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LIBRARY
M. Knoedler & Co.|
14 East 57th St.
New York
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c i igag
53 0
EXECUTOR’ S SALE.
P The Art Collection
OF THE LATE
HENRY J. STEERE.
COSTLY PAINTINGS
In Oil and Water Color.
RARE BRONZES, VASES,
SUPERB ENGRAVINGS,
To BE sorp ar AUCTION, Wirnour Reserve, sy F. J.
SHELDON, 127 WESTMINSTER STREET.
The A will be on View, (ADMISSION FREE,) at the Galleries
of the
PROVIDENCE ART CLUB, 11 Thomas Street,
Beginning Tuesday, Dec. 2d and continuing until Monday, Dec. 8th,
from 10 A. M. until6.p.M. Saturday from 10 A.M.to 10 P.M.
THE SALE WILL TAKE PLACE AT
BLACKSTONE HALL,
On Tuesday Dec. oth, and Wednesday, Dec. toth.
SALE TO BEGIN eerie AT THE HOUR OFS P.M.
PROVIDENCE, R; .L
1890,
ee
J. A. & R. A. REID, PRINTERS.
ent at the sales, are eae to leave their orders ne
Aucitoneer at 127 Westminster Street, or the attendant i in
Galleries, and attention Bia! be given to them. ie ,
4 be
CONDITIONS OF SALE.
et ee
ae Beate.
TERMS CASH, IN EVERY INSTANCE BEFORE DELIVERY. se oa
The highest bidder to be the buyer, and if any dispute arise Bit
between two or more bidders, the lot, so in dispute shall be iis |
mediately put up again and resold.
ye
The Purchasers to give their names and addresses, and to pay
down a cash deposit or the whole of the purchase money, ¢f re-_
gutred, in default of which the lot or lots so purchased to be im-
mediately put up again and resold.
The lots to be taken away at the buyers’ exaenke and risk
upon the conclusion of the sale, in default of which the under- —
signed will not hold himself responsible if the lots be lost, stolen,
damaged or destr 2 er but rey will be left at the sole risk of the
purchaser.
The sale of any article is not to be set aside on account of any
error in the description. All articles are exposed for public exhi-
bition one or more days, and are sold as they are, without recourse. .
Upon failure to comply with the above conditions, the money
deposited in part payment shall be forfeited. All lots uncleared
within the time.aforesaid shall be resold by public or private sale,
without further notice, and the deficiency (if any) attending such
re-sale shall be made goud by the defaulter at this sale, together
with all charges attending the same. This condition. is without
prejudice to the right of the Auctioneer to enforce the contract
made at this sale, without such re-sale, if he thinks fit.
F. J. SHELDON, AUCTIONEER,
127 WESTMINSTER STREET.
4, oy
NWO ELCE.
7 HE FINE ART COLLECTION here catalogued, was made
__ by the late Henry J. Steere, Esq., and it was well under-
stood that he intended establishing a Fine Art Gallery for the
people of this, his native city, where he had always resided.
These works were the beginning of the collection, and additions
were to be made, of examples by other notedly eminent masters
of the day, but he did not live to carry out his plan.
The collection was begun in 1869 in the selection of a fruit
piece, and has been gradually added to since, purchases having
been liberally made from the most reputable dealers in the
country, and by works, the result of commissions, given by him-
self to the painters. The latest addition was a subject in which
_ chrysanthemums hold an important place.
The collection is an entirety, nothing has been taken from it ;.
nothing belonging to any other party has been admitted, and the
sale is entirely without reserve.
NOVEMBER 17, {8go.
$<@The sizes of paintings are given height first, width next, in inches.
Please bring this Catalogue with you to the sale.
ARTISTS REPRESENTED.
Baxter, lilt 4s
Breton, Jules,
Brion,:G. ;'.
Carabain, J.
Cederstrom, Th.,
Charnay, A.,
‘Chialiva,
MO lay Sabra |
Coret, [eB Gs
Courbet, G..
Dearth, H. G.,
Dell, Acqua C.,
DeHaas,.Jo Lb. He,
DeHaas, M. F. H.
Daubigny, C. F.,
Diaz N., ;
Dupre, Jules,,
Dupre, Victor,
Ebel, F.,
Folingsby, C.,
Gaisser,
Hart, J. M.,
Harstmann, G.,
Igler, G.,
Jacque, C. E.,
Jones, H., Bolton,
Kuwasseg C.
Leavitt, C. E.,
Lambinet, E.,
Lagye, V.,
Leyendecker, P.
Lindlar,
Barher, W.,
Bologna, Gian,
Foley, J. H.,
Guitton., .
Lanciray,
Ledue, Atal,
Giradet, P.,
Haig, A. H.,
Simmons, W. H.,
‘PAINTERS.
Bad eis te W., 32
Las) Lewin, J. M., es
24 | Manton, W., 60
40 | Merle’H., 35
2 | Neuhuys, J. A., 56
28. |. Ortlieb}; Il
22 | Ommeganck, 43
14 | Pascault, 46
59 | Portrait,,Unknown . 49
55 | Porteljie, 18
47 | Richet, L., 25
LOO} RICO; a, an
(45—) co Renx Clee 12
23. Schaefels H., 33
2%, * Schreyer, 2155 64
34 |“ Seianacti. 13
62 | Stademan, A., 19
63 | Seitz, A., : 38
4 | Thompson,G , 66, 67
26 | Toulmouche, A. ; 58
20) Dra ver clone, 15, 52
8 | Van Luppen J., 6
5 | Van Marcke, ; 57
17 | Verbeckhoven, E., and Guan iel,
53 Pe jauGe 36
29 | Verschuur, W., am
15.2. Lo Wi bert, 7 ye oes 44
7, 41,50 :| Waterman, M., 9
- 3OCh Webern 16
30 | Wyngaerdt, 48
61 | Ziem, F., : 65
24
baer
68 | Moigniez, J., 69
72 | Moreau, M., 80
75 | PlexH, : 79
74 | Robert, Freres ‘ i PCat
76 | Various, ; WO AVG a7 ose
82 | Vases, 84, 85, 86
ENGRAVERS.
89 |. Spiegle, F. M. gl
g2 Stacpoole, F., ge 88
go |
“A PiCTURE OFTEN TELLS MORE THAN TEN Books.”
— Paul Delaroche.
’
PAPALOGUE.
KUWASSEG, KARL JOSEPH.
Born at Trieste, March 16, 1802. Died Paris, January 7,
1877. Pupil of the Gratz Academy under Professor Stark ;
was originally a carpenter; went to Vienna and subsisted from
the proceeds of water color drawings made by him. ‘Traveled
with the Count Schomburg in southern Europe and America ;
went to Paris, became a naturalized Frenchman 1835. Louis
Philippe and the Baron Rothschild, by their ee of his
pictures opened his road to success.
tis @ Baie ee
-Borders of the Seine.
Io X 13.
Dark clouds with lighted edges on a bit of blue sky up to the
zenith on the left. The low distance relieves in light, a bridge
and sail boat; next are poplars, achurch spire, other buildings ;
one nearest the right has an exterior gallery and tiled roof, forms
mass of highest light, reflected on the limpid river. In fore-
ground are two row boats, with fishermen and nets. Washer
and other women are on shore. Conspicuous to right is a.
finely marked willow tree, in bosky mass.
Penaant for No. 2.
6
ING ace:
View of the Halle.
LORI So:
{ A light sky with darker mass of buildings towering up,
from which is the spire of the ‘* Halle.” ‘To the right a tiee-clad
promontory with boats, etc., all in light. To the left a picto-
rial old-time building with angular roofs and jutting annexes,
on a narrow margin of shore. A row boat with figures, in mid
stream arrests the eye of the spectator.
Pendant for No. 1.
LEWIN, JAMES MORGAN.
Born Swanzey, July 9, 1836, resided Providence, R. I., 1848
-’64 — ‘* from his school-boy days associated with some of the
most accomplished resident artists—” died September 1877.
From the ‘‘ Providence Journal” the following is an extract:
‘* His character was one of marked originality, his moods va-
riable and capricious but always generous, affectionate and ex-
quisitively sensitive. His literary tastes and estimates were es-
sentially his own, uninfluenced by popular standards, and were
always of a rare and recondite quality. He published anony-
mously in leading periodicals, the credit of which, he cared not
to ‘receive.
‘¢ It is needless here to speak of his reputation as an artist.
His slightest and most unstudied sketches had in them a charm
not easily analyzed—a subtile, ineffable beauty wholly char-
acteristic and singularly ideal. He had the artist’s tempera-
ment — the poetic temperament in perilous perfection. He
was constitutionally indifferent to popular success, or profes-
sional notoriety. He cared little for the market value of his
beautiful creations. ile had intense vitality of thought and feel-
ing and imagination, but with him as with Shelley and Poe,
this intense vitality was offset by a vein of other-worldliness, a
profound sense of the mystery of life, a shuddering susceptibility
to what is called ‘a belief in the supernatural’—a quality of
which his friends were often startlingly reminded.”
‘¢Qne hears much in this eminently practical age of what is
simply ‘ technical’ in art, much of ‘ clever manipulation’ and
/
7
* good work,’ qualities worthy of all commendation, but having
to do rather with the dody than the sou/ ofart. It is refreshing,
now and then, to find that genius is not altogether superceded
by talent, and good work.”
‘¢ James Morgan Lewis was indisputably a genius and Prov-
idence will be proud to claim him as one of her most gifted
artists.”
ele WV.
ING.
A Mountainous Country.
4c
-
Q$ XII
~
wie
=
A distant ridge of mountains — to the right, a high peak in
light from which groups of clouds blend softly with the tran-
quil sky, called thereto from the valley by the sun —acrossa spurs
of mountains and hills ; adjacent to them, are intervales on which’
cattle graze — descending from this a gulch of warm alluvial soil
which floods from the mountains have» widened and deepened.
To the left on a hill a building in shade —a group of young
elm trees spring aloft from a grassy slope, a sheep pasture. The
foreground in shade has dead and growing brushwood, and on
the right, a bit of storm-stricken birch trunk, keys the composi-
tion. .
The Painting is Signed and dated 1858.
EBEL, FRITZ.
Born Lauterbach, Hesse, 1534 — was a chemist prior to tak-
ing up painting. Studied in Darmstadt in 1856 and in 1857
went to Dusseldorf under Professor Schirmer. Is resident
there at present.
No. 4.
Pasturage near the Mountains.
26 x25 4.
In the distance, ranges of mountains. Nearer, wooded hills
with more trees to left, terminating in group of taller growth
8
reared against the sky. A larger group is massed to the right
and connects with a stony ground, broken with varied weeds,
grasses and wild flowers. A flock of sheep browse, and take
the attention of a dog, and an elderly shepherd clad in blue,
bearing his traditional crook. Time, early afternoon, warm
hued clouds.
| a i i. mt ee ae
. ‘tee oe A ee
cai g een ek is 1 Ae c
we oy ite ta <= ee —,
The Painting is signed and dated 1872.
HARSTMAN, G. H.
MUNICH.
Noo:
Farm Buildings in Bavaria.
254 X 21h.
Against the sky, a stony cliff. Against them both, a mass —
of farm buildings betokening old age and diversified design,
constructed of stone and wood and plaster—‘ timber-gable,”
“solid, time-enduring.” Inthe foreground, with farming acces-
sories, is a rustic wagon filled with evergreen boughs; seated
<A beside it a sturdy old man mending a basket, to the wonder of
mee two sinall boys and an elder girl, with a baby. To the right runs
up part of the main homestead of stone, rich in ochreous colors.
On. it is a shrine to Madonna, a pitcher of cut flowers and a
faded wreath. The painter loved his subject of ‘* time-touched
matter.”
The painting is signed.
VAN LUPPEN, JOSEF.
Gold medal at the Exposition, Brussels, 1872.
No. 6.
The Ruined Castle of Montaigle, near Dinant,
Belgium.
wget ce te
Blue sky breaks through whitish clouds. ‘To the left a fort-
ress of the middle ages, gray, grim, deserted, stands on a
a
mountain bluff. Beneath, not of very recent erection, a cot-
tage with thatched roof and annex, lightened by a bit of modern
whitewash here and there. A grassy slope, pool and roadway
are at the base of the subject. A woman drives cattle near
by, and in the distance a peddler, with pack on back, plods his.
Wweaty way on the steep, rocky road. Lofty trees in a mass
reach the top of picture from right side.
The painting is signed and dated 1872.
It was painted expressly to order.
LEAVITT, EDWARD CHALMERS.
Born Providence. . Member of Boston Art Club, Providence
Art Club. Exhibitor at National Academy of Design and
provincial exhibitions. Served in United States warship
Galena under Commodore John Rodgers at commencement of
the Civil War. At 16 years of age, a drawing teacher said he
never would be an artist, but he resolutely set to studying
landscape enthusiastically, and was much drawn to ‘‘ her poetic
details,” flowers and fruit. -His works have been purchased
here by travelers and taken to Europe, and many are placed
in leading collections of this country.
An art critic, in Boston Traveller writes: ‘‘After returning
from seeing art treasures in Europe, I found here, (Boston, )
‘ three exquisite paintings, so beautiful in their finish, so perfect
in their tone, so poetic in their conception, that they held me
as with a spell and as few paintings have the power to.”
ENOe fe
Grapes.
20028.
The bunches of grapes, mammoth of bulk ‘and sugges-
tive of premium-weights, hang suspended against a gray back-
: ground. The dark grapes partly in light, partly in shadow,
/4 are Black Hamburgs. The upper ones, in light, are the
# Syrian.
This painting was part of the exhibition gotten up in honor
of the officers of the British squadron who visited Newport,
IO
1873, and the Admiral, himself an artist, expressed high
admiration for it. It appears to have been the first work
selected by the late Mr. Steere, for his collection. !
Signed and dated 1869. |
HART, JAMES M.
Born at Kilmarnock, Scotland, 1828. Came to Albany,
N. Y.,achild. Studied decorative painting at Troy. Went
to Dusseldorf, 1851 ; to New York, 1856. Elected associate of
the National Academy of Design 1857, and Academician
1850.
No. 8.
‘The Pool in the Wood.
184 x 10}.
A basin of water embosomed in foliage. Elm trees to right
and left, encircle the view, midway in whichis a fillet of ight
warm cloud. At the distant shore to right, a trio of cattle,
white, red and black, drinking and ruminating. The fore-
ground is marked with lily and other aquatic growths. A very
favorite subject of the painter.
The painting is signed and dated °74.
WATERMAN, MARCUS.
Born Providence, R. I. Educated at Brown University.
Studied in New York and had studio in the University build-
ings there. Removed to Boston, 1874. Went to Europe,
1878. Associate of the National Academy of Design. His
picture of ‘* Gulliver in Lilliput” was exhibited at the Centen-
nial Exposition, Philadelphia, 1876.
No. 9.
The Chief of the Caravan.
P25xX2 LO;
Head, three-quarters view. Of swarthy complexion, the
distinctively strong physiognomic markings, indicating much
Pad
power and will, are very skillfully and vigorously depicted.
Warm, gray head-gear anda white dowrnows complete an excel-
lent work.
The painting is signed.
DELL ACQUA, CESARE.
Born Pirano, Istria, July 22, 1821. Studied in the acade-
mies of Venice, and Paris. Became pupil of L. Gallait, of
Brussels, 1857.
NO IO.
Dalmatian Girl With Flowers.
| BT m 20: On panel.
Richly attired in stuffs of very varied hues and tints that
are woven, and embroidered with cunning skill and consum-
mate taste, are the garments of the heroine of this canvas.
Dark of complexion, with blackest of hair, crowned by a scar-
» let cap, she stands easily, in a pose that is nature’s own,
/ 29, against a wall close to the sea, behind which is a warm, lumi-
nous sky, broken only by a few dark horizontal cloud bars.
She holds close to her bosom, with left hand, a flat willow
basket filled with carnations, the largest and brightest speci-
men ot which is in her right hand.
Signed and dated 1870.
ORTLIEB, FREDERICH.
Born Stuttgard, 1839. Studied at the Stuttgard Art School.
Later, at Berlin, became a pupil of Steffeck. Settled in
Munich, 1869. Medals at Dusseldorf, Vienna and Dresden.
INDscir.
The Birthday.
22% 264.
.-, Inthe simple, comfortable, rather richly dark interior of the
/ F] “German Fatherland is the Gretchen of the painter, wide-awake,
I2
bright and brunette. Her needlework on the table has been
suddenly dropped, that she might keep herself out of sight of
her Hans, the blonde. He, on birthday gift intent, has clam-
bered outside on the window-sill, and thrusting his head
through the open top casement, drops inside a posey of old
fashioned flowers.
The painting is signed.
ROUX, CARL.
Born August 15, 1826, at Heidelberg ; son of J.W. C. Roux
Pupil of the Dusseldorf Academy and of Karl Hubner. .
No. 12,
Cattle Coming Down to Drink,
21$ x 247.
A river is on left relieving a rocky spur, over part of which
a white and spotted cow with dun calf, are coming to the front
of the canvas. Scrubby cedar trees fringe the ledges, and
beyond, a light cow, with bell on neck, is seen.
SEIGNAC, PAUL.
Pupil of E. Frere. Of Seignac it may well be said, as of
his master, Edouard Freres’ compositions: ‘+ Their execu-
tion is always so modest and their sentiment so true and pure
that criticism of such works looks like cruelty. No painter
has ever better understood the poor country children of France.
He never attempts to hide the effects of poverty by giving a
well-fed and well-washed appearance to his humble heroines ;.
they are what their hard fate has made them, yet we cannot
wish them more robust or more prosperous.”
P. G. HAMERTON.
INGe es
Christmas Morning. |
124x106, On panel.
‘
An interior of Ecouen, France. To ‘the left a fireplace.
By it, a boy holding the right hand to the down-turned head,
t3
crying, ‘‘in doleful dumps.” In his left hand a small bundle
of birch rods. To the right is seated the mother with gently-
clasped hands. White cap, red neckerchief and blue dress
equip her. She hears the tale of the ‘‘wee girl tot,” who
expressively tells her tale of woe, holding fast to her gift, a
gaily-painted jumping jack. An elder girl—central — holds
an apron, in which are apples.
The painting is signed.
CLAYS, PAUL JEAN.
Born at Bruges, Belgium, 1819. Pupil of Gudin, Paris.
Medal at Brussels, 1851. Medals, Paris, 1867 (Universal
Exhibition) ; Legion of Honor, 1875. Medal, 1878 (Universal
Exposition). Officer of the Legion of Honor, 1881; Com-
mander of the Order of Charles ITI.
INO. C4.
On the River Scheldt.
wi
xX 22.
2
Broken gray and clouded sky to the horizon; the water of
greenish, in-shore hue, under quiet wind. A heavy, bitum-
_ inously-brown hull of a Dutch dogger, with sails of white and
russet, the latter the result of tan-bark dye; blue peter at fore-
topmast and red, white and blue ensign on after-mast. She is
going out to sea. The heavy reds of the sails are given value
by pure spots of vermilion on some dresses of sailors on deck.
In the foreground a row-boat, with crew of five, and some sea
gulls are in motion.
Signed and dated 1874.
TRAYER JEAN B.
Born, Paris, 1824. Pupil of his father and Lequin. Medals,
1853-55.
th
No. 15.
Confidential Friends.
20 x 16.
A Brittany interior, well lighted. Two girl ‘ habitants,”
one to the right. The elder of the two, with her knitting, leans.
toward her visitor, who, seated on left, holds a letter in
hand, her closed lips indicating her inability to read. This
the elder, much interested and with expressive features, is.
doing, giving the ‘‘ news”: while still knitting. On floor, to
the left, is a basket filled with flowers, etc. The costumes and
the background are faithfully true to the locality. A pendant
to No. 52. |
The painting is signed.
. WEBER, THEDOR ALEXANDER.
Born Leipzig, May 11, 1838. Marine and landscape painter.
Pupil, in Berlin, of Kraus. Went to Paris in 1856, and
studied under Isabey, and soon acquired great reputation. Set-
tled in Brussels in 1874. Member of ‘*Artis et Amecitia,”
Amsterdam, and other European art societies. Medals, Rouen,
1866; Havre, 1868; London, 1871 ; Philadelphia, 1876.
No. 16.
A Fleet of Fishing Boats.
Under a bit of blue sky are drifting gray clouds, grading
underneath, at right, to a warmer horizon. A group of five
Dutch two-masters on line form a central group, and near
them a row-boat with lusty oarsmen. ‘The sea is restless,
broken into waves and white-spume crests, and it sways and
gives motion to every craft, to the pole-buoys and barrel-buoy
in the foreground. The sea-gulls, too, are in motion. Two
of the vessels carry D. L. 21 on their mainsails. The pole-
buoys in blue flag have 19. The artist.had residence in Dover,
England, when he painted this picture. ‘
T5
IGLER, GUSTAF.
MunIcH.
Pupil of the Fine Art Academy. Recently appointed Pro-
fessor of the Academy at Carlsruhe. His subjects of children
are highly estimated in Germany.
INGZ-F7.
To the Wars Will Go!
Howey e
A Bavarian interior, lighted from above by a window with
elass lunettes. A boy, whose years are not many, has ‘‘ heard of
~ «. battles andhad longed to follow to the field some warlike lord” is
352 the hero. His military record hitherto has been gained with the
little wooden and lead soldiers. They now are neglected, as
are the toy drum and miniature cannon. There is no more
stimulus in them. Sturdily he stands. and has girt unto him-
self with red strap, the ‘‘ steel gray” sabre of some ancestor,
has ‘‘ stuck a feather in his cap,” which, though white, in no
Way means surrender. His sister, mother-fashion, has hinted
at ** scrip and rations,” and he holds a bag, his extemporized
knapsack, while impatiently waiting for a portion of a big
loaf of bread his kneeling sister finds difficulty in cutting off
with such a scymetar-shaped house-knife. | Her doll lies prone
beside her in shade.
Signed at Munich.
PORTIELJE, J.
ANTWERP.
Various medals. Chevalier of the Order of Leopold. Medal
at London, 1877.
No. 18.
Algeriné Girl.
}0 ie 4I x 294.
. A brunette, with placid, contemplative expression over her
symmetrical and refined features, seated on white-green striped
16
‘cushion; white chemisette and sleeves, and rich, dark dress
and wrappings, a green velvet jacket, gold embroidered. The
right hand, drooping to her lap, holds a fringed mirror. The
left hand is held to the face at side, the elbow resting on a red-
ish covered table, on which is an enameled casket and string
of large pearl beads. A sense of dreamy satisfaction with
the present, is expressed in the three-quarter length figure. _
Signed at Antwerp.
The painting was a commission painted to order.
STADEMAN, ADOLF.
No. 10:
Not Far from the City of Munich.
24 x 48.
The last gleams of a mild sunshine mark the little hamlet by
the woods. In distance, the city is silhouetted on the horizon.
Next to the light, all-pervading the scene, is the snow, full of
gradation and color. The dwellings, the apple and other trees,
the pollards, hay-stack, the groups of youngsters persistently
trying sledding and skating, although chilled throughout, give
emphasis and value to the composition.
The work is signed.
GAISSER, M.
MUNICH.
Student of the Fine Art Academy. Exhibitor at the Munich
‘¢ Salon.”’
No. 30:
The Conference.
17 x 232 Panelay
Outside of a casemated window, with one upper sash open,
are seen the gables of two tall houses of the Holland Country,
one of them crow-stepped. Inside four men are grouped by a
' table on which are papers and books. Two of the men are
7
seated to the left; the outer, of stalwart manhood, in rich, dark
clothing and fluted ruff, and holding a partly-open book; the
inner, older, is white of hair and bald of pate. To the right,
presiding, a sturdy, vigorous man, clad with white collar and
- blue and buff doublet. Behind him a map, and standing erect
a younger man, clad in red and wearing a soft black hat. Four
periods of life are represented in the painting.
The work is signed.»
DAUBIGNY, CARL F.
feupueor Delaroche. Medals, 1848, 53, °55, °57, 59, 61;
Legion of Honor, 1859; Order of the Legion of Honor, 1874;
officer of the Legion of Honor, 1874. Diploma to the Memory
of Deceased Artists. Exposition Universelle, 1876. Born at
Paris, 1817; died 1878.
“‘Daubigny is par excellence, the painter of the ‘Cam-
pagne.’ Nature has an idea given of its grandeur. He knows
well, and is intensely familiar with, nature. The grand lines,
the vast plains, the high summits are of the domain of nature,
but the ‘ Campagne’ is the kingdom of M. Daubigny.
| E. Axovut.
‘¢ Daubigny is one of the greatest landscape painters that
ever existed. His broad style and powerful coloring, his
insight into nature, and the emotions he felt before her, have
_ never been better revealed.” ALBERT WOLFF.
Noe ar
On the River Oise.
A warm, mottled sky, in which soft clouds are seen. From
the left, or near distance, a strip of land, on which are marked
huts, shrubbery, and upward a tall tree, characteristically
‘‘French,” of the poplar species. A river craft, with mast and
white awning, is near. To the right a grassy-covered shore,
from which grow a group of young, deciduous trees. Nearer,
a woman washes clothes on edge of the water.
| 18
CHIALIVA, L.
Resident at Ecouen. Has traveled much, part of the time
in England, and painted there. Is an accomplished linguist.
No #22:
Driving the Geese to Pasture.
12x 10.
An English-like setting. Dimly seen, a _ red-tiled roof
among foliage. Nearer to left, a cottage, with thatched roof.
A road-gate is held partially open by a slender girl, clad in
black and straw bonnet. Actively, with extended arms and
a rod, a little lad drives a flock of noisy, babbling geese and
goslings ahead. On a log, to right foreground, an elderly
man, in gray smock-frock, contemplates the passing bevy.
DE HAAS, M. F. H.
Born Rotterdam, 1832. Pupil of the Academy of Fine Arts
there. In 1851 went to England, and painted there in water
colors one year. Later, sketched on the English and Dutch
coast. Studied under Louis Meyer at the Hague for two years.
Appointed artist of the Dutch navy, 1857. Settled in New
York, 1863. Elected National Academician, 1867.
No. 23.
Sunset at Cape Ann, Mass.
24 X 4o.
Cumulus or heaped cloud in majestic mass, quiescent,
tinged with the orange-rosy hues of the sun. In upper strata
wind clouds in angular shapes and moving. A distant hill has
become dark, and thus adds to the luminosity of effect. Light
sailing craft, row-boats and a freight propeller are all local
accessories. A group of figures of both sexes, summer visi-
tors, have gotten together on the bluff of rocks to drink in the
scene, and perhaps to gossip or spoorw: Clouds, water-craft,
people, are all invested in the atmosphere of a New England
sunset on the coast.
at R ne ee Aen oS ae of Guerin, of
chai oh. 1850 he went to Paris to make a copy of the
ited ** Dante,” by Delacroix. Medals, 1853, ’59, ’61,
67. Oy iccits of Honor, 1863. Grand Medal of BOpe?
ye Chevalier of the Order of Leopold.
Brion is one of our good workmen. He knows the use of
oe he combines and calculates their values. His
e y eats a of rjdeality.” PauL Manes:
one ahead in all their details ; the works full a
. ae ces EDMOND one:
Brion leaves vad ies to enayee: He composes his pice
pl cturesque effect, and attention to the accessories, he gives to
his figures the costumes, the furniture and the surroundings
ges belong to them.”
No. 24.
The Close @ Dee.
A twilight i in early stage. Dark bars of cloud, broken and
varied in part, are relieved against the yellowish red and blue
grays of the sky. A dark hill lies againstthesky. It is broken
. country, and nearer is a strip of grass, on which are cattle. To
left on a rising ground are four horses. A man and woman,
seated, conversing with a shepherd, who leans on his staft
from across a rutted road. ‘The lights, upon upper dress of fig-
ures and white horse add much to the rich eftect of the whole.
-RICHET, LEON.
Born Solesmes. Pupil of Diaz, and adherent of the Barbi-
zon School. Z,
20
No. 25.
In Sheltered Path.
29 X 214. | ?
Two ladies, fair, but Oriental, gorgeously clad in easy-fitting
costume, approach. One most prominent has her fan in right
hand ; the other touches delicately a mandolin which she car-
ries. ‘They are on a road on which is sunlight and shadow.
Above are over-arching trees. The vista is a toned blue sky
and darker water, giving support and contrast to the figures.
The work is signed and dated 1881.
FOLINGSBY, C.
MUNICH.
INO. 26.
In Bavarian Lowlands.
214 x 44h.
Moving light clouds on light blue sky. Light diffused all
over the scene. The picturesquely rock-ribbed hills are not
far off, but they retire well in linear and aerial perspective,
and suggest effectively, great distance. Simple husbandry
marks the mass of the subject—lowly, homely life. A
silvery stream gives light and sparkle to the foreground. On
the near right, a grassy slope, from which rise, luxuriously
formed trees, under which are cattle ruminating. A figure to
right adds a human interest,
The work is signed.
LINDLAR, WILHELM.
Born Bergisch, Gladbach, Rhenish Prussia, 1816. Pupil of
the Dusseldorf Academy of Fine Arts, under Prof. Schirmer.
No. 27.
River of the Mountain Gorge.
432% 3848
A mountain peak emergent into rifts of abysmal blue,
wreathed with soft white moving clouds, which bring “ moist-
er, breaking into “spray and carrying uae of tree-
[ to oe firmly on rocky foreground. |
Peery ARMAND.
ja Pupil of Feyen-Perrin and Pils; con-
: Has his studio at Marlotte (Seine et Oise).
8/6. Second- class medal at Salon, 1886, for a ye
Pye
. el * something to the girl, who listens attentively. Both are
oO! umed in deep black. The girl carries a muff. The
JONES, H. BOLTON.
Bein Baltimore, Md., 1848. Studied at Paris, 1876-1880.
ee ic of National Academy: of Design, of New York, 188r.
No. 29.
"High Knob, West Virginia.
27 X 54.
‘The last warm flush of an autumnal sunset unifies all local
tints, and makes rosy the foliage-clad hills. They are blended
en masse. Nearer, ridges are in shadow, and the local colors ©
and the variety of kinds and trees are depicted. The glade has
acabin. It iswhitewashed. Eastern people occupy it! Smoke
22
ascends aloft quietly—the evening meal is preparing. A fence
with limited range of cultivated ground is seen. On the field
are cattle. A stream comes to the central foreground from the
right. On it adam, to feed the lumber mill, which the new
settlerhas put up. To it are converging roads by which traffic
will come to the new industry.
Signed Balt., 1869.
The painting was a commission given by Dr. C. G. McKnight.
LAGYE, VICTOR.
Pupil.of Leys. Contemporary. Studio at Antwerp. His
subjects are principally of the fourteenth and fifteenth centuries.
No. 30.
Retrospection.
254% 1914 {On maner
Evidently the artist’s ‘‘ Pretty Woman,” though in surround-
ings and an interior, of some three centuries agone. A missive,
on the upper part of which is traceable ‘* Chere,” lays on the
shelf of an antique cabinet, on which rests her left elbow.
Does she ‘¢ feel that she has always sent him away with sor-
row, but never with despair”? The sweetly calm features
give no. warrant for any decision as yet. She fully expresses
Mlle. Maintenon’s saying, ‘‘ Delicacy is to love, what grace
is to beauty.” Recherche objects brought from ‘‘ further Ind,”
a jardiniere of repousse bronze, filled with roses, the delicate
white toilette cover, the blué silk drapery, the rich costumes,
all denote sumptuous comfort, as maintained in the color
scheme.
The painting is signed.
RICO, MARTIN.
Born Madrid. Pupil of F. Madrazo. Later he studied in
Paris and Rome. Medals, Paris (Exposition Universelle),
1878; Chevalier of the Legion of Honor, 1878; Order of
Charles III., of Spain. Resided in Paris.
23
No. 31.
Lagunes, and Island St. Clair.
The witchery of a soft blue sky, with softer nearer cloudlets
of warm white and gray, over a low belt of darkened villa and
other buildings, trees, sails, gondolas, etc. To the righta
palace stands solidly, with whitened walls. Foliage, rich
flowers on the plazza, extending to the water’s edge, where is,
nearer, a gate for use by boats. Architectural work, pierced
balcony and columns, conspicuously mark, amid evident decay,
the former elegance of the building.
The picture is signed.
LEU, AUGT. WILHELM.
Born Miinster, March 24, 1818. Pupil of Dusseldorf Acad-
emy, under Prof. Schirmer. Settled in Berlin, 1882. Mem-
ber of the Berlin Academy of Fine Arts.
No. 32.
Swiss Mountains.
205, x 52.
Snow peaks above and among which, clouds, bulging with
moisture and electricity, descend and pass off, leaving ravines
dark and gloomy in almost somber darkness, and devoid of
form. Nearer are mountain ridges, which give stinted support
to the dwarfed pine trees that fringe them, and but that cattle
can be pastured and sheltered, the average human being would
have but brief interest in such spots. The silver thread of
water-fall seen remotely, gives to the foreground a small stream.
” The logs placed across it indicate that travelers may keep dry-
shod, and that the cattle are cared for, as do the sheds, with
rough, stone-weighted roofs, on the lee side of a huge mass of
angular, detached rock, rich in color, and to which vegetation
has made attachment. Four cows keep together in foreground
and ruminate.
The painting is signed and dated 1871.
us
SCHAEFELS, HENDRICK F.
Born Antwerp. Genre and marine painter. Member of
the Order of Leopold.
INO -038%
Episode in the History of Antwerp.
28 x 434.
Marnix de Sainte Aldegonde, , burgomaster, of Antwerp,
taking leave of Admiral Jacob Jacobzen and the engineer,
Frederic Gianibelli, as they are about to take charge of the
fire-ships, or infernal machines, to blow up the bridge of boats
on the river Scheldt, thrown across by the Duke of Parma,
who, with the Spanish troops, were beseiging Antwerp. The
feat was accomplished with the loss of 1,000 Spanish, and
severely wounding the Duke. (See Motley’s History of the
United Netherlands, under date of April 4th, 1585.)
The painting is signed.
The painting was purchased direct from the artist.
DIAZ, DE LA PENA, NARCISSE VIGILE.
Born at Bourdeaux, of Spanish parents, 1807. Studied at
Paris. Pupil of Sigalon. First medal in 1844, after exhibit-
ing thirteen years at the Sa/ox. Medals, 1846, ’48; Legion of
Honor, 1851. Diploma to the Memory of Deceased Artists.
Exposition Universelle, 1878. Died at Mentone, 1876. He
was left an orphan when 10 years of age, was adopted by a
protestant clergyman at Bellevue. At the age of 15 he was
placed with a manufacturer of porcelain. He tried painting
historical and ‘‘ genre” subjects, but without reaping pecuniary
reward, and suffered for years great poverty. At length his
landscapes won him fame and riches, and with his money and
his services, he was very liberal to the ‘‘ coterie” at Barbizon.
No. 34.
In Fontainbleau Forest.
16 X/22%
In deep, rich, dark, the forest is bordered, to carry the eye
to the centre of the subject, which receives the ‘* blaze of light.”
and grass of most delicate sun-lit
i figure of a gules woman clad in
t St. Marcellin, oe died 188i. Pupil of Leon
pes 1861, 63; Legion of Honor, 1866. ‘+ Ofa
. He adds a name to the list of our
| i.” ABOUT.
22x 18.
3 Head, heatiwoar and bust are all of appropriate and
ie “sympathizing color. Dark eyes in depth of shadow, the
-masses of darker hair, compose harmoniously with the right
hand i in light, holding the garment of varied colors and textures
of the stuff the maiden is clothed with.
eed 1870.
VERBECKHOVEN, EUGENE,
GABRIEL, PAUL JOSEPH CONSTANTINE.
Verbeckhoven born in Trounilse, Belgium, 1799; died
1863. Pupil of his father. Medals at Paris, 1821, ’24, 741,553
~
»
26
Legion of Honor, 1845. Chevalier of the Order of Leopold ;
St. Michael, of Bavaria, and Christ, of Portugal. Decorated
with the Iron Cross. Member of the Royal Academies of
Belgium, Antwerp and St. Petersburg.
Gabriel, resident of Brussels. Received a medal at the Cen-
tennial Exposition, Philadelphia, 1876, for his ‘*‘Morning View
in the Netherlands.”
M. Gabriel has attached to back of the painting, his certifi-
cate that the cattle, etc., and the figure in his landscape, ( No.
36,) Venendaal, Holland, were painted by the hand of Eugene
Verbeckhoven, at Brussels, February 25, 1869.
No. 36.
Driving the Herd.
26 x 394.
Part of a hamlet in Holland. Cabins, a windmill, stacks, the
tall fluffy poplars, a brook, with grassy and sedge border, all
of which the painter has handled with free brush, and yet firm
hand, successfully rendered, under the effect of a very lumin-
ous sky of choicely-gradated pale yellow. This the work of
the consorting painter, Gabriel. .
To the left of the subject, and of the brook are a cow, a pair
of goats and a trio of ducks appositely placed. Central and to
the right a group of handsome cows, and a small flock of
sheep coming forward, driven and urged by an old woman,
on whose dress the painter has penciled his bright jeweled
spots of vivid color. All these are most vigorously and char-
acteristically drawn, and colored, and are in most judicious
keeping with the atmospheric qualities of the misty morning
of the landscape. They are from the brush of Verbeck-
hoven.
The painting is signed by both artists.
VERSCHUUR, WOUTERUS.
Born Amsterdam June 11, 1812; died Vorden, July 4, 1876.
Pupil of Pieter Gerardus Van Os and C. StefHaar. In 1831
was Premiated by the Felix Meritus Society, of Amsterdam,
~ ie
Pre st
anders, where the army swore aie said my
ine
pea ¢
td: near a nase Seite. and a broad, bid river to the
a circular, stone well, with windlass and cover stands.
ight has a very picturesque, weather-stained house, with
ae for cattle, both, ee trees which ue D. pedine might
ee eeece: On the Be an hostler aie and gives them
en fodder from a trough. The front group has a dark
|e tnut horse, with servant in blue coat. He waits for some
freshing drink from the jug a woman is pouring from.
a W Touverman’ s white horses in his pictures, are as well known as
i the Ae solitary horseman’ of GoPro. James’s. novels, and
here the white horse, is the. asserting point of sight. It has an
_ expensively- -fashioned saddle, and the rider has probably Bone
eee: where ‘* good wine needs no bush.”
a The Paria is signed. A commission painted to order.
[)~—~SC*é«SSEFITZ,, ANTOINE.
ay Born at Rotham-Sand, near Nuremberg, 1829. Pupil of
Fred. Wagner and Rendel, Nuremberg, of Munich Academy,
and of Fliiggen, at Munich. Professor and Honorary Member
of the Royal Academy, of Munich. Gold medals at Munich
and Vienna. Chevalier of the Bavarian Order of St. Michael.
No.3.
Musical Monks.
ae 64 x.o4. (Panel.
A quiet den have these aged, experienced monks of the
brown robe. A retired, cosy and snug place, it is fitting for
28
enjoyment of the strains of music. There is a quartette of
figures, two of whom have in hand, respectively, a violincello
and bass viol. They are seated to the left of a table, on which
lay the scores. The senior, to the right, keeps time gently
with his right forefinger, while his left hand holds in his lap, a
cherished violin. The music is probably sad, solemn, passion-
ate. A fourth brother stands behind the table, by the chim-
ney; he looks on. A folding screen, a bright copper jug, are
to the left, as are a globe and huge volume. Over the mantle
is seen a painting from sacred history. On the mantle, some
handy volumes, roses in a glass, and a manuscript. Delicate,
precise delineation in form; refined color, and a ruling unity
of effect, are very marked features throughout the work.
A work by this artist, commissioned from him, by the late
William H. Vanderbilt, is prominent in the collection left by
him in New York.
The painting is signed.
LAMBINET, EMILE.
Born at Versailles, 1810; died 1878. Chevalier of the Legion
of Honor. Pupil of Drolling. Made his début at the Salon,
1853.
‘¢ Excellently made, fine surface, beautiful color,” and again,
‘*Good landscape, sincere and conscientious work, with all the
fine qualities of this honorable artist. Complete, well-com-
posed, fresh, rzazz, lovely. The sky is gray, the water clear, |
the cows beautiful, the figures well placed.” EA BOTs eae
‘¢ Tambinet’s landscape is fresh and fragrant, like a bouquet
of flowers.” Jarves ART THOUGHTS.
Lambinet was induced to go to England by E. Gambart, the
picture dealer, who was early prominent in bringing the works
of able French painters, before English and American art
buyers. The highest values of such works then, were small.
Some of them now fetch an advance of hundred-folds. Gam-
bart retired to Nice many years ago, and is now living there.
The ee tee iets the river, and is ; bright
OA tall _woman, with basket, and a little urchin
- CARABAIN, TACOUR,*-< |
or Ree sels. Medals, London, 1873, ’74; Dunkirk, fyhe nt
eae and Nismes, ’81; Sidney, N. S. W., 80; Melbourne,
- first class, 81 ; Lyons, So, Order of Peigorants of Venezuela.
ry
es
nm
4 No. 40.
The Market eee: Dietz.
31 x 243.
Bach buildings to right, left and middle, on unequal ground,
iat there are gardens aloft. Timbers, planks, brick and stone
are all distinctly rendered, carefully, under judicious perspec-
tive. The almost enclosed spot is a market place, where rus-
tic cultivators, dealers, fabricants and citizen buyers consort,
‘on bargains bent,” for vegetables, meat, fruit, etc. The local
maker offers baskets of every kind from the ‘‘ chiffoniers,” for
the back to the ‘‘ layette”” for nursery. His nearest neighbor
—she sits and knits, and waits for buyers for her assortment of
! red, gray, yellow and black glazed jars, pots, and jugs. The
rich farmer of the vicinity, with double ox-team, laden with
bags of produce, smokes patiently. Near him an ass, with —
panniers, in charge of a sturdy damsel, come prominently
in relief, on the cleanly-kept, regularly-laid causeway.
30
LEAVIR Teck eG
[Vide No. 7.]
No. ae
Roses, and Other Flowers, and Vases.
233 RTO.
‘¢Could there be more perfect harmony than that of the
matchless texture of those lovely roses and the creamy surface,
sprayed with gold, of the priceless Royal Worcester jar.” —Bos-
ton Traveller. ;
To the right a Royal Worcester jug, richly gilt, damascened
neck, and enriched with buds and blossoms in relief. ‘To left,
an opalescent-ovoid vase, with roses in bud, and full blown,
pink, full rose and deeper crimson, with sprays of ‘* forget-me-
nots,” of true-lovers’ blue, spiraas,etc. At base of both vases —
a cluster of roses, happy in agroupment, white, yellow and deep
rose, with dew-drop marked leaves. Theirstems and thorns link
the mass in unity, over a light blue cloth, partly covering an
antique table, with carved edge.
Signed and dated 1885.
CEDERSTROM, GUSTAF OLOF, BARON.
Born Stockholm, April 12, 1845. Pupil of Malstrom and
Winje in Stockholm, of Fagerlin, Dusseldorf, of Bonnat and
Meissonier in Paris, 1869. Member of the Stockholm
Academy of Fine Arts 1871.
No..42.
Ao Dinculy Snot:
‘¢ Let’s to billiards!’ Six white-robed monks, much in want
of constitutional exercise, are at play. To left side of compo-
sition one brother sits and has his cue ready; a second stands
up, chalking the end of his; the third of the group, physiogno-:
mically studious, reads some great paper. To the right end
of the table has come a brother with warm-hued hair. He leans
: He has not fe blue
F probibition” ae our day oe locality, but he has a
gaits to Oe his robe against
ties the contents of the tapering-formed bottles in use on
ver Rhine. Easy it is to see that he concocts a delicious
ge, tl the other components of which are strawberries and
tive in n the Battie. To do his very: best, do Tee work is.
ee bet in his tor:
. rique Devigne, an artist, about 1571.
ae | The painting is signed.
Se
SS
¥
Pas
aT: -OMMEGANC, BALTHASAR PAUL.
ty
Born Antwerp, 26th December, 1755; died in same city,
es 15th January, 1826. Pupil of Henri-Joseph Antonissen. Cor-
responding Member of the Institute of France. ‘‘ And the City
of Antwerp gave his name to one of its streets.” Bryan.
_ His paintings are highly valued in Europe, and find place in
the noted galleries. | ;
eh painting is signed and dated 1812.
oe cINO. 43),
_Pasturage.
15} X 19}.
a Warm clouds over the sky, which is gray throughout. A
Laer mass of foliage to the left, behind which, hills; distances to the
right have foliage indicated. One sheep on foot, browsing ;
two laying down, one of them crying out. Next on the right
is a white goat, in the foreground. All in rich warm hue.
% he Phe game of billiards is attributed a the French, to Hen-
32
VIBERT, JEAN GEORGES.
Born Paris, 1840. Pupil of Barrias. Medals, 1864, ’67, 68.
Legion of Honor, 1870. Third-class medal, Exposition Uni-
verselle, 1878. Officer Legion of Honor, 1882.
‘¢ Vibert is evidently a wit and a satirist.”.—Art Fournal.
No. 44.
The Monk and the Smuggler.
24 x 36.
A. shady grove, so dark that a rift of light beyond, has great |
value and prominence. In the light are two donkeys. One to
the right, bears two goodly kegs carefully strapped fast; its
ears Suggest those of Midas. A strip of light on horizon at
left is broken by dark branches. Near is the figure of a monk
in heavy brown woolen robe, with hood, but a skull-cap takes
its place for the time. He is semi-recumbent, making his
position more comfortable by the props behind him—the sad-
dle and trappings, a load considerately taken from his mule.
Our monk is not of ascetic aspect. He has not, like St.
Anthony, tried living on twelve ounces of bread and water
per diem. His jolly complexion, his full habit, are evidences
to the contrary. Did he tell his brethren at the tonvent before
setting out that he went forth ‘*to see a man ” and be a ** wine-
taster,” or was his meeting accidental, with the traveler who
faces him, laying back up, but on his blanket, to ward off
malaria? Alongside is his musket of the flint-lock period,
cocked ready for emergency. He is a brawny, muscular fellow,
big boned, large limbed, strong of sinew, comfortably clad,
and his hair is short. He looks intensifiedly sharp, witn
large reflective faculty, very likely to get the best of a bar-
gain, or in physical encounter. These two ‘‘ sweet innocents”
are in very earnest. Sad it is, that two empty wine bottles are
on the grass in proximity to the monk, and sadder yet that he
holds, firmly, but tenderly, another bottle half filled with liquid,
‘Cred to the eye.” It must be fuller of body, more delicious of
bouguet! To help appreciation of the ‘‘ vintage,” and come to
a bargain with the ‘* provedore ” of the convent, the smuggler
33
cuts with his handy knife, a piece of brown bread, which will
freshen the palate and give renewed zest to the churchman’s
appetite.
The painting is signed.
DE HAAS, J. H. L.
Born at Hedel, North Brabant, March 25, 1832; died in
Brussels, August 16th, 1880. Pupil of Van Os. Went, in .
1857, to Brussels, and achieved brilliant success. Gold medal,
~ Munich, 1869.
No. 45.
The Favorites of the Herd.
29 x 234. On panel.
Whatever the atmospheric condition of Holland, always
recurring groups of cattle are asserting themselves before the
traveler, and always bright, luminous bits, or masses of color,
ranging from white to black, and in the summer —time of
flies — they are humanely protected by awnings, which they
carry on their backs. Take cattle from Holland, one of its
greatest and most attractive features would be gone. Rolling
white clouds, fusing with gray, on a blue sky, a distance of sea
sand and dunes, almost primeval, and of broken ground, which
yields pasturage. A bit of Holland, just as it was when ‘ taken
by the Dutch,” and as all travelers may to this day see it, if
they have the observing eye.
The painting is signed.
SECOND NIGHT’S SALE.
PASCAULT, T.
No. 46.
A Game of Cards.
20 X 20
Two players seated on a bench, four onlookers standing, atter
the celebrated painting in oil.
Signed T. PASCAULT, d’apres Meissonier.
An enamel placque, framed in maroon silk-plush.
Outside measure 32 x 32.
DEARTH, HENRY G.
Born, Bristol, R. I., April 22, 1862. Pupil of the Beaux-
Arts. A. Morot, Olin Merson, and M. Colin. Member of
Society, of American Artists, studied in Europe and East
Hampton, L. I. .
‘‘One of the new works bearing the encouraging mark, ‘‘sold,”
is Mr. Henry G. Dearth’s, ‘‘ Evening,” a large canvass simple
in composition, extremely quiet and full of sentiment.”—The
Evening Sun, October 15, 1889.
‘¢ There is a quiet, unostentatious simplicity in this which
grows upon one. It is a picture one will like better the oftener
he sees it, and one that he will never tire of.”—/V. 2 Star,
October 20, 1889.
20X 27
g day, i is portrayed 0 on . this canvas. The rose colored
ried intensity, i is carried throughout the masses of
inlet, which separates a breadth of marshy ground,
ea in the season salt-grass may be mowed. A
le e of i ground on the left, on top of which,
WYNGAERDT.
HoLuanp.
No. 48.
a Home in Holland.
: es : 104x164. Panel, cradled.
cea” rosily flushed sky on rhteh brilliant lines of light relieve
; the: long horizontal rain clouds which mark much of the cooler
ts sky, a distant city, a river mirrors the light, perhaps the
_tiver Ij. To right is a windmill, of which useful factor, there are
x untold numbers in Holland, of all powers and sizes, from the
_ baby” tothe elephantine. A sedge bordered stream in front,
a cottage of quiet exterior and thatched roof, thickly clad
trees, a woman who has been washing, and some logs make a
mass of shade, and a transcript true as can be given, of nature
. in 1 that country.
UNKNOWN.
Of the school of Rigand.
) No. 49.
eee Ortrait.
“eis : | 36 x 30.
Represented standing, with nearly full face, the right side
and wig of the period, being in light; a white collar with lace
36
and rich brown gown with hand-ruffles, complete the costume
of the stately figure, which is relieved on a dark background.
LEAVITT, E. C.
[ Vide No. 7 and No. 41. |
No. 50.
Roses, Berries and Vases.
30 X 20
On a warm brownish back ground, is a tall Chinese vase,
of black lacquer, with national features of design in gilt relief
prominently depicted—next it to right, a gold-based and
covered nautilus shell, under it some sprays of raspberries.
Centrally prominent, a group of roses of divers colors, are in
full blaze of light, which is spread by a soft blue cover, partly
resting on an antique carved edge table. —
‘‘ Had it not been for the golden frame about these lovely
flowers, I should have gone to them, that raising them I might
inhale their fragrance as I had their beauty, but surely they
were real.” — Boston Traveller.
The painting is signed and dated 1886.
BRETON, JULES.
Born at Courrieres, 1827. Pupil of Devigne and Drolling.
Medals, 1855, 57, 759, ’61. Legion of Honor, 1861. Medal
_of the first class and officer of the Legion of Honor, at the Ex-
position Universelle, 1867. Medal of Honor, Salon, 1872.
Knight of the order of Leopold, 1851. Member of the Insti-
tute of France, 1886. Order of St. Stanislaus of Russia, Cor-
responding Member of the Academies of Vienna, Stockholm
and Madrid.
‘¢ Paints excellently, his touch is firm, just, striking. The
choice of his colors is always felicitous. M. Breton is
Lorraine as well as Callot.”
E. Axsout.
meer", eS nis:
Contemporary Art in Europe.
a ne Bch separates him from the vulgar peasant, and
Rs 1akes this artzste, really worthy of a title, too lavishly used in
ae: ek He has comprehended the PO serious Se Ste of ute
cea aa GAUTIER.
No. 51.
| ‘Washerwomen, Coast of Brittany.
- % aoe ee 2c aes
a A mass of salty blue sea, with waves which break their
white caps inward on a stony, sandy beach. The distance has
well-modeled hills faced at left with precipitous cliffs in light.
From the right, rocks of dark gray, geologically true, extend to
the left, where, profiled against sky and clouds, they assert
their right relations to the scene. A few scrubby pines on top
- meet the white, and gray, wind-moved clouds the upper bound-
ary of the painter’s poem. The figures are nine, save a small
; boy, all women. One kneels, washes in a land-locked pool ;
another, kneeling, pounds clothes with all her vim ; yet another
folds clothes which, like her red handkerchief, flutter in the
wind; the fourth, who got up earliest in the morning, has her
undle on her head and is going home. She is proffered an
apple by the latest comer, who will begin washing soon. A
little distant is the wilful small boy, who insists on his elder
ies es ee
ie,
38
sister taking him to fish in the great sea with his little minnow
rod. ‘To the right, on the headland, a young woman sits sew-
ing, and joining her another, younger, with distaff beside her.
The painting is signed; dated 1871.
It formerly belonged to the coliection of George Whitney,
Esq., Philadelphia, Pa.
TRAYER, JEAN B.
Born Paris. Pupil of his father and Lequin. Medals, 1853,
"55, 1824.
No. 52.
The Lunch.
20 x 16.
A Brittany interiors A large table about which are gath-
ered three girls. The youngest, standing in front, has a bowl
and spoon, and evidently expects more bread from the elder
sister, who, standing and bending, cuts into a huge loaf of
coarse bread. Midway opposite, is the middle-aged girl,
kneeling on a bench, leaning on the table. She, whether or
not herself a petitioner for more, takes kindly interest in the
youngest. The marked picturesque local costumes, true in
forms and colors, the recess-bedstead, stone catacomb-like
closets, house utensils, child’s wagon, etc., are each and all
accessories in keeping with the scene. (A pendantto No. 15.)
The painting is signed.
JACQUE, CHARLES EMIL.
Born Paris, 1813. Studied engraving and drawing on wood.
Is celebrated for his etchings. Medals, 1861, *63, 64, ’67;
Legion of Honor, 1867. .
‘‘ Tle understands sheep thorougly, and the picturesque of
pastoral life. His knowledge of sheep and poultry is almost:
unrivaled.’”’ P. G. HAMERTON.
im”
ia : es, ae anit Seance: Two eee antes gnarled
BE iicr beaten, are reared up against a sky in which
; . of great raat are Broken into graded grays, .
light, Ae the nearer river ae and Aoarele:: ‘he
shepherd boy on the bank lays on his belly, admiringly
as does his sheep dog, which, ready for duty, stands
: BAS flock of sheep browse in the dark, dewy grass and
from eg pon in foreground.
BAXTER, ELIJAH, Jr.
F ae Hyannis, Mass., 1849. Studied in the Antwerp
pe eedetny of Fine Arts, 1871-’73. Since then has occupied a
is in Providence, R. I. Exhibits at the National Academy
of Design, New York; the Boston Art Club, etc.
oo on
me
jasmaieenas
a No. 54.
“Fruit 4 Flowers.
304 x 50h.
_ The subject is entirely decorative, and materials for its parts
and its mass, have been taken from flowers and fruits of native
production, the selected prize-specimen of largest growth that
culture under glass will produce, while from over sea, “ the
vexed Bermoothes,” have been brought, the golden, luscious,
sweet-juiced pine-apples, rich in color-texture as in flavor, and
a constant study with artists who love to paint fruit subjects. The
metal worker’s fine hand, appears in a capacious jardini¢re
of bronze, finished in repoussé work, with lion-head handle.
It is brim full of grapes and freshly-gathered leaves, ‘‘ cast
discreetly into shade.” The potter’s work enhances the sub-
ject, as shown in a tall cylindrical vase, adorned with the posi-
tive local colors of some very ancient Chinese dynasty. It is
—
ae eere.
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if ’
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a
.
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ie
PES EY ee
40
behind the group of flowers, which is made up of roses of
lighter hues, from conical bud, to the full-blown cup-shapes,
' ceringo, Jadies’. paint brush, azelia, petunia, nasturtium, etc.
They all lend their exquisite specific colors, to make up the
‘* tout ensemble,” and are freely touched into place.
COURBET, G.
Born, Ornans, (Doubs) 1oth June, 1829. Studied law till
twenty years of age. Went to Paris, became student under
David ’d’ Angers. The success that befell his early paintings
only acted as a stimulus and led him to a constant and close
study of nature. His landscapes distinguished by truth, sim-
plicity, and very careful finish, added considerably to his repu-.
tation. In 1855 and 1867—not being in harmony with the
controlling artists of these expositions, he had buildings erected
for himself and made separate exhibition of his own works.
In 1871 he joined the Communists who entrusted him with
care of the Public Museums. After a long illness he died at |
La Tous de Peilz, Switzerland.
‘¢ He paints solidly ‘the things which are soles mates Fags
originality consists in the energy of his work. Proceeds
directly to his values, without groping his way, without transi-
tion. He gives at first blow (du premzer coup) the startling
look of all the objects of nature. We can place our hands on
all the localities. He establishes as his first basis, an aspect of
nature. He takes the four or five salient heads, as M. Ingres
seizes the four or five lines of mastery of his figures.”
E. ABOUT.
No. 55.
Near Ornans, (Doubs).
194 x 254 >
A high horizon, angry light-edged clouds to left, beneath the
great body of dark lowering gray clouds. The foliage is dark,
firmly brushed against the sky. In it to right is a blasted tree
trunk, enlivened with a few russet branches, warmer than the
balance of greenish gray mass. Several sloping ridges and
the grass" cover red!
forward on either ae
He an likea philosopher with ‘‘ all out doors” for his acae hs
and cares Ii suite ‘‘ whether school keeps or not.”
ae]
aa ipo
i ING: © 50. oe =
eon on the steps and Podeie of a pier, gate to meet a
_ barge which is being brought to by two sturdy boatmen. Four
burghers, lead their wives or ‘ fiancees,” gallantly forward.
oe They are attired in costumes of the period, some in very richly
| colored material, some in the commoner stuffs. Three male
: "gossips stand to the left, and two more, to right alongside of
ise railings, and pass remarks. A boy, girl and dog in play, form
a detached group to left in the foreground. An active spirit
of «gallantry ” animates the composition.
_ The painting is signed.
VAN MARCKE, EMILE.
Born at Sevres, 1827. Pupil of Troyon. Medals 1867, ’69,
"70. Legion of Honor, 1872. First class medal, 1878.
No. 57. os
Cattle on Lowland Pasture.
. 20x 274
Rich dark well nourished trees stand to the left of the com-
position, up to top of frame, where in approximately diagonal
mass, they meet a sky of pictorially treated clouds, which occupy
the upper half of the canvas, save a ‘little angular patch of blue.
42
In the distance to the left is seen the blue douse of a figure
behind a cow, of diminutive size as compared with the group of
four in important relation in front, and which are the great motzf
chosen by the artist to expend his talent and skill on. ‘Two
of the cows stand on the grassy shore on left; one dark
brown, is partly hidden by the brilliantly marked white and
black, which looks outward, as if approaching steps were
heard. To the right in water, which moves and sparkles, are
two more cows; the distant one looks to the hill distance, her
nearest companion of a warm brown coat, is sideways and is
drinking.
TOULMOUCHE, AUGUSTE.
Born at Nantes, 1829. Pupil of Gleyre. Medals 1852, ’59,
"61, 78. - Legion of Honor, 1849."
‘¢ A painter very skillful in representation of modern ladies
and gentlemen; has the art of dressing his personages well ;
he excels in tailoring and millinery, and understands the degree
of mind, which itis customary to express by the features. His
people are ‘comme «l/l faut’ which with the little people on
canvas, as with their models in real. life, is a quality more favor-
able to success than nobleness or gentleness.”
P. G. HAMERTON.
Hide and Seek. |
24 x 174.
Old tapestry with allegorical figures, dark, warm in color,
with maroon hangings; a table with a jardiniére, in which are
chrysanthemums ; an oval-backed arm-chair in white and gold
are at the right. At the left is a folding screen with carved
borders. and a flower—patterned blue ground silk, are the
accessories. In recess of a wing of this screen is a juvenile miss
with embroidered white muslin dress, and short russet stockings.
The arms are folded, hands are together, and with head
turned aside, with dehcately-arranged hair and cherry rib-
bon, she naively looks out of lustrous eyes, as to her being
_ auaaes i ae screen, her left hand resting
1) with “ coigne of vantage” from her tall figure, the
languidly overlooks the child; entirely clad in satin, deli-
f a hue of ashes of roses and lilac, richly fluted, ribboned,
COROT, JEAN B. C.
orn at mane July 20, ae Pupil of Bertin. . Medals,
1838, 48, °55, "67. Legion of Honor 1846. Officer of the
egion of Honor, 1867. Diploma to the Memory of Deceased
Artists, Exposition Universelle, 1878. Died February 22, 1875.
__ Corot was sent to school at Rouen. He was apprenticed
ef “to. a draper, but disliking the yard-stick, took Be the maut-stick
y and became a landscape painter.
Ee _ ** The touch so firm and accentuated of M. Theodore Rous-
seau from nature, and so lightly touched in the landscapes—
sometimes too idyllic of M. Corot.”
pane MoNITEUR DES ARTS.
** Entirely complete, with a grace of melancholy, vapory, and
a poetry, of the Virgilian.” :
aa Epmonp Asout.
‘* The selected truth is what the artist shows; one truth at
a time and with sufficient emphasis to make it clearly felt.” He
tarely stirred from Paris in search of his ** motives.” He rang.
his endless lovely changes on the delicate notes supplied by her
suburban scenery under the soft gray clouds yet luminous skies,
we rarely see in any other land. He made these beloved
sketching grounds as immortal as Titian made the mountains
of Cadore, Ruysdael the broad brown plains of Holland.
Furthermore it was the early spring-time with its soft mists
and tender foliage, he preferred ; and chiefly its twilight hours
of tender light and shade. The morning above all, was his
province — he was the poet and interpreter of early morning
as no other man has ever given them with paint and canvas.
‘Take his picigres out of the history of art, and there would be
44
left I think a greater void than would be caused by the absence
of the work of any other man.” x
M. G. Van RENSELLAER.
‘¢ Corot was a poet and his canvasses in expression of ideas,
refined almost to sentimentality, are full of fancy and imagina-
tion.” |
No. 59.
Le Bateau, ( with three figures.)
26 X. 31%
Faintest of colors scarcely to be defined as more than warm,
and light the tints which form the distance, beyond an ellipse
of water full of brightness, dark to the left is a nearer strip not
very definite but keeping place. The foreground by the
river edge is in shadow all the way to right and on it and
bordering it are all the flowers, grasses, sedges, etc., which in-
evitably are found in such places, all suggested. Near the
right three sturdy trees raise their stems upward and against
the sky, break in fan-like form. The stems are broken with
fissures, and give many hues; their perpendicularity is softened
by the birch tree with sinuous lines helping to carry the
eye to one of the most luminous of skies in which troops of
cloudlets mingle and rest. The spectator’s eye is called to and
held by a rudely made boat, on the visible end of which sits a
woman, with white cap and yellow and black dress, another
woman stands, red, blue and black her garb, and asks the boat-
man something, he is prodding his long pole into the water
vigorously, his figure is shadowed dark, and his red cap forms
the ‘ pocnt d appue’ of the design.
Many atime laying down his brush, Corot used to say to
Albert Wolff, ‘‘ don’t take outrage at the leaving of so many
beautiful objects for America. Art is made to be seen and to
be spread about. Do you count for nothing the honor, foreign-
ers do us in appropriating our works? Let them go on and
don’t be alarmed by so little. There will always remain glory
enough in our own country, that it will never be forgotten.”
The painting is signed.
4 oe
WALTER.
AO XS.
me gees “Pray
peaid Corot, if my hour has come, I shall have
Becates,. I have eter been permitted to devote myself en-
é wy to that which I loved best in the world. ‘I have never
- suffered from poverty; I have had good parents and excellent
: “Fiiends, I can only be thankful to GOD.”
iy ine painting is signed on back of canvas, and dated March 1875.
LEYENDECKER, PAUL.
No, 61.
- Moliere ine at the House of Ninon
d’Enclos Before Several Celebrated Per-
sonages of the Court of Louis XIV.
The artist, ina letter to M. Knoedler, Esq., says: ‘‘ My
intention has been to represent->Moliere reading one of his
comedies before several celebrated personages of the Court of
Louis XIV., noblemen, literary men, intellectual ladies, etc.,
etc. he ladies are the Marquise de Lafayette, authoress of
the ‘Princess of Clives,’ and other remarkable writings ;
Madamoiselle Julie d’Auguenes, afterwards Duchess of Mon-
tansier, ‘the divinity,’ so called at the famous Hotel Ram-
pouillet. The men are: The Duke de Montansier, Governor
of the Dauphin; the Prince de Conte, brother of the great
' Conde, schoolfellow of Moliere, and his protector; the Duke
of Larochefoucald, the celebrated author of the Maxims, La
Bruyere, author of ‘* Characters ;” Boileau, Despreaux, Racine,
Lafontaine.” 3
Louis XIV., 1638-1715. ‘* His reign is as illustrious for
46
great names in literary pursuits and in science, as for able
characters in the field and the Cabinet.” LEMPRIERE.
This painting was No. 1210, exhibited at the ‘*‘ Salon,” —
Paris, May, 1874. ar ive ah
It is signed and dated 1874.
A key to the figures, drawn in pen and ink by the artist accom-
panies the painting.
DUPRE, JULES.
Born at Nantes, 1812. As a boy studied design in the
porcelain manufactory of his father. He essayed oil paint-
ing, and contributed to the Salon 1831, 735 et seq. Medal,
| Paris, 1835 ; Legion of Honor, 1849; medal, Exposition Uni-
| verselle, 1867. Officer of the Legion of Honor, 1870.
| ‘¢ His work in its range is somewhat variable in its excel-
lence. ‘ Many of them (his paintings) are only a very few
inches square, yet they are as large as Nature herself in the
impression they produce.’ No dweller on the coast of Holland
ever felt the sea more truly than Dupré, expressed it more
| forcibly in its color, its motion, its atmosphere. But Dupré
Nn adds a breath of poetry few Dutchmen ever felt, and his color,
too, is more beautiful.” E. ABout.
‘¢ His farms, his-cottages, his old oaks, on the borders of
pools, with cows ruminating about, too plentiful sometimes,
where horses run with flowing manes; his mills which profile
their silhouettes on a stormy sky have a simple and beautiful
side, which captivates all the world.” RENE MENARD.
No. 62.
Cattle a bsthe Ww aterine-fiace,
Oa * tae
One storm has cleared off and another, approaching, may
be expected, from such a garniture of clouds of subtle gray
hues, backed by blue sky. Darkly looks the upland distance,
yet it is lustrous. A cot and trees are discernible, and a crest
line of golden grain shows harvest is near. ‘To the right a large
willow tree is bright in silver gray foliage, and on its trunk is a
aes a " grass- -covered bank which,
is the basin for water which has for border
; reeds. and pollards. — Three groups, live color spots
e, and ; a figure enliven the composition.
‘The e painting is ects
rot x 134. On panel.
; . rolling clouds are over and among a mottled gray
: sky. This side of the huts, grassy pasture is seen, and a boy
cane sits idling his time away, but doubtless valued by the painter
_ when he painted on the spot, as a foreground point. Over
lower trees to right, a taller one carries the dark to the sky.
hee The painting is signed.
SCHREYER, ADOLPHE.
Born at Frankfort-on-the-Main, 1828, ot a distinguished
family he enjoyed every advantage of travel and instruction.
In 1885 he followed the regiment commanded by Prince Taxis
to the Crimea. Medals, Paris 1864, ’65, ’67. Exposition Uni-
-verselle, Brussels Exposition 1863 and Vienna~ Exposition
1865. In 1862 he was made painter to the Grand Duke of
Mecklenburg, Schwerin. Cross of the Order of Leopold,
1864. Member of the Academy of Antwerp and Rotterdam,
and Honorary Member of the Deutches Nochsteff. Officer of
the Star of Roumania, 1885.
‘«Schreyer in such scenes gives to animal life, moving tragedy ;
surely the dumb creatures speak.’ Art Journal.
bo
48
No. 64.
Arab Cavaliers en route.
34 ae |
“The desert Arabs or Bedouins, scorn the occupations and
pursuits of civilized or more correctly speaking, of settled life.
The dwellers in towns and houses they regard with supreme
contempt; and if themselves obliged by circumstances to so-
journ for a time in a town, they exhibit the utmost impatience
to return to their tents and desert homes. They are robbers by
profession; but to that profession they do not consider the
slightest degree of criminality to be attached. If reproached
with their predatory habits, they take their stand boldly on the
eround, not of necessity, but of right. They are the lords of
the desert, which was given to their father Ishmael as his only
portion, and if strangers who have no right to intrude, will
pass through, they must pay for it, and they havea right to éx-
tract their full inheritance from those to whom the oil and the
wine has been given, hence the plunder of and exaction from
caravans.” — Traveller. ;
To the front, gallop three riders on full blooded steeds,
which seem proud of their masters. ‘They have had travel
which has made them warm. Their trappings and accoutre-
ments are gay of colors, and the riders are as one with their
mounts. The central figure wears a very stately important air,
thoughtfully judicial, as if the wisdom of a whole bench of a
Supreme Court were concentrated in his visage, and his horse —
is in measure, pacing, with full sense of his power. The leader
has a full beard. An Arab proverb runs: ‘‘ Shave your own
chin when the beard of your son is grown,” and to his left is a
youthful rider, (with white horse), who is innocent of beard.
To the right a middle-aged rider completes the group, and be-
hind dimly defined, the train bearing results of the raid just ac-
complished.
ZIEM, FELIX.
Born at Beaune, Cote d’Or. Pupil of Dijon Academy.
Medals 1851, 52,55. Legion of Honor, 1857. Officer of
the Legion of Honor, 1878.
7 ey ease on mye iNaniatic: and is free to surrender
color within the calm precincts of Venice. The
ee of his pictures has won applause in many
tion.” — Art penne! )
Zier, who Hetecnds in direct line from Canaletti.”
ALBERT A Catia.
~
No. 65.
| 264 x 42. Panel.
fi
: @ ptin azure sky that is deep, luminous, diaphanous, warm at
Ke remotest passage, suggestive of circumambient air, pure,
.¥ delicious, quiet, restful, pervades this scene. Softened into
ity is the horizontal belt of distance, which shapes itself as a
Oieiacly -built city ; its front elevation in rosy light, stands on the
bank of a narrow, ribbon-like river, blue, but measureably colder
than the sky. It meets a warm, sunny foreground, guarded by a
“grove of picturesque trees, whose trunks brown of hue, give
_ support to a central mass of shadow, out of which can be per-
ceived the forms of a multitude of figures, with Eastern cos-
‘tumes, who sit, smoke the nargileh, and enjoy a thoroughly-
pronounced ‘‘ dolce-far-niente.”” The leading figures catch
and hold supremacy, as do jewels of great price and rare bril-
liancy. To the left a square fountain, with mosaic inlay,
curiously roofed, and with overhanging eaves, which carry
more color markings. A finely-placed and posed figure draws
water from it. Beyond, to the left, two figures sit apart. From
the right comes outward a solitary figure in potential dark,
carrying on the head a bundle, the only type of motion, save
the vessel. It expresses in its action unrest, while all else in
the picture is thoroughly quiescent..
This painting was in the collection of W. Prescott
Hunt, Esq., Boston, and was bought by him in Paris
from Messrs. Goupil & Co.
A,
: e “sh fad The painting is signed.
_
50
THOMPSON, G.
English, resident in Munich.
No. 66;
Among the Lakes.
184 x 25... Waten@olar
ae,
a |
ipa 4 Fuseli, the artist, used to bid his maid ‘‘ bring his pattens
Vv Y , and umbrella” when he visited Constable, to see a new painting,
for they were all as if rain and dew, bathed earth and sky. Of
the dew-laden atmosphere of England this is an example.
Cloudy, clearing skies prevail; nothing appears dry, church
spire, cottage, boat figures or logs. David Cox’s influence
in vigorous treatment and wash, is recalled in the execution.
Signed and dated 1886.
No. 67.
A Sandy Beach, Wave-Washed.
184 x 25.
With gently-breaking, crested waves, a view of great
breadth, of broken, gray sky, with the sea dark against it, an
outgoing steamer and smaller sailing craft are seen.
S1
BRONZES.
No. 68.
Abraham Lincoln.
Oval 124 x 94 in oval frame of walnut and gilt moulding.
) Head and part of bust in profile, Medallion @/to-relezvo on
! deeper, warmer back-ground.
Copyrighted by W. BARHER.
7 No. 69.
Horses at Play.
| f df, Signed, J. MoIGNIEz.
Height 13 $, length of base 17 4.
No. 7o.
Wisdom.
Height 21 ins., base 6 x 5.
- Draped full length female figure, holding a serpent which
he s) laps from a tazza.
Base of black marble with gilt mounting.
INO. 71:
Peace.
Height 21 $ ins., base 6 x 5.
Draped full length female figure, holding in right hand a
ap ra statuette of ‘‘ Victory,” in the left a wreath of laurel.
| Base of black marble with gilt mounting.
52
No. 72.
Mercury.
Height 25 $, black marble base 6 x 6 with gilt ‘mounting.
The original is in the Bargello, Florence. All the reproduc-
tions from the antique by Barbedienne are most faithful, as
they are executed by an unerring process, in the reduction.
‘Who does not know the Mercury of Gian di Bologna,
that airy youth with winged feet and cap, who with the cadu-
ceus in his hand, and, borne aloft upon a head of Zolus, seems
bound upon some Jove-commissioned errand? Who has not
admired the lightness and truth of the momentary action?”
C. C. PERKINS, TUSCAN SCULPTORS.
Signed, BARBEDIENNE FONDEUR.
ING, 73.
The Fighting Gladiator.
Black marble base, gilt mounting, height 19 ins., length of
figure and base 21 ins. The original marble is in the Louvre »
Paris.
««T never felt as if I touched the life of the old Greeks until
I had looked on that statue.” + ‘*‘ Welcome, O Fighting Glad-
iator and Recumbent Cleopatra, and Dying Warrior, whose
classic outlines (reproduced in calcined mineral of Lutetia)
crowns my loaded shelves.”
O. W. Hoitmss.
NO 74s
Orator and Warrior.
Black marble base, gilt mounting, height 21 ins., base 11 x 5.
Two male figures, the one on left, in councillor’s robe hold-
ing a roll of paper. To right, the warrior with helmet and
other armor.
aan with base and cap, made by Potter & Co.
es Sculptor was born i in Dublin 1818, studied in the Sate
sort, his last work inthe ** Albert Memorial’ London, com-
mi missioned by ‘the Queen, was not cast until after his death in
ets Associate of the eves Academy 1843, Royal Acade-
-mician 1858. ee
-Caractacus a British King was brought captive before the
; Se Claudius set him at liberty.
| > i _ Signed J. H. Forry, R. A., London, 1860.
ie “No. 76. =e
“Alter the Battle. hie 4
- Gilt base. Height 18, length of base 17; with oval ogee,
Peise cover ed with maroon velvet; height 3 in.
A Tartar riding one horse, with another alongside, on which
is loaded the spoils of a raid, a flag, etc.
Signed LANCIRAY.
Born, St. Petersburg; died 1858. Educated as lawyer. Became
pupil of Professor Liebrich, the celebrated sculptor.
No. 77.
Justice Protecting Innocence.
Black marble base, with gilt mounting. Height 30.
Base.244x 124.
A pyramidal group of three figures. Justice, central, stands
tall, erect, inflexible, holding in right hand a sword. Her left
Pe irks, Goldsmith, eee etc, Lhat‘of the-Prince
Emperor Claudius in A. D. 52. He had been. betrayed by
54
arm is holding a female who clings to her passionately, and
reliantly. To the left a male figure, partly draped, crouches,
his right hand holds a dagger and his left is raised to ward off
punishment.
‘“‘The fundamental principles of justice are, in the first place,
that no injury be done to any one; and secondly, that it be
subservient to the public good: % aC iCE Res
Signed GuITTON.
No. 78.
Marguerite.
With a PEepEesTAL of ebony, rosewood and inlaid colored
woods, carved, gilt, engraved and polished. Four exterior
fluted and gilt columns, with central shaft enriched with inlaid
designs. Designed especially for the statuette, and made to
order by Potter & Co.
Height 34 in. Black marble base, 13 x 13.
Title in gilt engraved letters.
Marguerite, a simple, uncultivated girl of great fascination,
fell into the toils of Faust, a famous magician of the six-
teenth century. Left a fortune, he ran to every excess till he
was penniless, when he made .a pact with the devil, who
assumed the name of Mephistopheles, that he might live a gay
life for twenty-four years, and at the end of that time his body
and soul were to be consigned to the devil, He disappeared
Le SO. |
Signed 1872.
No. 79.
The Prophet's Flag.
Height 544; height 29, base 18 x 18; with a PEDESTAL of |
rosewood elaborately carved and polished. Of Oriental
design, specially made to order by Potter & Co.
‘The Prophet was an meee and the faith which he taught
still fires the heart of his race.’
‘6’ The Mahometans entertained an inconceivable veneration
for their Prophet.” Rev. HM. Pieope
Signed Henry PLE. ;
‘ ioe
i,
the ‘base athe height a4, base PLT with a PEep-
p ae ‘imes fire was ste obtained from friction with
pieces of dry wood or from the sparks of flint. A public
ens t a years, when they faletit retain. eatin’: or return
home. On the death of a Vestal, vacancy was filled by election.
Great civic privileges were accorded the body during the
mens en centuries it existed, until abolished by the Emperor
_ Theodosius. The remains of the owse of the Vestals were
discovered A. D. 1883, under Lanciani.
he _ Signed Moreau MATHURIN.
No. 81.
|The Brtumph of Flora.
Height 22 1in., length of base 25 ; base of red jasper.
The work is very choicely finished in silver, gilt, and varied
shades of bronze.
Seated in a chariot drawn by three doves, on clouds, is the
Goddess. of Flowers, holding some in her lap. Behind the
_ chariot is a winged Cupid, who has by him a basket of flowers,
and he holds a night moth, emblem of immortality.
Signed RoBERT, FRs.
56
No. 82.
The Falconer.
Height 34 in., length of base 27 4 in. ; height 37 in., length of
base 33 in. ; with PEDESTAL of solid rosewood, designed espec-
ially for the bronze; richly carved and polished, of most sub-
stantial, and elegant workmanship. Made by Messrs. Potter
& Co., Providence, at a cost of $400.
On a lively-stepping horse is seated gracefully the lady, who ‘
holds the bridle in left hand and with her right a falcon—with
hood off, ready for flight—but it lingers, attracted by a crouch-
ing dog, which barks, at the forefeet of the horse. The lady
has ample habit, emdroidered bodice, puffed sleeves, gloves,
cap and feather.
Falconry or hawking is mentioned as of earliest practice in
Thrace, and in England and France, oth century.
Signed A. J. Lepuc, 1872.
No. 53.
The Dun Cow.
Height 28 ins., base 21 4, height 37 1, length of top 32 x 174,
with PEDESTAL of ebony and rosewood and inlaid woods of
varied color in arabesque designs, carved, engraved and gilt
inlaid, designed and made to order for the group by Potter & Co.
The Dun Cow slain by Sir Guy of Warwick on Dunsmore
Heath was the cow kept by a giant on Mitchel-Ford, (middle-
fold) Shropshire, England. Its milk was inexhaustible. One
day an old woman who had filled her pail, wanted to fill her
seive also, but this so enraged the cow, that it broke away, and
wandered to Dunsmore, where it was killed. A huge tusk,
probably an elephant’s is still shown at Warwick Castle, as
one of the horns of this wonderful cow.
Only six casts of this bronze were made by Elkington & Co.
One of silver, is now at Windsor Castle, the property of Queen
Victoria. Of the five in bronze, only one was brought to the
United States, and on arrival was secured by the late Mr.
Steere.
wey
No. 84.
Elegant Onyx Jardiniere.
Ovoid shape on square-shaped base; the ornaments and
, mountings of finely wrought brass, finished in burnished and
Hoe. ” matté gold, figures:of mermaids in bold relief forming handles,.
ta | 0. fire-gilt inside lining. Height and diameter 17 x 20 inches.
; No. 85.
Pair of Handsome French Bronze Vases.
Graceful ovoid shape with flaring necks, elaborate and artis-
= tically wrought brass and bronze mountings and ornaments,
) ¢ which are embellished with a fillet of enamel of blue ground.
Lion head and ring handles finished in lacquer. Height and
diameter 17 x 8 inches.
No. 86.
- Pair Bronze Vases.
, mt Design, relief and incised ornamentation and light brown.
7 patina. Height and diameter of each 12 x 5 4 inches.
STACPOOLE, F.
Associate Engraver of the Rova Academy, etc. eo
MRS. ELIZABETH THOMPSON (BUTLER).
Artist’s autographic proof, India paper. Published b:
Fine Art Society, -London, 1873.7 sizenon engraved
20 x 40 inches. Wes ey
Four-inch gold frame, mounted with gray and gil Ss
drel. : | Sr a
The Roll Call.
Thompson, Elizabeth, (Mrs. Butler), born about ‘aij ae
child had a decided taste for drawing soldiers and horses. .
Studied at Kensington ; painted there several years. Exhibited —
ae
first, 1873, at the Royal Academy. In ee her famous “ Roll
Britain.
* eas é
The subject is, calling the roll of the Grenadier Guardsona
misty winter morning, after an engagement, in the Crimea,
September, 1854.
The plate has been destroyed.
SI ACPOOLE, Rr
ABETH ‘THOMPSON (BUTLER).
No. 88. - | Ge
ars Pa aete phic nfook India paper. Published by the 2
Art Society, London, 1879. Size of engraved plate,
< 40, inches. Proof guaranteed by stamp of the Print Sel-
7A ie 7
; stan eae their Pnoniy in number and their ae through
re all the preceding night.”
ace east it than I did Miss Thompson’s ‘‘ Quatre Bras,”
- partly because I have always said that no woman could paint,
_and secondly because I thought while the public made such a
fuss about it, it mwst be good for nothing. It is wrought
_ through with all the truth of the grand passion, with great
labor of color and shade, which I .have not seen the like of
since the death of Turner.” Joun Ruskin, 1875.
: ‘The painting is in the collection of the National Gallery of
Australia at Melbourne.
GIRADET, P.
No. 89.
"Roll Call of the Victims of the Reign of Terror.
CHARLES LOUIS MULLER.
Proof on India paper before all letters published by Goupil
— et Cie, 1866. Size of engraved plate 21 x 38 inches.
Five inch gold frame, with gray and gilt spandrel with a
key to the portraits in gold frame.
SSS SSS
ret
SS
SS Se
60
The painter, contemporary, was born in Paris, 1815. Pupil
of L. Cogniet and the Baron Gros. Made his début 1837, and
up to 1847 produced a number of important works. His great
picture, ‘* The Roll Call,” was exhibited in 1850, immediately
purchased by the Government of France and placed in the
Palace Luxembourg. ' It was again exhibited in 1855.
‘¢ Flis great succesg is due less to charms of color, than his
rare excellence in design and composition, and the faithful
reproduction of the personages and costume of the epoch to
which his subject belongs.”
‘‘ Miller paints history as: Motley writes it, picturesquely
and with insight into its emotions.”
J. J. JARvEs, Art Thoughts.
The engraver was born at Neuchatel 1821, has had five
medals of the Salon. He works much in ‘‘Maniere-noire” (mez-
zotint,) and this engraving is a fine specimen of his power, and.
a most exquisite impression of so important a work. of sterling
quality, issued by the house of Goupil & Co.
‘¢ Echoes of the war for American Independence were still
resounding when France, profoundly moved by the spectacle
of the successful establishment of a republic on so grand a
scale, and influenced doubtless by the example of its own
countrymen who assisted to achieve this result, became in-
fested with the fever of revolution. It was chiefly in Paris
that the dreadful scenes of this epoch, fitly called the Reign
of Terror were enacted.”
. J LU Sroppare
SIMMONS, W. H.
No. go.
The Baptism of the Saviour, by John’ the
Baptist.
[ Vide St. Matthew, 111 c, Vv 16. |
L. GOODWYN LEWIS.
Artists autographic proof on India paper, proofs guaranteed
by Printsellers Association.
“SPIEGLE, F. M.
| = we New York.
ae | iS No: ope
horister ye
eo -Autographic proof, Ae remargue, parchment.
out frame and heavy spandrel.
HAIG, AXEL H.
No. 92.
In By minster Abbey.
Etching. The etcher is a Fellow of the Royal Society of
Bae Bee Fichers, of London. One of the most esteemed and
__ capable masters of the art of to-day.
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