa Deutsch . 24—The. River, (Canvas)—Frits. Thau- low; A. Reimann ; 25—Portrait of Richard Wagner, (nencil yale teed 4 jeg! and red chalks ne white)—Frans. bitia Riri bee pate ‘A. Flirschland. Hig Dena View of a Harbor, Boudin: Bernet, agent, 27-A - ‘Cavalier, (panel) — Ferdinand: Roybet; Hugene L. Hauer,. 28—The Cronies, (panel)—George ‘Henry Boughton, A, Reimann. 20—The Estape, (canvas)—Fromentin; Rudert,. agerrt 80—The Church of. Santa Maria ‘della Salute, Venice, fpanel is Alor. Levis A. PIN hs ie es eae dee ee yeas wer zie Discussion, “aha ses A. SO iat ia on LOFT RE hes aa, HERN 5 SAL El rts he auc) se AKe 1 ot Ve ld and mo ern foreign | ‘and a few modern pictures, which m pair New York banker, i in the Hotel | announced total of $80,105. r. Kirby began the sale, there was not the me crowd, nor the same curiosity as at e auction sale of. “Diamond Jim” Brady’s = pictures in the same room on Monday night. tures ruled, on the whole, low, and these pus e for the most part. bought in the names agents. The picture which had excited av most curiosity, the earliest example of a | Rembrandt known, entitled ‘““Balaam and the the remarkably low figure for any Rem- _ brandt of $10,750. The work is a well known one coming from the noted Hoschek collec- tion of Prague, but while brilliant in color. : is hard and tight in handling and is not in Gz 8 way a typical example of the master. vi ere were few really high prices. A fair leone ‘sold for $1,225 and a fair George -Inness for only $3, 750. An example of the ‘old German Lucas Cranach, the elder, | brought $2,800 and one of David Teniers, ‘the younger, $3,950. .A portrait by Hans | Muelich, an early German master, for many neces considered a Holbein, went to Otto 4 / Bernet, agent, for only $3, 700. Mr... Hermann was long a partner of Vencyth & Co., the Wall: St. bankers, and left several children, ‘who, at Mrs. Her- | mann’s death, could not agree, itjis reported, ta as’ tO the respective values of the pictures twhich were to be divided among. them. jIt was to determine these values and thus -'adjust the matter, it is further reported, that the sale of Tuesday evening was de- ‘cided upon. The Mr. Hess, who figures among.the buyers, is said to be the son-in- law of the elder Hermanns and presumably a behalf of his wife and sister-in-law, while ‘it is generally thought that a number of those purchased in the name of agents, and | these were unusual in quantity, were also bought for the family. In other words, if report is to be believed, the auction was in the nature of a partition sale, but of course | the Hermann family, if its members were _| the chief buyers, had to take their chances _ | with other buyers, as Mr. Kirby emphatical- Ly pronounced from-his: from his vestry: in the sale “an unrestricted one.’ The following is a list of pictures sold, | with catalog number, artist’s name, title, size in inches, height first, width next, buy- er’s name (when obtainable) and sale price: 1. Schreyer, “Return of eed 2 (water- tT Pier! color), oe Sedma, vagvent. carey « eve oe $320 i| ® 2.) Pichel, B. “Game of Sess” (panel), a | oF hn: 84x11. tines ASAUETIES potent. olesacats 130 tT * 3. Charlet, N. T., “A Grenadier” (panel), ash 10x7.. E. F. Bonaventure............. 230 4 : Peetiermann, —i., —)he.-Cardinal .’*Gellist’’ . | ba) (canvas), 8x11. Otto Bernet, agent.:.. 440 a | * 5. Koekkoek, B. C., ‘‘Woody Dell’? (panel), a | ~ 12x9.-.S. G. Hess, AGEN Tal). Seas ele wT 340 | 5) 6. Verboeckhoven, “Sheep and Chickens in { : Stable’’ (panel), 934x12Y%. Otto Bernet, il SE Retr eter .c cen eer sete pales es «ce et as et eves 475 1 7- Weissenbruch, J. H., ‘Meadow, Cottage H | > a and Woods” (panel), 13x8™%.. -F.-Norris — --300 4 8. Boucher, “Woman and Child’ (a draw- «ing in charcoal, heightened with ‘eHalky,’;, 20° | ss 4 14x15: EE | PR nde I I he 650 i SZ ‘Rito, “Side Canal—Venice?’. *(panel)s: hg ite 2 } a Seana aw Ads, —Weinberger Galleries. UF s TR oT o; =i 530 a ll le 2 i - we Oe” Ae! hile the ballroom was well filled iene formed the collection of the late oer ae er room Tuesday eve’g last, brought — Ey “he prices for the primitives and old pic- _ Angel,” went to W. W. Seaman, agent, for. bought the pictures accredited to hinr,-wr* color), 1034 x14. ees Hess, agent.. ain ~Grutzner, | 12. if AAC Ee 13x18%4. S. G ? Ae Hermite, , “Countr: “Road” ~(water- ~“The ‘Monk, “Bookworm” eyeey! m Reimann... ss... > Kruseman, “River fehbess, agent...... _ Harpignies, “Lands (canvas), 1234x Holland Galleries:7') >; Dupres,- pe “Road. to ‘the Farm” (can- vas), 6x734. Otto 'Bernet; HO eTIEMRe cist Kotschenreiter, » “Merry Lone (can- vas), 19x13. S. G rEess; agent. ...:... Corot, ‘Landscape’? — (panel), LOWES 96. PAOD) EULESCIN) © tims, a0) seat ters < Situs aea te 8.8 Daubigny, C. F., “River arene) with Woods: Evening” (panel) : Rae nyt Gy (Hess; AGEN. etegerr et vies ber ne Corot, “Ta Your D’Esbiy” (canvas); 1 Otto Bernet, “Two (pastel, on canvas), 15x19. S. agent Madrazo, hes “Portrait of Lady” (panel), (canvas), Van Elten, Spring”’ G. Hess, Cia Se a We Oe a Cec eter eC Cer nr a er i eS : 19x17%4. W. Neuberger Rae ye oh ee oe Gallegos, Ties “Marriage Contract’’ (panel), 15x24. A. Reimann.......... Henner, t, 4... “Portraipeot Younis Lady” Cia Tete Rouge), (canvas), 17x13. SiG tless; agent! sewer...) pape sctrs Von. Lenbach, F., “Portrait of a Boy” (canvas), 21x16%4. A. Deutsch RRP RE (canvas), 18x Von Lenbach, F., “Portrait of Richard Wagner”’ (pencil drawing in brown and red chalks heightened in white), 22x17. Thaulow, F., “The River” 22 A. Reimann Pes As sbuirschlaritesee ei < a. «| «are eietenaeeee Boudin, “View of a Harbor’? (canvas), 14x23 2 Otto. Bermeteoacent:., . .y:. assem >. Roybet, F., “fA Cavalier’ (panel), 24x pop tt Stee eugene. Littavet to. . 2 cic sae ome Boughton. G. H., ‘“Cronies’’ (panel), 26x E23 a NS Reimann pets ne Pee Fromentin, “The Escape” (canvas), 25%x Bl Ne Rudert, AG EM Gere ee oh suctelereseicetgns Ziem, F., “Church of Santa Maria Della Salute—Venice” (panel), 161%4x25, Louis pape) Sc hu cla ane, BU cose ec EM red Cas Villegas, Jose, “A Wayside Discussion” (canvas), 21x31. A. Reimann.......... Bogert, ra H., “Sundown” (canvas), 28x 36 Seaman, agen (ae - Gate Bac ete ROL ERR fe Inness, George, “Sunset in Apple Orchard” (canvas) 5 22x27. Knoedler & Co. Be eat “Twilight” erly, 42;pue eAm RUDE, APE in. ok... eee ws “Old” Crome, “The Porlington Oak” (canvas), 361%4x44. Seaman, ‘agent..... Hodgson, David, ‘“‘Market Place and Church of St. Peter—Norwich” (canvas), 35x18. Mircette Ane GOLimtani ani sissies os sores ote Russell, John, “Portrait of Lady” (pastel), Loeb, Louis, ORAS Para Cr mELeSS AGEN bs acre 5 teehee + ciebene Wilcock, G. B., “Rural English - Scene” (canvas), B0K24- WW, Coffins woke bs ca Constable, “‘The Pond” (painted in oil on millboard), 12x16. A. Rudert, agent Barker of Bath, “Country Road’”’ (canvas), Fe teres Aon Merman = ec ae eee ok Morland, G., ‘‘On the Coast, Isle of Wight’’ (canvas), 1014x19. Seaman, agént..... Constable, “‘“English Village’ (watercolor), 94x15. Wralket's Sirus ed se toca oo Byzantine School, ‘‘A Tabernacle” (taber- nacle of wood), 834x6, (the paintings), Hes Ane AAR Se lendenning twin cis Hermit’’~(panel),> 16x 12: Seaman, ADETIt x. \. coer ena eee Van Goyen, Jan, “Village on Bank of River Maas” (panel), 1334x24. - AL Rei- teh os Re ere ety RM MEER aa Steen, Jan, “A Merry ee page in the Open Air” (panel) , 16x19, _Eder- heimer' -:5c80 2 saeeeee sss ete hte COE Backer, ese eSBortraits sre Elderly... Woman’ (panel), 17x13%, *(¢anivas),.- + [aerate 2814x22.- Seaman} agent 2). .2. sa eehe ws ots DOUG tea ements Dou, Gerard, “A Young Scholar in His Beaty eee Study” (transfetred from wood tO Cans So vas), 23%x31Y%. R. Ederheimer....... 3,000 is Beerestraaten, Jan; and Van de Velde; Adriaen, “Italian Harbor With Dutch Men. of: War.” Otto Bernet, agent,......--1,700 Wynants, Jan, “Landscape With Figures” yee: peenver ys 27x384s $7 'G. Hess, agent .a‘h< 600 _ Haarlem” (canvas), pa Roe AOS Levy. 650 fas ma fe Total eee ee et stk fee De Di I i} 1 r i . j - { : | : : ON FREE PUBLIC VIEW 9 A.M. UNTIL 6 P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK FROM TUESDAY, JANUARY 8th, 1918 UNTIL THE DATE OF SALE, INCLUSIVE VERY VALUABLE PAINTINGS COLLECTED BY THE LATE FERDINAND HERMANN TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF EXECUTORS ON TUESDAY EVENING, JANUARY 15th, 1918 IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET BEGINNING AT 8.15 O’CLOCK ILLUSTRATED CATALOGUE OF THE VERY VALUABLE PAINTINGS BY ANCIENT AND MODERN MASTERS COLLECTED BY THE LATE FERDINAND HERMANN NEW YORK CITY TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF BERNHARD F. HERMANN, DAVID T. DAVIS AND ARTHUR M. HESS EXECUTORS OF THE LATE SARA HERMANN WIDOW OF FERDINAND HERMANN IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE, 58th TO 59th STREET ON THE EVENING HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1918 DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY PREFATORY NOTE It will readily be conceded that the pictures described herein, and which compose the collection of the late Mr. and Mrs. Ferdi- nand Hermann, cover a surprisingly wide range both in chro- nology and in choice of subject. Where a painting is obviously autograph there is no need of a signature, although it will impart an added interest to the work of art. And a remarkably large proportion of the pictures in this collection are signed. We here find but a single example of Italian art, a ‘‘Ma- donna” by Sano di Pietro. By its recent exhibition it has stood the test of public consideration and critical analysis at the hands of the experts.. Frost-bound formalism of ecclesiastical restric- tion is the dommant feature of Byzantine art, yet the small and later **Tabernacle” before us is unusually gay in color. In the representative triptych by Albert Bouts, and in the two small works by the Master of Cappenberg the primitive aspect of Netherlandish expression is clear to see. Another, and rather different phase is provided for the student in the picture now rightly assigned to the Master of the Death of Mary. An echo of the Renaissance reaches us in the art of Rubens, Frans Pourbus the Elder and David Teniers the Younger. Representative in every sense is the “Christ and the Woman taken in Adultery” that bears the sign manual, a crowned ser- pent, of Lucas Cranach the Elder, together with the date 1537. The strong portrait of “Andreas Reidmor,” long regarded as the work of Hans Holbein the Younger during the dark ages of uninspired criticism, is now by common consent assigned to Hans Muelich. The art of Holland is ushered in with an example of the work of the soul-searching Rembrandt. It cannot fail to elicit considerable interest and even a measure of curiosity, for it is one of the very earliest works of the great Dutch master, if not actually his first surviving achievement. Indeed, it might almost be said to bear the same relationship to the full @wvre of the great Dutchman as does the “Vision of a Knight,” in the London National Gallery, to that of Raphael. If Rembrandt’s pupil Dou is represented by two works, and Backer, Cornelis Janssen and Pot carry on the traditions of the school in por- traiture, we must accord front rank among the landscape painters to Jacob Van Ruisdael and Jan Van Goyen. While we meet with a remarkable and fully signed canvas by Jan van der Meer of Haarlem, we must also group works by Beerestraaten, Van der Neer and Wynants and an example of genre painting which is a signed work by Jan Steen. In the French school we here go back as far as Clouet, and in due time come to a drawing by Boucher and examples of such modern painters as Corot, Daubigny, Dupré, Fromentin, Boudin, Ziem, Harpignies, Henner, Roybet and L’Hermitte. In John Constable’s water-color we see something of the distinction and natural selection of the English school, while the rather later landscape painter, John, or “Old,” Crome is admirably repre- sented by “The Porlington Oak,” which in England enjoyed a reputation before the work of that artist had attained the repute that is now the vogue. Russell the pastellist, George Morland, and David Hodgson make also their appeal on the present occasion. Mr. Hermann made his first purchases from among the works of modern painters. We thus encounter Verboeckhoven in Belgium, Israels in Holland, Madrazo and Villegas in Spain, Len- bach and Schreyer in Germany and Frits Thaulow in Norway. Inness, Boughton and Bogert stand for successive moments in the art of America. — Mavricrt W. BrocxwkE.u. 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. 8. Payment shall be made of all or such part of the pur- chase 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 de- fault 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) aris- ing 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— between 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, however, 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 catologuing, 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 cata- logued, and, in its judgment, may either sell the lot as catalogued 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. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, TALOGUE | a SALE TUESDAY EVENING JANUARY 15, 1918 IN THE GRAND BALLROOM OF THE PLAZA FirtH AVENUE, 58TH TO 59TH STREET BEGINNING AT 8.15 O'CLOCK No. 1 ADOLF SCHREYER GERMAN: 1828—1899 THE RETURN OF THE FORAGERS (Water Color) Height, 7 inches; width, 5 inches lu ly. Seana, A rour-HorsED sleigh, driven by two postilions who are urging 5 7) Le on their teams with their whips, is ploughing its way over the snow. A man follows. At a bend in the road on the left a soldier has halted at a wayside Cross. Birds on a tree on the right. A dark lowering sky. Signed in the left foreground, Av. ScHREYER. Purchased at the sale of the collection of Mrs. S. D. Warren, New York, Jan. 8, 1908, No. 14. BA SO — No. 2 BENJAMIN EUGENE FICHEL Frencu: 1826—1895 A GAME OF CHESS ; por LA Dae cane Height, 814 inches; length, 11 inches 22 Five elegantly attired men, and a man-servant, in an interior. ‘gehts mace At a table two of the company, one in brown and the other in yellow dress, are facing each other at a game of chess. By the wall on the right, in red, a man stands and smokes and near him hang a colored print and a tricorne hat. A large umbrella is against the wall. To the left is a man in white, who talks to a man, in pink, who is seated. The man-servant, wearing yellow breeches and blue stockings, and a white apron, approaches from the left, where the fireplace is; in the left background is a window. Signed in the left foreground, and dated 1881. No. 3 NICOLAS TOUSSAINT CHARLET Frencu: 1792—1845 A GRENADIER (Panel) : Height, 10 inches; width, 7 inches Ce peareutin “I~ blue uniform with red epaulets, fur helmet with aigrette, white breeches and cross belts, he stands at full length, looking three- quarters to the left. By his left side is his musket. A battle scene dimly seen in the background. g Oo ol JO Signed imgthe left foreground. Formerly in the Wall-Brown Collection, 1886. MWG +, &/O = Purchased at the sale of the collection of Mrs. S. D. Warren, New York, January 8, 1908, No. 18.8 Z00+ "e) The Louvre possesses a “Grenadier de la Garde” by Charlet, and the Geneva Gallery a “Grenadier en bonnet de police.” No. 4 LEO HERRMANN THE CARDINAL VIOLONCELLIST (Canvas) Height, 8 inches; length, 11 inches Tue Cardinal, in his robes, is seated, and turned three-quarters to the left. He is playing the violoncello from the music score placed on a low-backed, red-upholstered chair. Further back is a table with a green tablecloth; on it are books, papers and a candlestick. Oriental carpet. Neutral-toned wall behind. Purchased from Fishel, Adler § Schwartz, New York. No. 5 BAREND CORNELIS KOEKKOEK Dourcu: 1803—1862 A WOODY DELL (Panel) Height, 12 inches; width, 9 inches On the outskirts of a forest, seen in the late afternoon, a purling stream trickles over boulders as it makes its way from the center toward the right. On the bank on the left a man, accompanied by his dog, is walking away. On the far side of the stream, and on higher ground in the middle distance, a man speaks to a friend on horseback; sheep are near. The sun is seen through the trees on the left. Signed and dated on the face of a stone on the far side of the stream, B. C. KoexKxkoek, 1850. Nib oe abt: “ 08: No. 6 EUGENE JOSEPH VERBOECKHOVEN BetGian: 1799—1881 SHEEP AND CHICKENS IN A STABLE (Panel) a aT ; Height, 934 inches; length, 121, inches SHEEP are standing or lying down on the right, near the hay-rack in a straw-strewn stable. More to the left are chickens and an upturned wooden stool. On the far wall hang a jar, and a short- handled spade near chalk marks which denote the farmer’s cal- culations. Through the doorway we see a haystack. Signed in the left foreground, and dated 1864. On the back the artist has made a declaration in writing, in 1864, that he painted this picture. ge ee eee ee a No. 7 JOHANNES HENDRIK WEISSENBRUCH Dutcu: 1825—1893 MEADOW, COTTAGE AND WOODS (Panel) Height, 18 inches; width, 81, inches ree A goat is on a pool of water in the center and on the right of the eyes composition. In the meadow on the far side of the pool sheep Ad Oa browse. In the middle distance a church, amid houses, is seen near trees. The woods stretch away toward the right. Signed in full, in the left foreground. Sold in London, and) subsequently purchased from Fishel, Adler § Schwartz. No. 8 FRANCOIS BOUCHER Frencu: 1703—1770 A WOMAN AND A CHILD (A drawing in charcoal, heightened with chalk) FOI ee Lo Ce Height, 14 inches; length, 15 inches Tuer woman, looking toward the left, is seated at the side of the Sone road; a small boy lies on the ground by her side and, like her, gazes fixedly into the distance. Signed to the right, F. Boucuer. VA No. 9 MARTIN RICO SpanisuH: 1850—1908 A SIDE CANAL, VENICE IE ee EP Ds (Panel) Height, 9 inches; length, 14 inches eae sont Tue slow-moving boats of the sluggish stream carry the eye past the tall houses which, with their gaily colored windows, bal- conies, flower-pots and roofs, adorn the composition on the left. [Continued Prices 1 J $ 320. a 380 4 440. 3 S 5. 340. : ee ae 2 a 650. fp ar aeres 10 fe y 1100. aa? 2 Bae 12 3306 13 625. 14 425. oS ieee om 2G BO, Pe 8, 600. 18 1225. 19 625. 20 175. 21 500. 22 7006 23 600. 24 6006 25 250 « 26 575. 27 475. 28 525. 29 700. 30 850. 31 3756 32 A256 33 3750. 34 575. 35 2100. 36 260. 37 300. 28 130 » 39 675. . Ferdinand Hermann Collection, sold at the American Art Association, ‘New York, Jan.15, 1918. Buyers W.W. Seaman, Agt. Arlington Gall. E.F. Bonaventure Otto Bernet, Agt. $.G. Hess, oe Otto Bernet, " F, Morris M.Knoedler & Co. Kleinberger Gall. S.G. Hess, Agt. A. Reifmann $.G. Hess, Holland Gall. Otto Bernet, Ast. SG. Hess, " Alex.Deutsch S.G. Hess, Agt. Otto Bernet, * S.G. Hess, " DW. Neuberger A. Reiyimann 5.G. Hess, Let. Alex.Deutsch A. Reimann F.A. Hirschland Otto Bernet, Agt. Bug. Littauer A. Reimann A. Rudert, Agt. Louis A. Stirn A. Reimann W.W. Seaman, Agt. M.Knoedler & CO-6« A. Rudert, Agt: W.W. Seaman, ”" Mrs.H.A. Goman S.G. Hess, Agt. W. Coffin A. Rudert, " Prices & 220. A, Reimann 500. W.v. Seaman, Agt. 210. M. Walker : 175. R. Glendenning 2500. Kleinberger Gall. 2500. " ime 21006 R. Ederheimer 1600. Otto Bernet, Agt. 1500. Kleinberger Gall. 1700. Otto Bernet, Agt. 1150. . e as 1800. " ie " 950. Kleinberger Gall. 3750.4 R. Ederheimer 375. Si] ‘? 425. Otto Bernet,Act. 575, '¢ W- | 2800. Kleinberger Gall. 950. R. Ederheimer © 1075. A. Reimann 4900, W.W. Seaman, Agt. 1550. A. Reimann 1100, A. Mayer 200. A. Reimann 37006 Otto Bernet, " 10,750. W.W. Seaman, " 1250. S.Ge Hess, " 1500. W.W. Seaman, " 1500. % " vf 3000. R. Rderheimer 17006 Otto Bernet, "™ 600. 5.G. Hess, # 650. Ao. Levy Bic ee dey .OOtr erg 6 083 RHO OO 4a © a “3 “20 ‘tegedaed. apué “paotdoan gt aby meng y aetenort off +2 baked. etaphnt: wh irtttBuek etpod & Seem ieh «A ston , Weetee www 200 & relbsond if soQA ,STebHA of. oe genes ow. remo wht. ery A ~ bo) g ry " Ree 23+ ; cg hae ¢ Be ot) 6c et , niYIOO <¥ vt er oy : gM Awa f- Gondolas are fastened up to, or are being rowed past, the wooden piles which protect the private landing of the palazzo on the right. In the middle distance the scene of festive color and pic- turesque incident is continued, in the neighborhood of the small bridge which spans the waters of this side canal. Signed Rico on the wall on the left. Formerly in the collection of William Wilds, New York, 1894. Purchased at the sale, in New York, February 3, 1905, No. 4, of the collec- tion of J. W. Kauffman, of St. Louis. 8iS50-4 No. 10 JOSEF ISRAELS DutrcnH: 1824—1911 a A COUNTRY ROAD 3. af )veo2, A (Water Color) Height, 10%, inches; leng h, 14 inches A counrry woman, with her large basket by her side, is leaning against a wooden fence near a small clump of trees. A gradually rising landscape background leads up to the hills in the distance. Signed in the left bottom corner, Joser Israrts. Purchased from Jules Oehme, New York, No. 11 EDUARD GRUTZNER GERMAN: 1846—1878 THE MONK, BOOKWORM meen CI vas) I [Fennec Height, 17 inches; width, 14 inches a Tur monk, seen in small figure and nearly at full length, wears Se ee a light brown habit, a skull-cap and a white girdle. He wears ae his spectacles, and a quill pen is over his right ear. He is passing toward the right in the lbrary, as he holds bulky folios under his right arm and in his left arm other books, one of which he is already trying to read. In the right foreground is a table, and on it an open deed box containing parchments. Bookshelves fill in the background. Books are placed on a stool on the left, and on it is the signature, with the date: Ed. Griitzner, 1894. No. 12 KRUSEMAN VAN ELTEN, N.A. AMERICAN: 1829—1904 A RIVER BANK po (Canvas) ee Gs / ee, Ak Height, 13 inches; length, 181% inches Dy. From the towpath, with trees on the right, we see across the 4S oe river where boats are moored to the far bank, with houses and trees near at hand and further away. Sunny sky, cloud cumuli. Signed in the right bottom corner, KrusEMAN VAN ELTEN. Fed oO Oo No. 18 HENRI JOSEPH HARPIGNIES Frencu: 1819—1916 A LANDSCAPE (Canvas) Height, 12° inches; length, 15 inches A sanpy field with scanty vegetation is crossed by a path on the right, up which a lady in a blue skirt and red coat is walking across the shadow cast by tall trees. Beyond, to the right, is a view of a house-boat on the shore of an inland sea on which is a sailing vessel and, seen against the skyline, a steamer. A ter- race on the left runs round the shore at the foot of a hill, the coast being indented by narrow bays. Signed, in the left bottom corner, Harpienies, 91. No. 14 JULES DUPRE ™ \5 Frencu: 1811—1889 THE ROAD TO THE FARM (Canvas) Height, 6 inches; length, 7°4 inches A woman in a blue skirt, red bodice and white headdress advances down the well-trodden ground in the center; patches of green grass on either side. In the right foreground is a pool of water. Trees in front of the thatched cottages which form the back- ground. Signed, in the left bottom corner, Jures Dupre. Sold by the artist direct to Fishel, Adler § Schwartz, New_York, from whom it was purchased. Re Oar CO lo Md re \ : No. 15 | a | HUGO KOTSCHENREITER GERMAN: 1854—1908 A MERRY TOPER ae (Canvas) oe Sey 7 Jve0?, Ly! Height, 19 inches; width, 13 inches a p22 Smauu full-length figure of a man seated before a gray wall, apparently outside a house, with a window above to the left. He is In an armchair near a wine cask, on the top of which is his red handkerchief. He is dressed as a peasant, with a light-colored vest and a red tie; his coat hangs loosely over his left shoulder ; he wears his broad-brimmed hat. His uplifted right hand holds a glass of wine, and he looks gleefully toward the left. Broken pavement in the foreground. Signed, and dated 1889, at the top right corner. No. 16 J KAN BAPTISTE CAMILLE COROT Frencu: 1796—1875 A LANDSCAPE (Panel) Height, 10%, inches; length, 1434 inches A WIDE-SPREADING country seen, with little natural detail, * aia ss through overhanging trees. The trees extend from the right | across the composition in the arbre penché manner of the artist. Sunset sky beyond. Signed in the right bottom corner. % Purchased at the sale of the J. Staats Forbes Collection. Sbunrel, /9ob hioWhe Soa At one time in the possession of Messrs. Cottier, New York, whose name is on the back, together with the No. 1490. wi No. 17 CHARLES FRANCOIS DAUBIGNY, f [ Frencu: 1817—1878 i : N RIVER SCENE, WITH WOODS: EVENING (Panel) ° ° ° A Height, 8°4 inches; length, 161% inches Ss. <4 faa Lo! Tue river runs in full stream round the bend, at the confluence Var hee with another stream. Near the bank on the left, a man is seated in a fishing punt. Trees on the right bank. Woody background on the left. Cloudy, evening sky. Signed at the left bottom corner. Purchased at the sale of the J. Staats Forbes Collection. 1906 X27, Meo .Jooo 7 No. 18 JEAN BAPTISTE CAMILLE COROT A Frencu: 1796—1875 Uy LA TOUR D'ESBLY (Canvas) Height, 10 inches; length, 13 inches An artist, in a blue smock and straw hat, is seated before his easel in a grass field with a light green-toned setting with willow trees on the right. In the background a church tower rises against the sky. Cloudy sky, the sun striking across the turf from the right. 3 Marked, in the right bottom corner, in red letters: VenvE Corot. Sold by Durand-Ruel, Paris, 1896, with his red seal and the stook Nomeelnans the back. Purchased at the sale in New York of the collection of J. W. Kauffman, of St. Louis, February 8, 1905, No. 33,- BS/S0 ~ Illustrated and recorded in Alfred Robaut’s “Corot,” No. 2193, where it is described as follows: “1874 (August 25).—Cricy-en-Briz. Village Belfry. In the foreground, a painter seated before his easel, working. It is the artist Chatelain, friend of Maisiat, whom Corot knew at Crécy. Posthumous Corot Wiser Sold to Mr. Jules Chamouillet. Belonged to M. Durand-Ruel in 1893.’ 13 157. Jee 15004 No. 19 LEON AUGUSTIN L’HERMITTE Frencu: Born 1844 TWO WOMEN AT A SPRING (Pastel, on canvas) aa ars , SD. Sheae, U9! Height, 15 inches; length, 19 inches In a rugged country a path leads down to a spring, where an ea ee 2d aged peasant woman is bending down to draw water in a pail. To the left stands by her side a young woman with a pitcher on her head. Signed in the left bottom corner. Purchased from Jules Oehme, New York. 19094 STS £48 7 No. 20 JOSE MADRAZO SpanisH: 1781—1859 PORTRAIT OF A LADY (Panel) E- Ley. a ae Height, 19 inches; width, 17, inches ~ O90 Oe aes Hatr-Ltencru, turned slightly to the left, but looking out at the spectator. Brown eyes, gray-brown hair which falls in curls on to her shoulders. She wears a light blue dress, striped with white, a white kerchief with a satin bow at the breast. Feathers in her wide-brimmed felt hat. Neutral toned sky background with foliage. Signed in the left bottom corner. No. 21 JOSK GALLEGOS SpanisH: Born 1859 THE MARRIAGE CONTRACT (Panel) Height, 15 inches; length, 24 inches In the sumptuously furnished sacristy of a large cathedral three priests and the affianced couple are assembled round a table. On the wall behind them, under a baldacchino, hangs a crucifix. An ecclesiastic reaches down a volume from the book case. More to the left, on richly upholstered chairs, sit the witnesses and relations dressed in silk and satin and with lace mantillas. A choir boy in a red cassock brings books from the right. Through the doorway we see the iron railings leading to a staircase, with a stained-glass window beyond. Fully signed, J. Gattecos, Roma, in the right foreground. Purchased at the sale in New York, February 3, 1905, No. 16, of the col- lection of J. W. Kauffman, of St. Louis. $/300 + No. 22 Frencu: 1829—1905 JEAN JACQUES HENNER Ved PORTRAIT OF A YOUNG LADY (“La Téte Rouge’) / 3 : iF Neg) te (Canvas) S ei a: Height, 17 inches; width, 131/, inches i DO Bust length; almost in full face, but looking over her left shoul- der. Her auburn hair falls in profusion over her right shoulder, and is parted down the middle. The fixed gaze has the expression [Continued on the following page of a passionate subject, with classical features and a full mouth. Her dress is low cut, the right shoulder being partly covered by a rich red cloak. Signed on the right, J. J. HENNER. Purchased at the sale of the D. H. King, Jr., Collection, New York, February 17, 1896, No. 17. — B 750 too | FRANZ VON LENBA No. 28 FRANZ VON LENBACH - GERMAN: 1836—1904 PORTRAIT OF A BOY : | Dey Detak (Canvas) : Height, 21 inches; width, 161, inches O° COD. A stupy in oil, of a boy about eight years of age, almost in profile to the right, but looking out over his right shoulder. In a brown suit and a white collar. Neutral background. Signed halfway down on the right, F. Lensacn. Purchased from Theobald Heinemann, of Munich. No. 24 . FRITS THAULOW Norwecian: 1847—1906 THE RIVER (Canvas) Height, 18 inches; length, 22 inches gl! a ee eae a0 Tue river, in which the rays of the sun are reflected, flows down bog = into the left foreground. On the far side, to the right, are outhouses hung with autumn leaves. Further back, and to the right, stands a country residence which has an exterior gallery. Signed in the right bottom corner. No. 25 FRANZ VON LENBACH GERMAN: 1836—1904 PORTRAIT OF RICHARD WAGNER (Pencil drawing, in brown and red chalks heightened in white) Height, 22 inches; width, 17 inches Eee, ete chliwe Busr length; three-quarters to the right. Clear-cut features. ~ , 00 Wearing a round hat. 250 — Signed in the left bottom corner. Purchased from Theobald Heinemann, of Munich. No. 26 EUGENE LOUIS BOUDIN _ .- Frencu: 1825—1898 A VIEW OF A HARBOR aor /. | (Canvas) Height, 14 inches; length, 23 inches A view of a tidal river, with boats moored in the foreground and a man fishing in one of them. More to the right, in the middle distance is a small boat-building dock near some houses. The bank curves as the river widens toward the left, where are many houses and a church. In the left foreground are red- roofed ‘house Signed on the grass on the right, E. Bountn, 794. INO 27: FERDINAND ROYBET Frencu: Born 1840 A CAVALIER (Panel) ay F NM TIP Height, 24 inches; width, 151, inches Smaxy full-length, standing figure turned three-quarters to the right. In a mustache and short beard. Wearing a rich red and [Continued on following page gold patterned dress, slashed, edged with gold and fastened with red ties; lace ruff, large black felt hat; high leather gaiters and spurs. His gauntleted right hand rests on the hilt of his sword, which is pointed to the ground. In his left hand he holds a long- stemmed glass. Behind, to the left, is a table covered with a dark green cloth; on it are a large metal drinking flagon with cover, and the cavalier’s left glove. A dark green and yellow pat- terned tapestry hangs on the paneled wall at the back. Signed in the right foreground, F. Rovyser. Purchased at the oe the D, H. King, Jr., Collection, New York, February 17, 1896, No. 64: ¥ 645 ~ por No. 28 GEORGE HENRY BOUGHTON, R.A. AMERICAN: 18383—1905 THE CRONIES (Panel) CL. igs ae A a Height, 26 inches; width, 231, inches Tue interior of a cottage with two old women seated in front of the fireplace in which the charred embers still burn. The woman on the right wears a pink-brown skirt, blue apron, white jacket, white kerchief round her neck and a white cap. With her back to the spectator, and warming her hands at the fire, she has placed faggots on the floor beside her. More to the left, the other woman is dressed in brown and wears a white hat; she is turned three-quarters to the right. Above her head a picture hangs on the wall. On the left is a closed door. On the high mantel shelf are cups, books and bottles. Signed in the left foreground, G. H. Boventon, A.R.A., 1887. Purchased at the sale of the Henry G. Marquand Collection, New York, January 23, 1903, No. 84. In that catalogue it is claimed that “perhaps one_may detect in this very good example of George Boughton a certain influence of Edouard Frere, whose friendship and advice he enjoyed during his stay Bee 5650. Peles hesaer No. 29 EUGENE FROMENTIN FrencuH: 1820—1876 THE ESCAPE : (Canvas) Height, 251%, inches; width, 21 inches Aw Arab, fully accoutred, in his saddle urges forward his horse as it prances and emerges from a pool of water. He is making for the desert, over which the sun is sinking on the right. Be- hind the saddle clings another man, stricken with fear, his arms round the Arab’s shoulders; he is thinly clad, his hair tangled, his legs and shoulder exposed, as he looks back at the enemy. Signed in the left foreground, Eve. FromEeNntIN. Purchased at the sale, in New York, of the coflection of Mrs. S. D. Warren, of Boston, January 8, 1903, No. 58.— %/747 [0 4 No. 30 FELIX ZIEM Frencu: 1821—1911 (Panel) Height, 161%, inches; length, 25 inches THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICE fe Tue church is seen from an island. Sailing vessels are moored behind it. In the foreground figures are seated on the quay near another vessel, and are approached by a gondola. Boats of vari- ous kinds in the left distance. Golden yellow sky. Signed in the right foreground. Sold in Paris to Fishel, Adler §& Schwartz, from whom it was purchased. No. 31 JOSE VILLEGAS SpanisH: Born 1848 A WAYSIDE DISCUSSION (Canvas) Height, 21 inches; length, 31 inches LE Lleczecae2-trt In the center foreground are Moors sitting, reclining or stand- Pe ing near the white walls of a Moorish town, set among luxuriant 7 /- plants. In the left foreground are cocks and hens. From the right, in the middle distance, a Moor rides up. Clear, blue sky. Inscribed in the right bottom corner with the artist’s name, as having been painted at (?) Capri. : Purchased at the sale of the collection of William B. Bement, of Philadelphia, s February 27, 1899, No. 46, with the title “Wayside Discussion.” q]5~ Jubut Uden » aa f iy we Purchased through Fishel, Adler § Schwartz, New York. No. 32 GEORGE H. BOGERT AMERICAN: Born 1864 SUNDOWN iil we (Canvas) aii Ls i i. Le - Dea wan, y Height, 28 inches; length, 36 inches A LAKE in the foreground. A man, dressed in blue and wearing Post = a white cap, is in a boat. The sun falls, from behind the trees on the right, on the bank in the middle distance. Trees are on the left. In the distance are cottages, barely seen against the horizon. A light has just been lt in one of the cottages. A cloudy sky. Signed in full in the right foreground. ORCHARD * sly ‘a GEORGE INNESS, N.A. r +a ’ i - . r - . iy - x . i ais No. 33 ay GEORGE INNESS, N.A. AMER One : 1825—1894 SUNSET IN THE APPLE ORCHARD (Canvas) Height, 22 inches; length, 27 inches tl ELA = hei e Leer x. Ae ape At the moment of sunset we with difficulty discern a girl, in light es blue dress and holding flowers in her hands, standing in the right foreground. Further back, and more to the center, is a man seen through the break in the trees. Signed, and dated, G. Innxss, 1886, in the right foreground. Sold by the artist at Montclair direct to Fishel, Adler & Schwartz, from whom it was purchased. ay di A LOUIS © No. 34 LOUIS LOEB, N.A. AMERICAN: 1866—1909 | re TWILIGHT Ni x WZ. (ti aed 2 gl: (ea | Height, 46 inches; width, 421% inches - 020 94 a From the waters of a blue and mysterious lake, near the edge of which on the right is perched a peacock, emerges a half-draped figure of a girl in a yellow robe. She is tenderly received by a woman, in a white dress and blue mantle, who advances toward the left, where are trees in full fruit and foliage. Dank and dark- - some background. Signed, Louis Logs, and copyrighted in 1907. Included. in an exhibition of the artist’s works at the Folsom Galleries, February, 1910, No. 5. prea ee er ere 7=> 0 OME we JOHN (“OLD”) CR No. 35 JOHN (“OLD”) CROME f EnousH: 1769—1821 ‘HE PORLINGTON OAK | ie (Canvas) Hi Bs ee cera ere, oa Height, 361% inches; length, 44 inches On the far side of a pool of water, in which water lilies grow, is a giant oak with spreading branches. At the foot of the tree lies a man in red trousers and gray coat; by his side is his dog. In the left middle distance two cows are lying down, and one standing. Background of other trees. Sunny sky. fo, 2/00 “A fine picture. The detail is so crisp and the high lights so suddenly contrasted that one is reminded of Stark. There is also an appearance of painting with body color and white into the wet glaze, which is unusual with Crome.”—W. F. Dicxss, “Norwich School of Painting,” p. 110. Exhibited at the British Institution. Formerly in the Wynn Ellis Collection, and lent to the Royal Academy, 1871, No. 7, under the title of “The Old Oak Tree.” Sold at the Wynn Ellis HIKO-/0-0 Sale in 1876,)as “The Oak”; and in the T. M. Whitehouse Sale, in Lon- on, March 29, 1890, No. 58, as the “Porlington Oak.” X TE7). 0-0 Purchased at the sale of the Henry G. Marquand Collection, New York, January 23, 1908, No. 38; on that occasion the catalogue commented on the picture thus: 3600 7 t/Yiko ee “In this fine example of the Norwich master a giant oak, the favorite subject of his study, occupies the center of the composition. . . . It is delicately luminous, while a golden atmosphere envelopes the rich browns and olive-greens of the foliage. A grand feeling of immensity and vast quiet pervades the scene.” bs ‘ { — ws . _ - — — : - A TO A AL I LL SA ——— a nena . No. 36 DAVID HODGSON EncuisH: 1798—1866 THE MARKET PLACE, AND THE CHURCH OF ST. PETER, NORWICH (Canvas ) op eles GS Bis: , suet: Height, 35 inches; width, 261/, inches We see the old houses with timbered gables, old-fashioned bow- windows, sunny balconies and many small windows. In the left foreground is the corner house and shop of the poulterer and game dealer. Men and women are preparing, packing or selling fish under an awning. Buyers, idlers and country folk are vari- ously occupied. More to the right a wooden building proclaims itself as the Pope’s Head Inn kept by one Coldham. More to the right are a farmer’s cart and a carrier’s cart. In the background rises the square, massive tower of St. Peter’s Church. Sunny sky. Formerly in private possession in Norwich. Purchased from Louis Ricard, Frankfort-on-Main. 2 Loo No. 87 JOHN RUSSELL, R.A. Enceuisyu: 1745—1806 PORTRAIT OF A LADY eal 3. Oy wes Bq! (Pastel) Oo RABE = Height, 23 inches; width, 18 inches Bust length, three-quarters to the right, her blue eyes directed to the left. In a bodice of pearly white silk, and a light blue mantle damasked with pink and white floral patterns, the sleeves being caught up with a brooch of pearls. A lace fichu borders the neck of her dress, which is low cut, and in the center of the bodice is a red jewel set with pearls and pendent pearls. Pearl earrings, and a string of pearls in her light brown wavy hair, which is drawn off the forehead and arranged at the back in curls. Purchased at the sale of the Henry G. Marquand Collection, January 23, 1908, No. 24, when it was described and illustrated in the catalogue as a “Portrait of Peg Woffington, the actress” BSSO 4 G. Vike. The traditional identification of this pastel with Mrs. Margaret (“Peg”) Woffington, the “impudent Irish-faced girl’ (1719?-1760) cannot stand. The lady here seen is of very different and less sprightly character. Our sitter has blue eyes, and light brown hair; “Peg’s” eyes were flashing and black, and her hair “blue-black.” The lady before us cannot, like “Peg,” be said to have “delicately arched eyebrows, deep penetrative eyes, and gently mocking lips,” nor does she seem to have had that remarkable fluidity of temperament and that instability of character which added to the charm of “Peg,” who was feminine to the tips of her exquisitely modelled fingers, although she was fond of exhibiting herself in masculine attire. Can we imagine this lady sitting on a couch, and looking “dallying and dangerous,” as Lamb says of “Peg,” who was “the most beautiful and the least vain woman of her day”? We can hardly think of this lady as a Sphinx in white Bow porce- lain, as “Peg” was once rendered. Again, Russell was only fifteen years old when Peg Woffington died, at about the age of 41, in 1760. Even if this were Russell’s very earliest work—which stylistic considerations prove that it cannot be—she would be older than our sitter. There is no record of Russell’s painting her at [Continued any time, and he did not begin to exhibit until eight years after “‘Peg’s” death. James Latham (“the Irish Van Dyck”) painted Peg Woffington in the profile portrait of the Royal Dublin Society. J. B. Van Loo’s portrait of her, about 1742, on a balcony with a caged bird by her side, is in the South Kensington Museum. In consequence of her terrible stroke, she was repre- sented by Arthur Pond as lying paralyzed in her bed; that painting is in the National Portrait Gallery, London. That the present work does not preserve to us the features of Peg Woffington is evident from the portrait of her, by Hogarth, formerly in the collection of Lord Lonsdale and later in that of Augustin Daly. Moreover, Hogarth’s portrait of “Peg” in the Metropolitan Museum of Art, and other works by Wilson, Mercier, Reynolds, Horace Hone and Jackson support this view. : The color here is not too bright, as in Russell’s early works; but the texture, and light, luminous tone prove it to be a mature achievement by the “prince of pastellists,” as Russell has been termed. Bg No. 88 GEORGE BARRETT WILLCOCK Encusu: Active 1850 ; mN) : RURAL ENGLISH SCENE (Canvas) Height, 20 inches; length, 24 inches A soy on a white farm-horse, followed by another horse, and ac- companied by a dog, is passing toward a shallow water-splash. Above it, on the right, is a small foot-bridge with a hand-rail; near it, in the foreground, are ducks. In the middle distance are a thatched homestead and farm-buildings, with cornfields, by the roadside. A sign-post is near the turn in the road opposite the farm. A woody country. Cloud cumuli in the sunny sky. = ‘ > 7 -. “ae ye —_ ; ad Pa ae a it Pt Oe 1 7 peo AG _ THE POND i ~ BY ; f P q ir 676 No. 39 JOHN CONSTABLE, R.A. EnGcuisH: 1776—1837 THE POND (Painted in oil on millboard) me Height, 12 inches; length, 16 inches ack A LARGE oak tree is on the edge of the pond near the turn in the road down which a man is walking from the left. Two cows are cooling themselves in the water at the far end; a man is fishing in a punt on the right. Possibly painted in the neighborhood of Norwich. Purchased from Hugh Constable, the painter’s nephew, through Louis Ricard, from whom it was purchased -by the late owner. tae A 9 ; : ake > i 7 ; , A COUNTRY ROAD r = ra , BY | Ps THOMAS BARKER OF BATH - No. 40 THOMAS BARKER OF BATH Eneouisu: 1769—1847 A COUNTRY ROAD LE DEES iy (Canvas) oo &0O OO Height, 12 inches; length, 16 inches Ar a turn in a sandy and uneven road in the heart of the coun- try, a man in black attire urges his horse on. Trees in full leaf in the middle distance. Blue hills beyond. Sunny sky with clouds. 7 Signed in the right foreground. Purchased from Louis Ricard. > = Piz ne Se er No. 41 GEORGE MORLAND Encuisu: 1763—1804 ON THE COAST, ISLE OF WIGHT (Canvas) Cet Re oe Ly . _ Height, 101% inches; length, 19 inches } aes , ro) A poo. of water is in the foreground. A man in a blue, long- smo a tail coat, accompanied by his dog, walks toward the left along a road which crosses broken ground. He has just passed a mile- stone marked “XI.” In the distance, in front of him, are two figures who pass round the high tree-topped bank of the road. Blue hills seen against the horizon, looking toward the coast. Cloud cumuli in the blue sky. Signed on the right. Sold by Arthur Tooth and Sons, London, 1890. Purchased at the sale in New York, February 3, 1905, No. 27, of the collec- tion of J. W. Kauffman, of St. Louis. bKoo ; A trrinar, Eee ee UA af em No. 42 JOHN CONSTABLE, R.A. . EncusH: 1776—1837 AN ENGLISH VILLAGE (Water Color) Height, 91, inches; length, 15 inches Tue church in the churchyard stands in the center. Houses and small shops on the right, and a farm cart drawn by two horses. A boy pulls a child in a go-cart across the road. Fully signed and dated, in the left foreground, Joun Constante, R.A., PINX., 1825. Sold by Hugh Constable, the painter’s nephew, to Louis Ricard, from whom it was purchased by the late owner. No. 43 BYZANTINE SCHOOL XVII Century A TABERNACLE (The Tabernacle, of wood) Height, 8% inches; width, 6 inches — : i here, 2A NO27o2 FRANCOIS CLOUET Frencu: 1510—1572 PORTRAIT OF A LADY (Panel) Height, 61%, inches; length, 8 inches Busr length; in full face. In a red dress trimmed with small white bows attached by gold ornaments, and wearing a gold neck- lace and large ruff. Dark hair with red and white ribbons in it. Light green background. The attribution seems to be supported by the drawings and paintings by Clouet, at Chantilly and Paris. From the collection of the Comte de Montbrizon, Chateau St. Roch, France. Purchased from the F. Kleinberger Galleries, New York. = ad Poe sagas + » No. 538 HENDRIK GERRITSZ POT DurcH: 1585—1657 - PORTRAIT OF JOHAN SMYSERS (Painted in a feigned oval, on a rectangular panel) Companion picture to No. 54 | 3 IC. € Ler Herre Height, 634, inches; width, 5 inches TuREE-QuarTER length; three-quarters to the right, and looking 7 5 54 168 at the spectator. Mustache and small goatee beard. In dark VE : puce robe, and full black mantle which is wrapped round him and held up over his left arm. White lace collar and cuffs. He holds his gloves in his uplifted left hand; his right is to his waist. The identity is established by the name in old Dutch characters on the back. Moes: “Iconographia Batava,” 1905, § 7332, records a miniature portrait of Johan Smyers (born 1592), painted by an Unknown Artist, as having been in the Van der Bogaerde Collection, at The Hague, in June, 1900. He refers also to another portrait of him, by an unidentified painter, as having been sold in London, March 25, 1901. The sale catalogue of Christie’s for that date (No. 94) includes “a pair of panel portraits of Johan Smuysers and his wife, in black dresses, a pair,” as of the Dutch School. No measure- ments are there given. Evidently cut down at some time at the sides to fit a very decorative frame of tortoise-shell and or moulu. Examined and authenticated by Hofstede de Groot as portraits of Smyers (sic) and his wife. Se wAE > ee A. ‘ ; & %, Sy 3 No. 54 HENDRIK GERRITSZ POT Dutcu: 1585—1657 PORTRAIT OF SARA SANEN (Painted in a feigned oval, on a rectangular panel) Companion picture to No. 538 a 5 Lertecnttt Height, 634 inches; width, 5 inches THRreEE-quaRTER length; three-quarters to the left. In a reddish yellow skirt and black silk over-dress, with white lace cuffs and large ruff, and a small white cap. She holds her fan in her right hand; her left falls by her side. Neutral-toned background. Her name is in old Dutch characters on the back. Moes: “Iconographia Batavia,” 1905, § 6762, mentions certain portraits of members of the Sanen family at this date; probably some of those he refers to were near relatives of this lady. : No. 55 AART VAN DER NEER Dutcu: 1603?—1677 A DUTCH CANAL: MOONLIGHT (Canvas ) Height, 144, inches; length, 181% inches the foreground two men are standing between two willow-trees, from which fishing-nets are hung. More to the right is a small boat. A path leads round to the left toward huts and cottages, with trees near them. The canal bank extends into the distance, where are larger houses and a church seen across the canal from the foreground. In the background, towards the right, are sail- ing vessels and a water-mill. Overcast sky, with the moon pierc- ing the clouds on the right. Signed with the artist’s monogram on the road in the left foreground. Exhibited at “The Hudson-Fulton Loan Exhibition,’ the Metropolitan Museum of Art, New York, 1909, and illustrated in the catalogue of the exhibit. No. 56 JAN VAN GOYEN DutcnH: 1596—1656 WINTER LANDSCAPE WITH SKATERS (Panel) vet 7 Z ,, q 9. Height, 8 inches; length, 914 inches A Dutcu canal scene. A party of village folk skating, sliding, riding in sleighs or seated on the ice. A water-mill in the left distance; a church in the middle distance. Overcast sky. Signed with the artist’s monogram, and dated 1649, near a figure seated on the bank on the right. Purchased from the F. Kleinberger Galleries, New York. y) ; RI D2 o?g No. 57 LUCAS CRANACH THE ELDER GERMAN: 1472—1553 THE WOMAN TAKEN IN ADULTERY (Panel) Ga. Height, 14 inches; width, 914 inches Curist, in a blue robe and red mantle, is in the center of a group of men, who with varied gestures denounce the woman. One man, on the left, holds a stone in his hand and other stones in his hat. Behind, to the right and high up, is a gallery in which are the High Priest and the Elders. A window in the wall to the left. Nineteen figures in all, and among them portraits of the artist, of Luther, and of the Archbishop Albert von. Bran- denburg. The general grouping and the gallery in the background, containing figures, recall Cranach’s “David and Bathsheba” in the Berlin Gallery. Signed on the front of the gallery with the artist’s sign-manual, a crowned serpent, and dated 1537. In the Weyer Collection at Cologne, in 1887. Purchased from the F. Kleinberger Galleries, New York. sieht See, pare, eee? Sate Bins eae! | | THE INTERIOR OF A FLEMISH ; ~ “ bie Ps = ae : Oy P . Ea «DAVID TENIERS THE YOUNGER No. 58 DAVID TENIERS THE YOUNGER FremisuH: 1610—1690 THE INTERIOR OF A FLEMISH INN Hit (Canvas) | ne Phar Aer Height, 15 inches; width, 11 inches HiT 7) In the center foreground a man, supposed to be the artist him- self, is seated in a large chair; he wears brown knickerbockers, gray stockings, a yellow doublet and brown canvas shoes. In his uplifted right hand he holds a drinking glass, the contents of which he regards with satisfaction, as he discusses its qualities with an old crony who is seated more to the left. The latter, in a blue jacket, smokes his clay pipe. On the wall at the back are bottles, jugs and pots placed in a recess or hung from a nail. On a nail in the wooden pillar hangs the artist’s cap. In the right background round a table near a fireplace are five men, two of whom are playing cards. Nearer to the front, on a stool, is a large metal vessel. Nearby are a terra-cotta jar with metal cover, a broken clay pipe and a burning cigar. Signed, in the left foreground, D. Tenters, FEc. Formerly in the collection of the Duchesse de Berri. Purchased from the F. Kleinberger Galleries, New York. = AART VAN DER NEER— No. 59 AART VAN DER NEER Dotcnu: 1603?—1677 A LANDSCAPE : (Panel) Le : [Ee Height, 12 inches; length, 15 inches Ar the head of a Dutch canal a man, in the right foreground, is about to push his boat off from the bank. On the further bank, to the left, two men are walking past a tree beyond which are timbered houses with high-stepped gables. A man leans against the railings and converses with a woman. In the background are houses clustered round a church. Opposite these, and to our right, the canal widens and a fishing boat sails past a copse. Cloudy sky. Signed with the artist’s interlaced monogram, on the bank near the roots of the tree in the left foreground. Purchased from Messrs. Ricard. * 2D 2 x ni f 4 Wp — THE HERM BY GERARD DOU Te He ‘ a i a a No. 60 GERARD DOU Dutcu: 161383—1675 THE HERMIT a (Panel) Bee Ze. soem 7 0 e/ PO a A VENERABLE and bearded hermit in a cell, perusing a large folio, the leaves of which he is about to turn with his right hand. His spectacles in his left hand. A withered tree trunk on the right; rough architectural setting. Originally a painting of the head only, but afterward enlarged by Dou himself. Possibly the panel was early injured, and the head then cut out for the artist to paint the surroundings as they now are. Height, 16 inches; width, 12 inches Included in the sale of Pieter van Buytene, Delft, October 29, 1748, No. 9. In the sale of F. Tronchin des Délices, Paris, 1801. In the sale of De Séreville, Paris, January 21, 1812. In the possession of the dealer Woodburn, London, 1829. In the possession of the Paris dealer, Ch. Sedelmeyer, and No. 18 in his “Catalogue of 300 Paintings,’ 1898. In the collection of Charles T. Yerkes, New York, April, 1910; De Luxe edi- tion of the Catalogue, No. 21; Sale Catalogue, No. 92. Smith’s “Catalogue Raisonné,’ 1829, Part I, No. 84, p. 28. Hofstede de Groot, “Smith’s Catalogue Raisonné, G. Dou,’ 1908, No. 22, p. 348. W. Martin, “Klassiker der Kunst’ Series, G. Dou,’ 1913, p. 10, as having been painted about 1635-40. Martin (tr. Dimier): “Gérard Dou,” 1911, p. 165, No. 15. Purchased at the C. T. Yerkes Sale, New York, 1910. BIL « piSoo . A tbc No. 61 JAN VAN GOYEN Dutcu: 1596—1656 A VILLAGE ON THE BANK OF THE RIVER MAAS (Panel) PE Vice Height, 13% inches; length, 24 inches a vf eel A vituace, with its roughly constructed dwelling-houses and a svs-SdJ — church are on the bank on the left. A man leans over the wooden railings; more to the right another man is in a rowboat; other boats and sailing vessels are near the trees at the water edge. A large boat full of anglers is putting out into deeper water on the right. In the distance are sailing vessels, and a water-mill; on the far bank is another village. Birds in the cloudy sky. Signed and dated on the wooden railings on the left, J. V. G. 1645. Formerly in the collection of Baron Lenglart, of Lille, sold in Paris, February 6, 1879. Purchased from the F. Kleinberger Galleries, New York. No. 62 JAN STEEN DutcH: 1626?—1679 A MERRY COMPANY IN THE OPEN AIR (Panel) Height, 16 inches; length, 19 inches A croup of twenty-one figures, variously occupied and con- sisting of peasants, their wives and children. The scene, full of movement and domestic incident, takes place in front of a timbered house, up the side of which clamber trailing vines. A child lies in the immediate foreground in front of his mother, who has another child by her side as she leans against a long table; the far end of the table is spread with a cloth. On the other side of it men and women are seated. More to the right a man and woman are dancing to the music of a piper, who stands on an overturned cask, and a fat little man who plays a hurdy- gurdy. Other figures are seated further away on the right near the railings, over the top of which we see cottages and a village church. ( Signed, in interlaced letters, on the upturned bench in the right fore- ground. Smith’s Catalogue Raisonné,’” Supplement, 1842, No. 35. Westreene: “Jan Steen,’ 1856, No. 302. Sold by Smith to Sir P. O’Rial, Paris, before 1842. Subsequently in the collection of A. de Ridder, Cronberg, near Frankfort. Purchased from the F. Kleinberger Galleries, New York. No. 63 JACOB ADRIAENSZ BACKER as ScHoot: 1608—1651 ; 3 Que eee ae (Panel) uy a ‘ee : LL. e 224 ee ‘ aes ae Height, 17 inches; width, 1314 inches Brio ae lady about sixty years of age, turned three-quar- aoe) a 3 ters: to. the left...She wears a black-brown dress trimmed with : fur, and a large ruff encircles her neck; her small white cap is figured with a simple flower design in blue and brown. Her hair ds done in a knot. Neutral-gray background. This life-like portrait appears to have been cut down at some time. In some respects it approaches the early Amsterdam manner of Rembrandt, under whose influence Backer came about 1633 in Amsterdam. It recalls a portrait of “An Old Lady” now in the gallery of that city, also such a portrait at Berlin. —— — * .) - a e “Monk, Bookworm - I ARPIGNIES, Hen JOSEPH cla a i i IN, Davin pea tie: Market Place, and the Church of St. Peter, Norwich 36 NESS, GEORGE, N.A. a Sunset in the Apple Orchard 33 4 AELS, Tagar > A Country Road | 10 J Pe: JANSSEN, CorNELIS . Se - Portrait of Lettice, Viscountess Falkland 67 ' . q ¥ Bits an Portrait of Lucius Cary, 2nd Viscount Falkland 68 KOEKKOEK, Barenp Cornetis A Woody Dell : 5 KOTSCHENREITER, Hvco A Merry Toper 15 LENBACH, Franz von Portrait of a Boy Portrait of Richard Wagner LYHERMITTE, Lton Avcustin Two Women at a Spring LOEB, Louis, N.A. Twilight MADRAZO, Jost Portrait of a Lady MASTER OF CAPPENBERG (Tue) St. Catharine St. Barbara MASTER OF THE DEATH OF MARY The Madonna and Child MORLAND, Georce On the Coast, Isle of Wight MUELICH, Hans Portrait of Andreas Reidmohr POT, Henprik GErritsz Portrait of Johan Smysers Portrait of Sara Sanen POURBUS THE ELDER, Frans ve Me it a “ a CATALOGUE NUMBER. 23 25 - 19 34 20 44, AS AT 41 64 Portrait of Guillaume, Sire de Croy et de Renty 49 Portrait of a Young Lady ce t ee one eg Pe CATALOGUE NUMBER REMBRANDT VAN RYN The Prophet Balaam and the Angel 65 RICO, Martin - A Side Canal, Venice 9 3 ROYBET, Frroinanp e A Cavalier 27 a _RUBENS, Pierer Paun, anp Z Danie, SEGHERS i ~The Madonna and Child 50 t MUSSEL, Jonny, 2.4. ' Portrait of a Lady 37 ; SANO DI PIETRO ; The Madonna and Child, with Saints and Angels 46 ' SCHREYER, Apowr : The Return of the Foragers 1 ; . SEGHERS, Danret (See Rvupens) STEEN, Jan A Merry Company in the Open Air 62 TENIERS THE YOUNGER, Davin The Interior of a Flemish Inn 58 | THAULOW, Fairs | The River 24 VAN DER MEER (or Haartem), Jan Environs de Haarlem 72 CATALOGUE NUMBER VAN DER NEER, Aart A Dutch Canal: Moonlight A Landscape VAN DE VELDE, Anpriaen (See BEERESTRAATEN ) VAN ELTEN, Kruseman, N.A. A River Bank VAN GOYEN, Jan Winter Landscape with Skaters A Village on the Bank of the River Maas VAN RUISDAEL, Jacosz A Waterfall VERBOECKHOVEN, Evcrtnrt JosEpH Sheep and Chickens in a Stable VILLEGAS, Jost A Wayside Discussion WEISSENBRUCH, Jouwannes Henprix Meadow, Cottage and Woods WILLCOCK, Grorce Barrerr Rural English Scene WYNANTS, Jan Landscape with Figures ZIEM, Feuix The Church of Santa Maria della Salute, Venice 55 59 12 56 61 66 31 aj 38 re 30 FOR INHERITANCE TAX AND OTHER PURPOSES : THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED =. FO FURNISH INTELLIGENT APPRAISEMENTS 1 OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE Pepe SALES ARE ERFECTED BONOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY s COMPOSITION, PRESSWORK AND BINDING BY > a | a. eee a AR TN RE 2 te ce RT IP SISA DIE OE LEO LIE LIE IAI GETTY RE iii A TCC = = i “ “ i a 1 ww ny 4 ‘ ' f P ‘ Yi a te a) , ae ; i i ‘ ‘ . 8, ‘ oe : Sete 4 + . ) ‘ i ‘ a , ous Pte v % " te . k y oe CA i i a i ‘ Ny ) i on ‘ , i * yom : F at's : Fry v \ 4 Meise taty Sta), Ra « ae Ga it ‘ POO | POR) Aa * aes tears ocae ae ah Pfr ge Aree = nee SHAN vies i aeialale Mia 2 oun) ' 4 Hal BAN A scl Aielelt sa teats Eee NS eat Bite 4) Teal oe ate wae Ge, sitet ae itee Pat et suite nat} Bi steleltoy, ta Spaterat: igtetaye ise Wiele Mert ttels AS Rota Tih ‘ tere yt! t ty rk: ey ‘ Pees nna isNih4 sf eee Site oye lat i sie Y t tagestytt 1 a eae we iy 13} Stee} ates) igi i ‘ « m te ova) Dee v6