Se mee: 2 Se ere means Lai™ ‘. { Ce ae atthe < a eT DEY if » i; 7 ae —— Rnd as Ms re I a ae rr NS aos a Ras Suchen Sf a oe Ft te and 2 Mn ~ ae eRe Se Oe oe ‘ ae ae LIBRARY M. Knoedler & Co.| 14 East 57th St. New York | } 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 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. j ie I tl ia : } \ I 2 GETTY RESEARCH INST UML wit 3125 01662 7164 uf iii » .. ti Py or 4 5 ey < . ESHA ha stp Aish eat ae) Gwe 7 a mise ron We a = ee . ¥ oe By as < Se a ~— er eA en ne = = * — < — = = | | ee ; errs See e~ oa i “ees ea oe = - rei ae Sat beim ee - 2 ra 5s ; Ne tee ed at eae ake ~a 2 ee Sa aa ter ee Bee ie Ce c ea Stent = ee re tu-47 earth ees < = Evers = este Soe re ae eae See ene yeni homie shoe a ae 2 RS ie ar = tee “i: = See 9 oy ee ter = re to = ee : roe = : : ; Se Saree — eg ees Se aes : gers ae a Oe ee =~