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AS rie } Deh aditreeg giant fav eT vk ibagil aa ayers iy tr cecne ; ‘1 7D t pata s pale) ait ginal on taal ye teat ees ena vase lia cater ais als 454 Aft teh Dba ape onlay A SRR Shane ‘ in Mi seetiaets paps pahed bth al then as get ie ogteaghe wae POET 4 ads Piha (belee!) aye cesar 4 . : & Kd vg pwawel SF airwsaenns eve eRe Te va) ip ADEE ED LUC ed St hited sia , " ‘ 2i8)!, S94 P1 pea Les sad TH ; ‘ “eat pty maese gre te Ay egesrp ones ‘ ; t shohyteisa rt ; , 9 tiprhed 9p ae ayeiee i : hal hab oy . . 3 MIRAE Ze esHe se Ohya. was : VOndKAP aT EE RES : f Peet pec sbeang tied ae \ ti PAS yebege AY oth eb eoesoeecl amt F ols phaleerpsees FP he ye ' ; dL pibits THAAD Gada 98 Fadl et ; Faopes taped oibaa3 4 #81 SU HB aH AT a nk aie } sv ened ne ) ‘it y hie "i iy seated sor ay apse 284 (S50 36 eauneey ni SETTLE LAL EL ch oaterteeevid ite selbanpegnta ee ahd why ’ f Akeu sia apul © 1 ath eG ep ah gait ad vein 4 ddl Rh age 6 4 paid sand a> pel ae ha 4 weaRe TPAD 4p th Bipaat eh repel «Rs gery avtal a0 Of 48 6 2844 eal i, ed) biaibitn) 38 929) ) 15 oath at a pep gt a aPaera ent WF tae Fag 1 ‘ da gieidoel gy sear ‘ Ab acsaster sestharmedsieay se # Haat » Tan bold Ler sh meee te ee socal oping a east ap erry Rage ysis ara gata ’ bjeia ¢ : Ay i 4b 98 S38 gH Tg ahpz pata hat, oF OE eh ah ” “4 Maeda Yor veteran’ OvCis bi tH tes 4 by eter Mail eee $ eet tha epi ae thid eae ace cba go-2p mee hag ee SS MRT se eES f i si phsembalsa crea heed ash obaeOstenh iz ph ahimade , ‘ plete ded T9995 Eg 545!) ent > rely oad abe tay mr tae 5 : / rae eegery rates 9G ih eeaudarins 4s Be poh rea: &@ 17% en ey \4 rastepsinGey + pereei GNC) ee eDET, sued ance wi sis0 nes sep eh erent TH eke h a1 ; Ae naeas ine ; TOR) A tie neers feet ie W ' feioek " * iad “4 thy : ; * hot tee aboreety Fa eee ’ ( tien hae ph weye beta ae pate POTENT eT TTT Tee : aa Prime ds EES “| Bx _ . ee eS ee 4 * we a it) hi nae TAL a mh: sis a SS Se Te ie me Mr. ‘irby Considers Com- ing Sale of the Late M. C. D. Borden’s Paintings Most Im- |portant Event Since Dis- jposal of Yerkes. Pictures— +To Be Shown in American Wt rt Galleries and Sold in nace Been in Several Fac mous Exhibitions—Rem- | Reretion is over. _ iis is prophesy ing. The sale ee! t || until February 18, and meanwhile r mas H.. Kirby, of the American | levies, will be engaged conducting | ® sales. He is confident, however, | “ut the sale of the M. C. D. Borden pic- 98 will be the most important event in art world that has oceurred here since | -» Yerkes collection passed under the | fl Of his pencil. But again, at the ‘Orden sale, it should prove an exper (watch for the quick gesture with whic tt pencil descends when Mr. Kirby's | ‘igment, informed by long experience | _ Selling masterpieces, tells him that no is ligher bid may be expected for a picture. ' The paintings gathered together by the late M. ©. D. Borden form one of the eat American art callections. /is indeed . n event. Its dis- It will be on bition in the American Art Galleries, », 6 Hast Twenty-third street, from F'ri- , February 7, until and including the te of public sale, which takes place in | he ballroom of the Hotel Plaza on the ‘yenings of Thursday and Friday Febru- 13 and 14. No doubt Mr. Kirby, who «bee add Hals, Reynolds, ee saiey, Millet and Other Great Masters Represented. Piias established record price after record ; self, The gesture of the left hand seems, smartly down on the [price for works of art, is out for another;/ih a manner, to protest against this act) ay — ce aaa jrecord, and may well make it with one | lof self-destruction, But the expression of since the dispersal of the Yerkes | 5 \of the eighty-two pictures of the Borden ‘the face is a mingling of sadness and de-| collection. termination, and even if her suicide were With some of the paintings in this col-|\mot a matter of ‘history the spectator . / ‘lection the public should be familiar. Sev-| herent know. that ‘it was about to take feral of them were important contributions} place. ‘to the Hudson-Fulton exhibition of Dutch Her costume, as will ‘be remembered Imasters of Hudson’s time in the Metro-| from the exhibition, is a rich dress of politan Museum of Art. Others figured] greenish gold color, with wide sleeves and. is the old masters’ show in the Knoedler} a lace bodice, while about her throat pike, galleries last season, a necklace of pearls and a cord with sl In the Hudson-Fulton exhibition Mr. jewelled pendant and in her ears pearl | Borden ‘had no fewer than eight of his} earrings, a costume and accessories which | rience | Duteb pictures. No other collections were are known to have been the property of| | more largely drawn from save those of | the artist. The model was often employed’ ‘Mr, Morgan, ‘Mr. Widener and Mr. John- by him in his fa years, The picture ison. Probably the most noteworthy Dutch] ‘is spoken of as “one of the wonderful painting in the Borden collection is Rem-|| creations of the great artist,” and the ibrandt’s ‘‘Lacretia Stabbing MHerself.”’| author of this portion of the Borden cata- ‘This picture is dated 1664 and therefore!/logue describes the figure as “looming | was painted only five years before the 'through a flood of golden tones” and the lartist’s death. _pale face as seemingly blurred by a diaph- The subject is presented in, that dra-||anous véil of sunny mist. *“At every matic manner characteristic of several! point one is made aware of the master pictures of his Tater period. ‘Her pose! hand schooled in hundreds of pictures ‘seems borrowed from thé theatre,” writes|| which are great achievements.” Dr, Valentiner in the Borden ¢atalogue.!} The Frans Hals of the Rorden collec. “She stands as though in the centre of the!) tion also was in the Hudson-Fulton, ex- ie with both hands equally raised.’’7| hibition. This is a portrait of the Rev. { The right hand grasps the hilt of the dag-| Caspar Sibelius, dated 1657, It is inter- ger poised for the fatal stroke wpon her-|| ¢Sting to note that in the same year ag its pi eae medenetn a THE WILLETT CHILDREN 2y ROMNEY aoe completion it was engraved by Suyderhoef, who made another engraving from it in} | 1642, An impression of this latter is ats | F ‘dached ‘to the back of the picture. The “portrait dates from the same period as| \several other famous works by the same ‘painter in American collections. Among ithese are the “Portrait of a Painter” and ithe “Portrait of an Old. Woman,” which ‘passed from the Yerkes collection into \ | that of Mr. Frick; and the ‘Michiel de “ | Wael,” which belongs to Mr. ‘Morgan.! Though shown in half length only, the} Rey. Caspar ‘Sibelius, his head turned | slightly toward the right but facing front,| this left hand raised in persuasive gesture, ja small prayer book in his right, is -as jclearly addressing his congregation as if lhe had been painted at full length in his pulpit. He is in black, with a broad, flat white. ruff and a black skull cap. From a writ- ing on the back of the painting it would ae 2 eee a Sibelius Professor W appear that presented. this trait: tev" a Hoffman,. whose ‘| further identity, however, has remained unknown, | A copy of the Van Dyck in the Borden j collection is in the Museum of Donaj : lis there catalogued ae Piblionha | Hubert Duhot.” ‘More likely, hosvever, 9 represents a famous engraver. Scheltius a por- as Bolswert (known especially as an en- gtayver vi Rubeus), sinee if bears f.1re- eat iia Sipiaks onal murs a SS Sa {jist ie ‘GENTLEMAN, '4y VAN DYCK Semblance to a seventeenth century print | ase 3 fon of the engraver by Lommelin, ‘The picture | LUCRETIA by REMBRANDT dates ey a ek SAR tWCED DEPIO) ppp rcmreceei y and is a serious, thoughtful representation| of a dignified looking man. He is shown three-quarters length, standing and facing |*". Saha r front, the head yery slightly turned to the} oe cana ee fe ome - Siesance a right. st hasSh siecks and a small ingratiating personality. It is a life size pointed beard; His right Buh ie doncoiied Full bust portrait of a young lady of unos- lby his mantle, which is:thrown over his itentatious yet girlish and charmitig expres: | 'shouldets, but his left is fixed at the elbow sion, facing the viewer. The agreeable: and his hand hangs easily. His costume |*i™Plicity of aspect is aided by the plain|to the England of the eighteenth century, is black with white ruff and the back-|combing back of her dark brown hair,| this is she. For it is a picture that is ground is dark gray. which is adorned by an aigrette of red vel-| more like a dream likeness of a beauti- Gainsborough, Reynolds, Iawrence, | vet. and with it a’string of small pearls.) fu] woman than like a painted canvas. Romney and Hoppner are among the Eng-|'The eyes are dark blue. Her costumeis4] ‘This aristocratic creature stands full lishmen represented in the Borden collec-|gnay silk robe with, at the neck, a low}length upon some high point in land- tion. The Gainsborough is the portrait round opening having 'a broad band of em-) scane, her right elbow resting on a ped- of Miss Horde, An oval, life size bust | broidery edged with lace. Over an ornar estal, the arm describing a beautiful eurve portrait of a young woman turned three-}™ental clasp in the centre of this band | Mh) toak hes toad) rasta anew, bee eae quarters to the left and looking at the| Passes a rope of large beads eoming from | SHE atoakia toobe jookiie wien cobs ad spectator. It is painted with the lizht, | under a Cloak of light blue silk, richly. emi; soulful, poetic, dreamy expression on ‘her dainty, almost playful, touch that so often| Proidered and lined with ermine. Dhis high born face. Her dress is white, the characterized the artist's technique in| portrait has been in the collections pF dnbaue Of her fieute more fully heedele out by a gracefully draped Pompeiian/ painting women. Miss Caroline Anne | Colonel Morris, London, and Lord Hast-| | Horde's eyes @re -blue, her hair. light, | Ings, “bende Rieke enacts igpueiy aaenes piue| \ + ; ¢ ry’ ay ' he A ta ¢ j oa + (curled and powdered and encircled with a ‘The Law rence is a life size bust portrait cn et. _ blue silk Rebbon. Around hher neck is a of Miss Kent seen in profile to the left and Lady Glencairn was the second daugh- | string of amber beads, Her dress ig of a | against a dark background. She has the; ter of the tenth Eatl of Buchan. In| iNelose fitting ‘blue silk. Over the neck and]! Lawrence complexion of “milk and roses, ’| 1770 she married William Leslie Ham- Shoulders is a fichu of transparent lawn]! brought out the better for her dark hair ‘ton, who died in 1780. She remarried, and at the waist a searf of light silk ma-| with ifs golden brown lights, The dress is ii 1785 the Rev, John Cunfingham, #ae terial, There is a glimpse of a dainty) \lute, With a large, V-shaped opening 3 tama tne fifteenth Bart of lone ame ‘white underbodice at the neck, and again| the neck. A golden yellow drapery is Ly tag Fane Hiatnitsnc ein Bate ‘Gn the inverted V, where the blue outer! thrown over‘her right shoulder and arm. Peseta date nasialy Fall Cunning: "hodice is cut sharply away and edged with) The right hand rests oma light red drapery ham twice ald twice as Lady Gleneairn. ' eat n. . MS, sai] : COV s tk ack o: ee . we Ne reo By der eae ' white silk ribbon, the blue garment van | up 4 a art amen He. cine . ALES fs. PO. cit tiuma npmr diver: Aen pening at the waist beneath the scarf. The Leos ie ie a S ; Bie dav iageee ahd ein Ay 3 and 8, 1788, and if it.seems unreason- ‘background is brown. ‘Che portrait was i|Romneys, which will be apt to divide the able to suppose that he could have pro- formerly at Cote House, Lambourne, jadmiration of the, visitors. Of these iN daha Pie fall lonwbhcmewbrait. of Renae | Berks, England, {duced this i Pp S, ! is the swoject of the Reynolds which was painted in 1758. Miss Morris is presented Countess. of Gleneairn, certainly is one of the most beautiful. things that came from Romney’s easel. It is a question ifs even for beauty, it would not hold its own with any of the Lady -Hamiltons. If one can imagine one of the classic Graces transferred from ancient Greece ——e = ~~ — — id 1 t if i | i Lost € : COUNTESS OF . lady is not fully established.» There are, be two others of her which Romney | known to have painted. . In feature somewhat resembles the Miss Ra- mus whom Romney also painted and who | Will be found persistently entered in his | diary as Miss Remus—not Miss Benedetta Ramus, whom he also painted, but her sister, who became Marquise de Noailles. _ Another beautiful. Romney is the group the Willett childrén. It shows the three _two girls are sitting on the ground, the deep tones of a group of trees behind ‘me The boy stands at the left. His ands are thrust in his pocket “and his olé attitude is one of boyish self-reli- ; Feld ilk with a white fluted collar, white stock-|| mgs and shoes with buckles. The little firls hold hands, ‘The younger looks out indeed, differences between this portrait! ) Hea, " : GLENCAIRN by TROMNEY two. Hines, his familiarity with -her,of the canvas with head aightly inclined, from the many previous sittings should| er expression a bit mischievous. be borne in mind. ‘The catalogue of thej°lder sister looks upward. Pxhibition states that the identity of the) in the collection a small life size head of | j Lady Hamilton as. a Madonna. As Mr. Jaccaci, says in the catalogue prepared for Mr. Borden, the assured and ee manher of presentation with)! which the portrait group of the Willett] to the @ubject as to be part of it; and, while the grouping of the children might | iseem casual, it is in | thought. out and most effective. | Jaccaci also characterizes the “Countess ‘of Gleneairn’’ felicitously when he says | \ehildren, 4 brother and his sisters, in a | that the Jady has “that unaffected grand ltiadaonpe background with an evening sky.\|2i2 Which is what. eighteenth century patrons desired and what remains to us {8 leit white dresses brought out against]|] #!so a large part of their appeal.” The Borden Hoppner is that artist’s portrait of Mrs. R. Arbuthnot, a three- | quarter length, seated in a landscape Hepes a tree, the fate turned to the right. His costume.is a reddish brown |} costume of old gold casts a soft golden} tone over the entire canvas, and the skirt, sweeping. around and back to the left, jmakes a beautiful, curved line which the this flock, jof movement. \that ineffable pathos of yearning with) |which Millet so often imbues the expres- \sion of his peasant faces. For although) |the shepherd looks at his flock he yet Jseems to be peering beyond it into a not joverprosperous or happy future. jrising prices for American art by recently jsecuring $12,000 each for two Wyants The |f} There also is| children.is handled is so thoroughly suited | reality carefully, Mr. eye follows with delight. vi oe Of representative canvases of the French school, especially the men of 1830,) the Borden collection has many. There} is a Millet in which the one figure, al {though standing perfectly quiet, is sug- | gestive of both strength and potential action. It is “Le Gardeur de Moutons’— ia shepherd in the foreground standing in ithe. shadow against a rock, both thands |resting on his staff, As stated, though standing perfectly quiet, the figure which) Millet ‘has painted suggests strength and the long stride of a guardian following Few quiet figures could con- At the same time it has Mr, Kirby having contributed to the jand $16,500 for an Inness, it would seem jin order to call attention to the fact that | both these American masters are repre- sented in the Borden collection, It con- tains, by Inness, two “Sunsets,” one of them bracketed ‘‘Montclair,” and a can- vas by rile hghits “The Approaching Storm.” GUSTAV KOBBE. "BORDEN PICTURES ON VIEW. a Countess of Glencairn,’”’ by Romney, One of the Notable Paintings. The Borden collection-is now on view land will be sold on Feb. 13, 14, and’ 15) and after that the gems of the Talmage) ‘collection come in sight. . At a season when 10,000 interests press) ‘upon the attention of each of us a, eriliG thas little room for the infinite riches of, ithe Borden collection. Even to-day, when, ‘great collections are dispersed and reas- ‘sembled 'with the dexterity of legerde- | main, this gathering of pictures, the qual- tity of which justifies their fame, makes a ideep impression. | Leaving a half dozen of the most signif- licant works for a later discussion, among them the very important ‘‘ Lucretia Stab- ‘bing Herself,’’ by Rembrandt, we find an ‘extraordinarily large number still remain- ‘ing which must be taken as examples of | fpronounced importance. The eighteenth century. group includes two, portraits: by Romney, one of the Countess of Glencairn, which was.in the exhibition of Old Masters by Knoedler last year and was noticed at that time. It is a life-size full-length portrait of a | beautiful young woman standing with her right arm resting on a high pedestal and the. hand raised to ner nead. Her left hand holds back the folds of her drap- eries. Her haiy is auburn and her gown | white, with a dark. blue sash. » A scarf} i soft purplish pink hangs over her right arm. It is painted in Romney's Classic ached with less of insipidity than he is apt to mingle with his ample appreciation of feminine beauty. The other Romney is of the Willett children, a brother and two | sisters, against a landscape background, A | with an evening sky. The color is warm and the characterization blithe. Mr. Juc- 1 caci said ef it in his notes for Mr. Bor- den’s catalogue: ‘Its composition seems See RSS Os Apa «Sheed its /¥eehHIgue; both being born together by | ce. yy - hothe: He Sy well known to New k through its exhibition at Knoedler’s the *‘ East Cowes Castle, the Seat of Sh, Esq.—The Regatta Bearing to rard.” It is an example of Turner's | be sitereyt in every taing per = s and rigging is executed in his | ant moo e yachts are sail- gh a broken sea, with a vast af e foreground. A guardship is} ed at the foot of the cliff on waich Stle stands, and’ the entire region floating bright sunshine. than fifteen hundred per-| young woraan partly sitting and. partly inebeeal Visas . 4,100 ent, and more than as many| kneeling and facing the ‘spectator. Her Se “Grand Canal;”, Scott & Bowles. 300 ble to gain admission. ‘The| right arm rests upon a rock at her side Poe Piasre, of San Marco”) Scott & Meta Myr. 2 J.-E, ee Op Male da eee i f : ‘ Bowles). 4.7) elec ae ce 5,000. -and rocks and trees m ..|, Wouverman, ‘‘L’ Abreuvoir;’? 1 ie paaretion, forty paint-| Pom hehind: ‘her: ii . a pare check Mersch ... Bios ee 2 2,500, er trace, turned | Cuyp, “The Mussel Eater;”* Mr. ‘EB. “Thomas, ' toward the left, wears a pensive. expres: agent © 6 0 Oe 6 eo wie 6 6 00 8 oe 010 Se 6 Gis 6 eles se susle 2,700 non, Hobbema, ‘‘Castle Kostverloren;’? Messrs. eg ; Ao sts Scott. & Woweles sic cng oot eee se-- 1,600) Still another record was made when! tee vices, “The Music Party;"? Messrs. M, th OD! 8 1 0 Wilks Fade 'e ae es erp ene ae ee 0c ond price fen sa shasta Mr. C. K. G. Billings paid $55,500 for Millais, ‘The Pet Birds) Mr. W. Woseas to “The Willow Tree,” by John (Old) Crome, IMAN,, AEENT, ia. ais s aclaaiela en cia eeeee 7,200 fe Deautifal old Haglish landscape. The Neuhuys, “Mother and Children;?’ Cottier & Co ee ai Co CSO On 6 0 6s 06 86 bees 6 we sles so _ |pustic bridge, and on the right bank of] Among ihose present wore Air pe ||the stream’ a man on a pony is talking to| broke Jones, Mrs, J. B. Trevor, Mrs. Mor- uplifted ‘left is extended in. the | country woman. a K, Jesup, Mrs. Frederick F. Thompson, of | the spectator. ‘The appeal ‘of | ‘A tiny Frans Hals, “Portrait of the). 2nd Mrs. W. E. Benjamin, Mr. and E Mrs. Daniel G. Reid, Jud | face is strong. The work isin, Rey. Caspar Sibelius,” was bought by|Moore, Mr. and Mrs, Verna CBee t's golden pine and ‘the ‘tech d for $28,000. . ee | es rising on the banks of a brook which ae eens sees “sin Bae of Lae 7 ath al f I . is ost fills the foreground. - At the foot De LAME. oss ws eee [ee cb < oe os 3 8,600 . se eager clasped in [Of the willows is a bit of fence beyond a) IGIREE, “Te Advent Me ear 7 hand is pointed at her breast an anonymous collector, represented by|Mr. and Mrs. W. R. Coe and Messrs, Mr. W. W. Seaman, for $45,000, a sen-| George R. Hearn, Henry Walters and 'sational price considering the size—10%4| "27% B. Smith. b ab ete: Among the pictures that will bbe sold y 8% inches. This is a half length por-|; ight will : trait, representing a clergyman with a pier Wi Me MiB Oy Works OF (ie ame zon and as American schools, book in his hand addressing his oe gation. ; ‘A Reynolds for $26,000. RECORD: PRICE FOR Sir Joshua Reynolds’ portrait of Miss; ‘Morris, went to Messrs. Scott & Fowles | for $36,000, This is a life size bust REMBR ANDT $130 O00. portrait of a young woman whose expres- 3 ' sion is simple and girlish. Her eyes are ? ‘dark blué, her hair is dark brown, plainly combed back, and she is dressed in a gray | re rs s “Regatta” ‘does not Salevlish “new auction record for this’ pictures, his s and Blue Light” in the Yerkes “pied brought $129,000. In g Turner's usual lurid colors it. It shows yachts sailing ugh a mepken' sea, with a big swell in : ie eground, and in the distance a ellow cliff, wise Hast Cowes Castle . Sunlight flecks the sea and sails.| W dscene full of spirit and movement. n the sale of “The Willett Children” i "$100,000 a new Romney auction rec- First Session of M. C. D. Borden | was ‘established here. This is a- pict- ilk robe. The background is a sky tispied | Art Collection Sale Nets | ‘of glorious color and is the portrait! conventionally. Z j of three children, a _ brother aia: eg pA A Sir Anthony Van Dyck, “Portrait a $7 97,050. “with 4 ja Gentleman,” a man with a pointed) h an he i ky. ay Sen beard and wearing a white ruff, went to: ; ¥f ‘2 he boo dicks dressed in white, an anonymous buyer, represented by Mr. | ‘TURNER BRINGS $105,000; a ee groun W hand in hand | Otto Bernet, for $26,000. aes Se nal pS eka et Pat ‘ i s “Portrait of Caroline Anne Horde,” : while the boy stands at the left, his long lyoung-woman with a very wise and sophis- .. [Romney Portrait Fetches $100,- and curly hair framing his face.| 4 ha a | ticated expression, was bought by Messrs. | | 000 Eelipsin Record—— ee Pe pecktis, is 'M. Knoedler & Co. for $10,000, Law- : ; ‘ = A Other High Prices. { 5 ititude ee er) hoslah< sete jrence’s “Portrait of ‘Miss Kent” went to, | 4 i a Another agtonzetd Sold. aioe ete “ Mes a hee: 1 | Meee & | Romney, his eae se ee” Ae aaa: o Ce | Many new records were established) * by St. Jerome,” went to Mr. A. A. Ander- ‘jast night at the first session in the, 5 of | ep also brought a record|| 1 for $18,000. Jacob van Ruisdael’s ballroom of the Plaza Hotel of: the sale €e for this pictures here_ at auction, jl «The Cascade” was bought by Dr. A: Can- of ‘the great eee of paintings $57,000, “the purchaser “being thelisi.jq for $10,500. A beautiful Greuze, | formed by the late-M..C. D. Borden. _ Agnew Galleries, of London. This pict- “Innocence,” showing a young girl holding| The Rembrandt fetched the highest lin her arms a lamb, went to Messrs. W| price of the evening, Knoedler & Co.'s Pe is an object of special interest to -of Scottish extraction, includ- Gimpel & Wildenstein for $13,000. | bid of $130, 00e taking it. The Turner ing Mrs. George Kemp and her sister, Amdug tle Lesder Pictures, painting of “The Regatta, Bearing to , Miss: Flora Torry Wagstaff, who are col- Other paintings, with the artist’s name Baers tone eae Sto ni ae wa lateral descendants of the Glencairns. 1t first, then the title, the buyer’s name and Peace Penn ae the aa Tillett children nation sie is a life size Portrait of a young woman! |the price, were sold as follows :— was sold to the Scott & Fowies Company : Stands in an easy pose, with her ae Velde, *‘Calm Sea;’? Messrs, . Seott for an even $100,000. ; ‘ ; RS BQ WEST Sil ie'cis an a cin a eae a ee hoa Jai rac : ; tight knee bent and her right arm resting nocanr on ineanene teens Gogare*. Mr $3,500/ The bidding was quiet and unaccom- upon a high pedestal. She has “gaara W: W. Seaman, agent. ...;..0:07.0..-.. 4,100} panied by the usual tense excitement hair, warming to auburn tones, and is' Nee Reig “The Sluice;” Otto Bernet, that prevails when a masterpiece of art AONE | erate a eins a. te'ot’sial wis Rip RRM E NS, gS ah tae re Fart : attired in a simple white dress, with ott Alma-Tadema, “Unwelcome Confidences:” | changes ownership at public auction. urplish ape i it ses vi a bid of |p -pink dr ry. Messrs. M. Knoedler’& Co.i,3.h.-):..... 2,800 The Rembrandt began with a — ay Teniers the Younger, ‘‘Woman Smoking | $75,000 and mounted rapidly with huge free ee n chis ieee was $85,000, paid c ale imired er, which fetched said not break a record. His ’ and Blue Lights” hes that action, sold at the Yerkes sale for 0. The Romneys, the Hoppner eee Crome, however, eclipsed t previous prices. No Romney ‘equalled’ at auction the he Old Crome’ landscape at . 0 also make new standards. he total for the night’s session | $797,050, the greatest sum ever c at a single session in a picture OY. e a a ty 1S A Nr a ERT TI Tis SOP ke ues ‘ and price, follows. Edinbur; hh from Gogar: BE: Seaman, 5 aaa $1,190 relde, Calm Sea; Scott & ei » The Sluice, Otto” Burnett: 2,190 Unwelcome Conf Mncediat & Co.......----+ 2,800 Pthe Younger, Woman Smok- n @n Inn; a oN Se C0. 5577 2,150 n Ostade, Peasants before an k Van 0: berger Gallerfes........ 4,100: : e Cliffs at Dover; R. M. Ve50 oe oe S ser eoseree yodoU” nan, the Sutler’s ‘Booth; Dison i-8 & ‘ES¢! ee icc ic 8,500 , Lady Pouring ne; Klein- EE STE EOE Oe ~$,100 is Hails. The Reverend Caspar Nal a We W. Seaman... 0.25.) 45,000 | a Van Ostade, Backganrmon | layers “at an.Inn; W: R. Coe... .. 4,000 a. : ynants, Hilly Landscape; Ae oe raub jioriand, Rustie Beene: A. hale 31, vA Waterfall: Bon Mallinek+ : See emer ese nr ewe sass e are 4,100 ANCESCC 9 Guard The Grand Canal ee of San Marco, iets Dai WOW less sors 4 <3 vis 4,200 ‘Prancesco Guardi, The Piazza of San “4 “Marco, Venice; Scott & Fowles.... 5,000. Leet L’Abreuvoir; Dr. Paul sire 1368 + Lady Hamilton, as ydonna.; sesien Galleries, < a.c0. % 2 12,300 on Innocence; Gimpel, & | Wild- wee. ran Si ep Ro ae a 13,000 homas Lawrence, Miss Kent; afr Scott: eg Ae oc oes PEABO Portrait. of Caroline g + Knoedier & Co-..... 19,000 ei Bos Miss Morris ard Mrs. Liockwood); Scott sie fy. =< 86,006 “Cuyp, The Mussel Eater; E. ee eet UOT Ge sp ase he sn ooo’ ois 2,700 ema, Castle Kostvertoren; Scott MP IGS. 62 ok ey « ees sete ey #6000 9i@ter Ge Hooch, The “Music Party: : MMAR Iar Re OO... kei ecvensces sss 5,100 i een The Cascade; D. A. Can- | iT te Teo. 4. i 8+. 10,500 van Dy ek. Portrait of a Gentleman; | ReOesuSuett, aAment....54........ 26,000 brandt, Lucretia Stabbin& Her- y | self; Knoedler & Co.......:,..... 130,000 | Turner, Hast Cowes Castle, the Seat ; of J. Nash, Esq.—The Regatta _ Bearing to Windward; W. W. Sea- : man, I ee cs gh ss esas + 105,000 Alma-Tadema, Conversion of Paula : wae St. he “A. A. Anderson... 13,000 i ais The Pet Bird; W. W..§ Sea- INR Ma tel cut a ctis\ esa W646 %"¢ aia’ 7,200 bn. Hope, Mrs. Arbuthnot; Scott . A ica tx. <<... ° 60,500 4a Bee Crome, The Willow Tree; C. K. _G. Billings........ Ss Bb, BOO ; aney, The Willett Children; Scott gg sce esse cess. 100,000 _ (Romney, Countess of Glencairn; Ag- | | new Com aT hc ic) si ctaeets otis eae) O15 0.00 | ‘Albert — Neuhuys, Mother and Chil- Mummrererattier & Co.:.............. , 2,100 | Anton | “Mauve, Winter Landscape; | Boussod, Valaden Company....... 5,900 | A. Dieffenbach, The Foster | “Mother; Wire SCAMAN. . 066. 54.5 - 32 . August Siegert, The. Old 'Grana- 1 mother; Miss EH. R. Wellington.... 525 i Carl Joseph Litschauer, The Coun- ; Srerreiters: |. Thomas........c- 750 udwig Knaus, A Bavarian Holiday; | Met, Delanmiar.. aw .ci.. 02.55.5006 8,600 . Saga von Defregger, The .Adven- | tere; Henry Schulteis............ 5,000 at pata last night for his’ group i Children,” and the Hopp-_ , of Mrs. Arbuthnot at $60,- list of paintings, with title, pur & : nee a 050 FOR 49 Ol PAINTING REMBRANDT ‘BRINGS $130, 00 The. first—“*The° Willett —was sold to Seott & Fowles; Countess: Agnew, paintings. Children’’— for $100,000, and the second— All kinds of récords were smashed at the first session of the Borden sale of ipaintings conducted by the American | ‘Art Galleries at the Plaza Hotel last’ ‘evening. Forty-two oil paintings sold f lof Glencairn”’—went to the \Galleries of London for $57,000. “Mast Cowes Castle, the Seat of 5 for $797,050, which is, according to the | | Nash, Esq.—The Regatta bearing to statement of an important dealer, a ‘Windward, " by Turner, was started: iwith a $50,000. bid and was seeured { * ci o E new record oe obabeiate e alae ; iby W. W. Seaman (agent), for $105,000) Rembrandt's “Lucretia Stabbing Her-'|The lovely portrait of “Mrs. Arbuthnot,” self” was started with a bid of $75,000 by John Hoppner, jumped by $5,000 jand was finally sold to Knoedler & Co: pate by ge oe after reaching $60,- ‘for $130,000. It went to Scott and Fowles for that was mentioned that ‘ amount. This was a n a) | this was. the highest price ever realized |Hoppner. Taek ‘ ow revert for a Rembrandt at public auction. | ‘Two Ronuteys Buneane 2 000. John (Old) Chrome Applauded, “The Willow by John (Oldy ' Records wers also broken in the Chrome, with applause; i prices realized. for the two Romney} 23 coamaagla af ; [and it, too, made a record for its au+ Tree,” * inedsosiante x. [is eased as gs 5 3 miugw syns PMI TERE OE TS == it sola for $55,500 to ing 10% inches by 8% inches, sold to W. W. Seaman for $45,000, Morris,” by Sir Joshua Rey« was applauded when shown, and | bought by Scott and Fowles for : “Portrait of ert rol _ Gainsborough’s ‘Oline Anne Horde” x»vent to Knoed- ’ Company for $10,000. ys. “Lady Hamilton as -Ma- as bought by the Agnew es mere a secured two-examples works “The Grand Canal Near riaaza of San Marco, Venice,” Gis $4,200, “and “The Piazza of Baa hers Venice,” $5,900. 7 fuar > ie -~& Wildenstein for $13,000. m this pictute was first sold it izéd 31,000 francs, or $6,200. ) “R. Coe, son-in- law of the late Bee Rogers, paid $4,000-for Adriaen ée } inn,” and Izack Van. Ostade’s usants Before an Inn’ went to the bs berger Galleries for $4, 200. Othe Important Paintings. ae other important “scatm Sea,” by Van de Velde, sold to. 'Scott & Fowles, $3,500; “The Sluice,” | | By. Constable, Otto Bernét, $2,100; “Unwelcome Confidence,” by ‘airs Tee | “Woman dema, Knoedler & Co,, $2,800; king in. an Inn,’ ‘Teniers ungers, Knoedler & Co., $2,150: “Cliffs ‘Dover, by Turner, R. M. Parker, 650; “Sutler’s Booth,” by ‘Wouver- man, pr. Paul Mersch, $3,050. “Lady Pouring Wine,” by Terbosch; | “Rustic | Kleinberger Galleries, $8,100; ne,” by Morland, A. Benziger, $2,600; Waterfall,’4by Ruisdael, HE. Maillin- deeeae $4,100; “L’ Abreuvoir,” $2,700. “Castie Kostverloren,”’ Seott and Fowles, $16,000; “The Music Party,” by De Hooch, Knoedler & Co., $5,100; “A Cascade,” by Ruisdael, Dr. AL Canfield, $10,500; “Conversion of Paula by St. Jerome,” by Alma-Ta- dema, A. A. Anderson, $13,000: “The $7,200. "Winter Landscape,” by Mauve, Boussod, Valadon Compeny, $5,900; “A Bavarian Holiday,” by Kraus, Captain Ji &, De’ Lamar, $8,600; and “The Ad- venture,” by von Defregger, Henry Schultheis, $5,000. - The sale will be concluded this eve- ning at the Plaza Hotel. 000 AT SALE “ORBORDEN PICTURES Rembrandt's “Lucretia Stabbing Herself’’ Fetches $130,000— High Prices for Other Works. Ne A TURNER BRINGS $105,000 , GK G. us Re re gerne of a Gentle- why Van Dyck, was sold to Otto agen‘), for $26, . only Franz Hals in the collec- averand Caspar Sibelius,” for $12,300; and Sir Thomas | nce’s “Miss Kent” went to Scott Be wes /for $14,500. -This last-namea of =, innocence, * by Greuze, was sold to] Ostade’s “Backgammon Players at items were: | the | Dy, ; Wouverman, Dr. P. Mersch, $2,500; “The: Mussel-Water,” by Cuyp, E. Tho'ifias, Hobbema, | Bird,” by Millais, William Seaman, | | prices for Romney’s ‘ The Willett ‘Children. re Sold for $100,000, and Hoppner’s ‘“(Mrs. Arbuthnot” for $60,500. —_——. Last night was a record breaker in the history of pictures sales in this country, nearly $800,000 being paid for forty-two pictures, the biggest single evening’s sale, These were the pictures of the late M. C, D. Borden, the wealthy cotton manufac- turer, sold at the Hotel Plaza, under the auspices of the~American™ Art AssoOCia- tion. Tt was a record-breaking sale in many ways. It brought the highest price paid for a Rembrandt at any public sale in this country, $130,000; record-breaking the two Romney portraits sold, for Hoppner’s. portrait of Mrs. Arbuth- not, and for John \(Old) Crome’s ‘ihe Willow Tree,” which went for 5$5,500. There was a large gathering of distin- guished people attending the sale, although the buyers were most of them Licup eee ecg bx agents, and raring of admission wer: refused to more than 3,000. people who would have been § ip to have been there if it had been. possibile. The ballroom of the Plaza was arranged with boxes on three sides, ef the room. These ‘were crowded, also the galleries, the floor. and many people stood. throug hhont the even- ing. The sale was a short one, the pictures bringing the biggest prices runnin*® up point quickly and with big the selling. p¢ : , being disposed of in time and ta jumps, i hi ns eh Coie Castle, the Seat ot J. Nash, | two hatry, Lucretia Stabbing Herself. aiite Suit of propor tion to the? money they represented. fide 5 second highest price of the sale 3 given for a Turner, $105,000 for ts ast Sq.-- Regatta Bearing to Windward.” This the third highest price for a Turner The famous “Rockets »- of the Yerkes sale the Was in. this’ country. and Blue- Lights brought $129,000. “The Willett Children,’ by little girls seated ana a boy stand- ing, a picture 59 by 47 inches. brought the third highest price of the’ sale and broke the record for a Romney, bringing 000. The second Romney was also a record breaker, the “portrait of the. Countess of Glenecairn,” a life-size full-length por- trait of a young woman, leaning "against a high pedestal, bringing $57,000. The portrait of ‘“‘ Mrs. Arbuthnot,” hfe-sized portrait of a youTrg woman der a tree, resting one arn: on aA by John Hoppner, brought a for the work of that artist $60,500. The Old Crome: “ The iow Tree,’ showed a large old tree outlined against a bright blue mer sky, and there. was applause it reached the selling point of 405,500. There was much interest tively little applause during the Wuzz. of voi as. the “pictures knocked down showing the close attention with which the sale had been followed, The first and perhaps the most enthusi- astic applause was when Thomas i. INtre by. the auctioneer, appeared to make the record sale of his life so far. The ¢ol- jection of eighty-two pictures was, he said. the finest ever offered at public sale in the history of the country. There was appla ise when the Rem- brandt was shown, Lucretia Stabbing Herself.’ The figure of Lucretia is of more than half length, the dagger clasped in ker right hand pointed at her breast, the left hand uplifted. The gown ts of a. rieh greenish gold with a laced bodice. There is a necklaze of pearls about. her throat, a cord with a jeweled pendant, tomney, the Sum- sale, IOS $100,—' un | rock, | record price! in this coun-!} EV ile | willow | when | but compara- the } were, y ae a short sale, | e evening. ay was a ‘reverend | cap ia outstand~ / ic $2: ‘some. The ns Hals’s’ “ ; Lamhe 2 oun Las of the, boxes e io “Judge and | ae “Mrs. | ris a Oar | GESUD, | Apson, Mrs. Pem- W. ©. Benja-: jel. G. Reid, Mrs. Iters, © and Harry ero es of | risitors to t alleries to ives. Wednesday, the hey were on exhibition, persons visited them. é list of forty-two pict- sof artists, pur- rick Nasmyth: ae +77 . ve Velde: Scott y ieapie: ‘Otto Ber- wae Op TS TRC re a a ee id len ea Alma- Tadema; i n—Tenicrs, the cptawee eeu er ee $1, 160 3,500 2,100 2,800 2,150 t — ya QOs- teh Sack van 4100 : ac ee eS Ni sted oer earn £,690 ST ee ale Ni'a,\6 «+ 3,030 a ayia ie sce 8g 8 HO Fee §,100 “Sibeliis—rats Hals; J ABONL. civ ee yee eee 45,000 Ta at ‘ns ay ot He -in-Jaw 0 «Coe, son. in Lids bie sme ke 6 8 ek ep 9 Oe 1,600 2,600 eT Me es ebha eo mre oF *' s 2, = ‘ we ys Sore" Morelana: » A. Ben- PTET oe A a ee 4,200 pa bee « ¥ ol) ew se bo 8 yo a Se a 2,500 ee Genera sim le) 8.4 fee 3p shes oe ars 9 8 Y mi ton ‘as Madonna—Romney; ‘ Galleries, London....-..-.---- 12,300 r Thomas Lawrence; Scott IE aa ila o/s sp a's Rive es 2 14,500 2e-—GTeUze ; Gimpel V. Wilden- faa aS. 6 te wale, 0d 6 0 or 9s. . 18,0 ie Sie 9 ene ey 04 & Ane oe. Saale ee aye +6 pS ieee, 2 & Sas oweewe eae we eee Bape ye we ee eee Rs Be ae Me ah ao i pi 3 oOr- it me ate a5 Terk: ; d running Van. f 4,100 5,000 | | * 40,000 36,000 | #elf for his disappointment in losing the 2,700 16,000 | e,, ma Cele Gintie—Pamery W. W. Sear sf Paula ay, gt)” Jerome— ciel 0 ‘ A. A. Anderson......1 ‘Millats; W.. Wi Seaman, Alnia- pe eer SFG pepe pas) C8 ol wll) OW Ie OF 0) 5 wn iele) ee 08; di OR'$130,000; HIGH MARK FOR THEUS. poe of Collection of M. C. _ D. Border Brings $797, - 050 in Night. i t were sold at auction in the Hotel Plaza Jdast night and brought $797,050. This, it. is said, is the high mark for one night's sale of art objects in this country. The most vaiuable picture sold was) Rembrandt’s ‘Lucretia Stabbing Her- self,” which was bought for $130,000 by It was reported’ the | C. BG. || Billings bid against the Knoedlers for’ ‘Knoedler & Co. ‘firm acted for Henry C. Frick, this painting. This is the highest price ever paid for a Rembrandt in this country. The for- mer record’ was $51,000, which was given at the Yerkes sale, The total sales for | the night also exceeded those at the Yerkes auction by $6,000, The bidding started at $75,000 and rose $5,000 at every jump. excitement among the dealers and col- | ectors, The painting has been exhibited | |$aa Londen and Paris and was on view | |here at the Hudson-Pulton Exposition. | Soon after the painting was disposed of Mr. Billings somewhat consoled him- Rembrandt’ by getting: “The Willow ‘Tree,’ by John Crome, fox $55,500, ‘The sale ‘was held in the grand -bail- Porty-two of the paintings in the art. collection of the late M. C. D. Borden) It caused intense | ka and art | [ti- eres ‘Peter Broadway Rouss, Capt. « iR. ip ‘Lamar; ‘George (A. wets Turner's “Regatta Bearing to wee AB asin Sk SD = py bre ee Come © as.) I geen,” by Romtey, aaa bush ae mmm | the wit Children—Rorney; Scott & 1 ong | & Fowles, dealers, for $100,000, Hopp arte yan FOOT A yang] Dee portale Of Mra Aaa tam i on mat qetee es, a pata 2,100 ‘sentatives of the Agnew Galleries of Il iraadous® Co... ~ Mauve: Boussod, 4o9| London paid $57,00 for Romney's “The, | The Foster Mother—Diffenbachs-W. W. os Countess of Glencairn” and $12,300. for | the Old Grandmother — August’ Siegert; HP] his “Lady Hamilton as Magenna,s Vi Miss E: R. -Wellington’....... 06.60.45 525 | Caroline Anne Howard,” a Gains-- | Phe, Counterteters — Karl Joseph Lit: | borough, was bought by the Knoedlers, A Bavarian Holiday — Ludwig Knaus; for $10,000, and “Miss Morris,’’ another pe Raven tee Nig Mes - ‘Hse’ Sehti : we Reynolds, brought $36,000, being knocked: 000 down to Scott & Fowles. ‘Portrait of a Gentleman,” by Van Dyke, was ‘“pought by Otte Bernec, an egent, for | $26,000, and a few minutes afterward) ew. W. Seaman paid $45,000 for Franz -Hals’s portrait of the Rev. Caspar Sibelius. This painting is only 1042x8% ‘dnches, | “Castle Kostverloren,” a Hobibema, ‘went to Scott & Fowles for $16,000, The | Knoedlers gave $5,100 for Pieter de ‘Hooch’s “The Music Party.” Van Rins- dael’s “The Cascade” was pought for $10,500 by Dr. A. Canfield. Among other paintings. sold were “The Adve. irers,’’ iby. Defregger, $5,000; Knaus’s “A. | Bavarian Holliday,” $8,000 ‘Winter Landscape,’ by Mauve, $5,000, and Ter- “bech’s ‘Lady Pouring Wine,’ $8,100. BORDEN PICTURES BRING $1,244,796 ‘Highest Price Paid Last Night, Was $41,000 for a Corot by Ex-Senator Clark. | | DAUBIGNY BRINGS $30,000) } 1 remeron | George Inness’s “Sunset at Mont- clair’ Knocked Down for $24,000. en eee. The second part of the sale of the ‘Borden collection under the auspices of the American Art Association in the isrand*ballroom of-thé Hotel Plaza last ‘might brought $448,675, making a total ‘for the two sessions of $1,244,725. Huge as this.sum may seem, it is not.a rece- ,ord, for two sessions of ths Yerkes sale ‘brought in $1,364,500. | There was a trifle more holiday spirit ‘in the air than on the previous evening; pictures were applauded more frequently ‘and warring competitors were accom- panied-by an eager buzz_of comment as they fought each other with $1,000 bids. But no great new prices were achieved. Two interesting new records were established, however, that are sure to —EEEEe OO eee c a aA ra or Seon 7 nnés’s “Sun- The list Of the pictures, with title, Pavers pO Suemety aweNt. aa NTDOO ie cle se sc started with | purchaser and price, follows: Hee an oe Wy bb, bee on. 15,000, ce knocked down to ‘Monticelli, “Gourt d@’ Amour; W. R. » dules Dupre, Dat A gt be near VIsle- ; ‘Waurenzagh for $24,000. This! King .2.c.....0c.- ose oceep eSe! |v Tae eee chen, COMDOny. )e tam _a mn the record the $16,000 Sees Romantic Scene; B.C. © 000 1 Hautes, agents 4,200 mnes fetched at the recent | Fromentin, A la Fontaine; Agnew ‘ ke Mae yy Es 2 Pele spat ce Huts Near ae “sal u SOE ROPM er og hi CC aik'g ale eia epae 5,6 i; > AS Sa AY vy rie ee = ‘Decampes, . Les Petits Nautonniers; ees meue ce Landscape; Efi, Jaumier “Le Wagon de Troisieme POD Eh can Seg et 5,600 Diag, La "Diseuset’ de - Bonne Gh conan ure 7 enner, Penserosa; W .. Berans.. 6,000 | e: £ hoo aid hased by Durand- Ruel / Vibert, Theological Dispute; W. W. eae Airs. W._G. Ladd. ....... 14. 4,100 . | Diaz, Sunset Near Fontaineb A s is the highest price BSCR INES ES ae wie ele els \a)'a tel cows a00\)p/! jane 6 leh 5,000 Bhrich Galleri lean; rid for a Daumier in any coun- | Gegicault, The White Horse; W. W. spo. Troxom..L'Approche de iOrago; tem ot previous figure being! Rosa Bonheur, Highland Gattle and AMeendee EL Wekct eh ae oe -franes paid for 6ne cf the | Pere ee neers Wn a ine Stora, W.' WW. Seaman...,.. 3,400 turist’s pictures in Paris in- “Meissonier, ‘A Cavaliers OW. HE) | eeaes epoteeh wien SF 000 ; CU IR PN as oie 07a)" iaily! were 0. 4-6) 6 m0) ee 4) 01435! 0 4,300 | Geotge Innéss, Sunset: y “Mrs ; “wy Coy id : Jean Francois Millet, Le Gardeur de f I. sae ee: a oon 2 Open secret that the Metro- | Moutons; Scott & Fowles....... 22,500 Worthington’ Whittredge, “Scene in 32,008 Museum of Art was bidding on} Moutons; Scott & Fowles......3, 22,500! Central Park, 1874; Bryson Bur- i Boussod-Valadon Company........ 15,200 | roughs mre , and after the sale Durand pe he Pool vis sOSB DCN |. MOURNS | oi... 6's as sey sed eye eb ens oem 550 cousseau, e ool in the Forest; | servis. McEntee, “Autumn Landscape logized for ‘its purchase, saying FENGeGIOW Gr COn 6 Skies wiki sarki eae 3,800° | With Figures; Bryson Burroughs 1.375 dn’t help it. ‘He hated to “bid Rousseau, La Mare a Piat, Foret de Honore Daumier, Le Wagon de Troi- ; | Fontainebleau-——Solaii ‘Couchant; sieme Class; Durand- Ruel 49,000 } # the museum. He had had com- Pe aia dg io es ya tach ae §,900: | Delacroix, Combat en Algerie: Du- , _ | Rousseau, he ool-—Clearin rand-Ruel ...... whem dae : : 3 from Germany to buy the Dau nem OF S500. ak et . Bee 5 000 Gertsde: | Bonabiees en Egypte: aie 9 the best he could do was to se- | Corot; La —Cueillette. au Bord -du. | eR Oetler 3&Cos. bos wees 85004 . American purchaser for it, and Meee gigs Hei Se fat a no 10, 500 | ae pap est Me isa a5: of Prisoners; r ’ > 2 3 } 5 Ree ee Mie ee ee Bhesty to say he had done so and} , Knoedler & CO... ieee 18,500 | Detaille, Phussian Cuirrassiers At- eee atti would remain in America, Corot, Le Pont de Mantes: Agnew & | tacking a French Convoy, Episode an i Lge jo pa. 5 eters aH otal a a RS ae RIND 22,000 | of the Franco-Prussian War, 1870; y Lae ateal au air. ae BRE s Fs noedier Orveveeoses ; A highest price e. evening Was {ccrot, Le Bat Clair de L Knoedler & C - 6,300 ,500 which Senator W. A. Clark 4 acti arama rs Sores Sh «fh 41,500 | Tules eppimeih oe Fin de la Recolte: ays A ” e eorges ; UT ONZ e505 s oiein's + We-wlereisly 789 be for inti au noah de ore MO eC oe OT aa 2,600 Robert F, Blum, Ceiling Decoration; Daubleny, the Banks of the Oise— be cable ee me R. DISTR HIAR «cots co Ay syed 850} s “Le Bateau Au Clair De Li une, Which se ilahane iad 200. x OL alli eae at RAL Tj *cORRGRca | GY QAR! oS MEME Be 1 NARI T @>Y eee pores oe Bie, te ——— SS ss ee a a << a MoS ee ee (a 9 A Se ap BI DDERS CLAIM DAUBIGNY!| [when the Yerkes pictures: were gome years ago, The feature of last evening's sale (was the number of beautiful examples} jof the Barbizon schooi—‘‘The Men of; 1830.2 The highest price of the even-) ‘ing was $41,500, paid by Senator W. A.) iCQlark for “Le Bateau au Clair de Lune® iby Corot. It was stated by Mr. Kirby; i he sale of the d The cand chanayy sin AS the ak that this is the only movunlight picture; ‘Borden paintings, 'tyom the brush of Corot. el t evening» under the auspices; bapa A record for Daumier’s canyases was | 'Shnator Oelark papa To ae ay Art Galleries, netted, Pp By jot the American At , made last evening when Durand-Ruel 1 | $41 ,500, for Corot’s Only is 448.675, bringing the total for the two did $40,000 levening $1,244,726. nly Ese ; / jevenings up to pees @ oat ie ae the “PRES. that artist’s “Le} e Ih F 1 a ‘ : Moonlight Picture, jhas this. amoun Poet Ww agon de Troisieme Classe.” ; public sale of paintings ar that was gold | a te eet ee Lots Sold at‘ Last Evening’s s Ses-, sion Bring $448,675—-Daumier Canvas Fetches $40,000, ee ee ee ee ! | aes a etic et ar 2 aa ET Algerie; Delaéroix ; Darand- 3 Pre RON Aan ORV REE ee ily Sis baieauts 16,00" ) ‘ ee ae ee aa en Kgypte,”* pis ia Knoe@er in eae ‘98 560 PE GIE Sk boa +34 8,500, for the canvas, which “te Pi ; Boussod, Valk so ' itd Bain De\ Neuville; a pu » again, the bidding resumed, te Boi i te ics! Rossi ina 1°99 wernt, Chine, AtaGlag <"Ficach 0 Aly ler & COs seek bir ee ence rege rere seek, 3,800 | Conyvoy,”’ Detaille; Kuoedicr Our... 6.2007 oe weet oy) mrepewor Ctariet. Mare‘, Pia as "Rouskeau: ‘Knoedler.&) . “La Fin de la Recolte,"* Breton; R. H. 4: “Tig Wate aes cence eae 52,900 |, ling ‘Decoration, iain ¢ tats ae: 14,800! . 7 : wf} Pne. Pool,” usseau; Knoedier gs ai by Selling Decoration; um; ‘apta “L’Appache de I/Orage,” “La Cusilatte au tord du Chemin,” Corot; aan | Dev Lamares ic ss ce ees den ig ne aeabeniee oe ; ‘ Sil fy sf oll e119 Spt eee at ae pa pe Se yo) : ——) *, Borden paid $30,000, was. “Bohemierne 2 la Fontaine,” Corot: Knoed- 2 Wotal. for-evening ..i.+. css <0kset 1 see ee bid in by Knoedler & Co., |,,!er & Co. de’ Signet” ‘Gototy "Agnew & °°°°°, In the afternoom a portion of the! ah a, Songeea roe kad ah veawen ST digie ada ee ee OHS | ; th, “Mantes la Jolie,’’ Daubigny: Georges Pvtit jertentad porcelains collected by Mr. nt ttems of the evening Gallines 3,. oe Ff 2,600' Bobden was sold at. the American Art Birk 2 ‘The Banks of the Oise,” Danbigny; Otto i. NE EEO cu . pemnet (AGEN) oe vee asset esar cesses) 1,200 Galleries, and 193 lots netted $14,224. wetes eet hey vcvs <3 <. $41,0001) eee at Viste Adam,” Dupre; Bous- 4,200 | A greenish white VASe of carved jade Gbisiome classe,” Daumier; iad ‘Landscape,” Dupre;)R. H. Lorenz......., 4,200 WaS sold to Mr. Tod for $2,450, the top feiss ons ERAS S Ah aie bags Mepeact wpe ear Pools,”’ Dupre; 0. Kay price of the day... Mr. Oshima paid $286" iupe; Boussod- "| La Diseuse de Bonne Aventure,” Diszy iss "°°? for a Champleve double vase; Mrs. ad w sie: pte 10) 6p: 4-6) 0.6 wip 'o-e. 9 © 25,100 | mA G. Tails os se bike Pe eee ees are 4,100 | Sachs bought uN enamelled green : 3: RB. H. Lorenz. : Poel unset. near Fontainebl he Sake i 3 rt W. R. King 3,600]) Gallenis ..... aoe cs eu,” Diaz; Sate Brich 12,600 | eee te oe hk a parla boy: aor R. G. Vose 2,000 * ae nine Storm,’’ Wyant; W. W. Hee se ee, id a white jade jar or oT w & Sons 8,500 | man, Se bbe ves tars evens eesera testers 3,400. ” + We | sroneet | -Taness; Mre. W. G. Ladd.......12,500; “Mrs. «1D, 'G. Reid paid. $170 ‘for | een Baste fa Centra Park 1874,” Whittredge; | ¢ihimese imperial yellow vase, and Mrs. fe 5.000 “Autumn Be. AclEntee; B. Bur. ae |, Thompson secured a miniature Yaaee W, Seaman j W.' Seaman 3 3,000 PRMD Fis Ti ss aphi es cs eo ene ed RTO SAY ‘for $110. | Pas Pictures Bring $1,244,725; my __. $24,000 for One by George Inness oe eS "SUNSET ~MONTCLAIR™ -BY GEORGE: INNESS nd Sale of Art Collection Ends with ‘Sunset, Montclair,’ Bringing Highest Price Ever Paid for American Painting—Mr. William A. Clark Givés $41,500 for a Corot. | With A grand total of $1,244,725 for the|night’s session was $448,675. The feature, | resented by Mr, R. H. Lorenz. That ig@ i@hty-two paintings, the sale of the M./although the price was not the ijargest new world’s auction record for an Ameri- | | { | ‘| D, Borden collection of pictures came|the evening, was the sale of a George} can picture, Mr. William A. Clark became} > an end last night in the ballroom of the|Inness landscape, ‘‘Sunset—Montclair,’”’ | bidder Jast night, and carried off two "laza Hotel. The proceeds of the second! for $24,000 to an anonymous bidder, rep-| prizes, Corot's ‘‘Le Bateau au Clair: del rirby. tion a in the art world ustrates the remarkable in- of the work of American . years. s Hrwin Davis collection auction in 1889 in this| “Mr. Potter Palmer, of ”. It next passed into De locious golden work. is a dense mass of toward the centre, | aes mrad. out con- as ic impression of the nr ess’ New Jersey home. “‘Sunset’’ went to Mrs. . That painting sage a Daumier. for whieh 3 Clark. paid ae. ale Sorot, "indenting the shore In the water is a boat rsons. A full moon is ‘ cet the composition. A E over ‘sky and water, empha: . Sives an effect similar | S pores Yo ae the early | y picture, “The Willows,” lark also bought, is a panel. re of a plain bordered by : 16 horizon alittle stream comes filling the foreground, Willows left bank, and on a rocky pro- the rightfour peasant women linen in the river. | record for a Daumier was Le Wagon de Troisiéme _to Messrs. Durand-Ruel for 3 picture shows the interior of eee: class railway carriage, ree ectersst ie types, every one faces ‘being remarkably individual- . handling is vigorous. and the Bes rest beauty of tone and color. er Landscape,’’ a beautiful and position by Jules Dupré, went —— ussod Valadon Company for, is is. a rocky scene, with'a brook} surmounted with trees. A blue! esky is pyeneptsed with active suds ) ee ncns de l’Orage,”’ show- | a field and an approach-, vent to Messrs. M. Knoedler &'| Diaz’s “Sunset Near Fon-! rit ral i) Corot, “Le Pont de Mantes,” Seine, with grassy banks, mder the arches of a massive} ige, went to Agnew & Sons, of} Bring Geod Figures.’ ee: iol Corot, ‘““Bohémienne 4 la} Re,’ a Gypsy woman standing @ background of trees, was bought | | sr ‘any Knoedler & Co., for $18,500. nother, “a Cueillette av Bord du B. Thompson Perr ee: Rousseau’s ‘“‘The Pool—Clear- ie hence ehie- aie 3 « ’ - Be > a c oQ 4 ct § o wa 4 in) 3] n ve | a tol = A as o io Oy 1 . for $17,000, and the garmie buy ers Sseau’s “la Mare 4 Piat, Foret de bleau’ for $9,900. “Combat en Al- ae by Delacroix. went to Messrs. _\ibamd+Reel for $16,000 ; Bréton’s “La Fin eee B kuspices | and the] seau’s “The Plateau de Bellecroix”, went : Rirenteeic to the Roussod Valadon Company for The canvas! . the sky. The fore- | » and wild flowers.; ng branches of} | I Deane. isn bought by the Ehrich Gal- | | All Records for Public Sales Here | $15,200. Other pictures, with the artist's name! $1, 000,000,” the}, 'puyer and the price paid, were sold ag fol-|last evening was $448,675.. There were no first, then the title of the picture, lows:— Monticelli, “Court ad’ Amour;’’ W. R. Rie: $3,600 “Romantic Scene;’’ Messrs, R. Ph Vose..... BIR e ebay, wipuwlel es elel de biie ‘6 Mons er Cc, and N 2,000} a7 “York amateur who Fromentin, “4 la Fontaine:” Agnew & Sons 5,500 sn about the year 1390} Decamps, ‘“‘Les Petits Nautoniers;’?': Mr. WV2 WM Seniibere RRONTS oso. 8 os 5,600 | | “}lenner, ‘*Penserosa;’’ Mr. W, H. Behrens. . 6,000 | Vibert, ‘Theological Dispute;’’ Mr. W, W, Seaman, agent Gerieault, ‘The White Horse;’? Mr, RRR SEEM DEORE Mearega ret 6 8 le AR. ws eile ae We 4 aagitb- kG he. lb Rosa Bonheur, “Highland Cattle and Sheep On P(e ees 8 aes 6 wi bee ak ale ' , on a Mountain Pasture;’’> Mr., Wy -H. PS ORT EPS CMe ats cy A Uline y > ee alolg cal soup Crime a i Soe | Meéissonier, ‘A Cavalier ;”’ Mr. — W. ‘Rousseai, “Pool in the Forest;”* M,. prenoenier Gas gor, wk athens. Daubigny, “Mantes la. JoHe;’ ; hbase BRO tt Raley ree ee alee ety coed cre 73 ‘Daubigny, ‘Banks of the Oise—Summers" | Mr. Otto Bernet, agent.....,.....5....- Dupré, “Pasturage near “Dele: Adam; i pa Bouasod Valadon Oo... . 5a. isc. Nece cee ; 5,000 | audience 6,100) agent, for $24,000 Behrens COOL OO Reese sre cenerenseeereres . 4,800 8,800 the left of the ‘picture, . 7,900 |Autumnal effect. rin oy : y poe 3 = er i is “wht jl - aX '* ae 1 y | ak ane seater - the shadon »f lmous s sum 1,244,725. As tthe snore a tree wate ng s flock, was t one was Messrs. Scott. Fowles for $22,500. RE BY se if de picture ore agp tae sie ‘ Kirby, the auctioneer, said: ; “We have now passed the milli mark in this sale—sixty-two pictures f The total for the forty pictures sold rices for individua! pictures in six fig- res, but many in five figures, and two ecords were broken, one for an In nd another for a French artist not well knewn in this country—Hono aumier. _ There~Was more applause for the In- | ess than for any other picture in the) sale. It was. more marked because the | has been chary of applause, throughout the sale, though its size and) close attention showed its interest.; “* Sunset (Montclair,’’ was the record- breaking picture, going to R. H. Lorenz, 24,000, and there was more applause as it was knocked down. The picture shows a field with a) little boy and girl in the foreground,! i with densély ‘The sun, foliaged. trees at the night: 2,600 just going out of sight, gives a deep iwarm glow to the scene, and almos etm +: an It has been one o pictures most admired while the coliced eee, Landscape; Mr. R. H. Lorenz, agent. 4,200 | ‘Honoré Daumier, the satirist and. fine upré, Landscape—‘‘Huts Near a Pool; ye Mr, POMC T. AONE 5-5 ise) dace wee niela eas |Diaz, ‘“‘La Diseuse de Bonne Aventure;’’ Mrs. Vere TRAM ic. oy WRN yes tae Sete a i bite ‘“‘Approaching Storm;’’ Mr, Seaman, PARRA ERTS hes 27s uid a Spee ace Figte seem ie aoiala oss HWettde McEintee, ‘Autumn Landscape with Figures;’’ Mr. Bryson Burroughs ‘Géréme, ‘‘Bonaparte en Hgypte;’’ M. Knoed- fler & HOO Se ethane a acid ALY Siete ere se he ee tale Re Neuville, ‘“‘Iransport of Prisoners;’’? Mr. G. Bayne. ite i ee a ey i “Prussian Cilirassiers Attaeking a French Conyoy;’? M. Knoedler & Co. Sale of the Porcelains. The dispersal of the Borden collection of Oriental porcelains’ and miscellaneous art objects began in the afternoon in thejnear him. jAmerican Art Galleries, No. 6 Madison Square ‘South. The proceeds were $14,224. !panoramic landscape with numerous fig- ures. The Kaldenburg Galleries paidj and cover, Mrs. Henry Clews bought for} | $310 an emerald jgreen jadeilte sacrificial \jadelte miniature table., screen. BORDEN PAINTINGS SOLD FOR $1,244,725 Broken—$448,675 for Last Forty Pictures. A COROT BRINGS $41,500: Ex-Senator Clark Buys “Le Bateau, au Clair de Lune’ and Dau- {| & bigny’s “The. Willows” The second and last, évening's sale of the M. C. D. Borden collection of pictures af the Hotel Plaza under the auspices of | la Récolte”’ to an anonymous buyer|the American Art Galleries closed with ; presented by Mr. Lorenz for $14,800, and | he record of being the biggest «public 4 pera aslall | | ‘| a 1,375 and The highest price was $2,450, paid by Mr. } Robert Tod, for a large greenish-white| price of the evening jade case, carved in bold relief, depicting a/ by $425 for a moss green jade incense burner] | jar,. with cover, and for $100 an imperial |, , sailboat in which figures ; indistinctly, {; tree Haar Ae haze over | as the combatants i] | of London | de Mantes, Pee piciure, ing. His werk in Mate line was liked and | 8,400 | purchased only by the artists—now of fa- mous names—ef his day, Daubigny, Corot, | Rousseau. “Le Wagon de Troiseme Classe,” a scene in a third-class French railway carriage, went to Durand Ruel last even- ing for $40,000, the biggest price a paint-j; ling of his as ever been. known to bring | this or his own country. A rotund | mother of the petits bourgeois holds ai ichild in her arms, a neighbor with hands! iclapsed over a basket, a bonnet with long ends-on. her head, is beside her, and 4 Ismall hov is asleep, with a box on the seat | In the rear’may be seen the | backs and a few taces of other travelers of the same class. It is a strong picture, with much depth and beauty of color. A Corot which brought athe highest | only led the Daumier. $1,500. This was another picture iwhich called forth applause, a charming | scene, ‘Le Bateau au Clair de Lune,” ‘said to be the only moonlight picture \the artist is known to have painted. It. iwent to ex-Senator W. A. Clark for $41,500. The full moon shows in thé centre v4 the picture beneath the thick branches of a tree at one side, its rays reflected -in the water in which at the right is a may be seen On the other side of. the is another seth and there is a a Willows,’ by Daubigny, was one of the "nigher priced pictures of the even- }ing, going to ex-Senator Clark for $30, starting. at, $10.000, had a long, slow sale, going up by hundreds, ‘and. Was finally knocked down at $26,000, | but there were two claimants and it was brought back and the audience laughed renewed the. tight for it. A number of pictures sold will be tak; en out of the country. Agnew & Sons bought the Corot, ‘‘Le Pont for $22,000' and Boussod Valadon of Paris the Jules Dupre, “A / Summer Landscape,’ for. $25,100. The Yerkes sale, which brought more money than the Borden collection so far, included rugs, furniture, and objects of art, the total returns Deing $2,207,866. The waary J. Morgan sale of 1886, in which there were many beautiful pictures and whieh has been ranked as one of the greatest of public sales, brought only) $1,205,158, and included porcelains, books, ; and etchings. That was less than the re-| turns for the Borden sale of pictures | alone. There still remain to be sold . this collection an immense library . vale: able books with porcelains, potteries, and Greek and Roman glass, which will have a three days’ sale. Following is the list of pictures, artists, purchasers, and prices: Court D’Amour, Monticelli; W. R. King. .$3,600 ‘Romana Scene, Monticelli; R. C. & N. Me Voseetaneton |. F 2 or- The bidding at this second and final ses- | 208 went meee eee cena 24,000 sion centred in a comparatively few dealers, Inness, G., “Sunset,” Mrs. W. G. Ladd..... 12,500 firms and persons, and was stubborn, rather panes as “Scene in Central Park, aa eee cept at times. Knoedler & | Tiiittec, J. fAmmmn’ Landscape,” Brygon Co, Durand-Ruel & Sons, Scott & Fowles, | Piero ee eres a arts + oan eet ates poweesses 1,375 ‘Ebrich Gallery, or Ce: Se ON. M.S" Vose> of rare ee nee ears de Troisieme 4 Oe asse, LEE eDEVCLSINGLOUN veh svc] Sale it again becomes evident, bert Spencer, Mary Jane Morgan and . as has been more noticeable at every ‘Seney, Thomas B. Clarke i 5 eee & . succeeding. important sale of the past Evans picture collections and the fi ' three seasons, that American art buy- ures, which grew larger yearly, ob- oe and @llectors are drifting more fined for special pictures at these auc- and more into the English and ‘French tions, but which now seem puny in- E custom of purchasing through agents, deed. When Turner’s “Slave Ship,” | generally déaler8xatt the larger auc- brought $10,000, a Messonier, $11,500 tions. “Lhe days when the late C. P. and Church’s Niagara $12,500 at the | Huntington Marshall O. Roberts, W. Johnston sale in 1875 and when the ie Blodgett, August Belmont, and jate C. P. Huntington paid $25,000 for other pronnnent collectors bid them-|Vibert’s “Missionarv Story,” and Jules | selves it the old\ Leavitt salesrooms, Breton’s “Communications,” went to later at Chttkeringe and even still later Montreal for $45,000 in the Mary at Mendelssohn Hall, for pictures, is Jane Morgan sale of 1886, New York well even No longer do the keen re- could talk of nothine’ else for’ weeks; porters-of-the dailies besiege auction- and when later, in 1891, Millet’s “Blind eers, bookkeepers, and even proml- Tobias” brought $40,500 at the second ment persons after art auctions, for Seney sale, the sensation was almost for a Greek terra cotta group |: And the character and temper of art meas oreat. But even this excitement was over- topped, when in the William A. Stew- art sale of 1898, a small-sized man with a yellow beard, known to New York- ers, excitedly bid $42,000 for and se- cured Fortuny’s “Choice of the Model,” and it was later learned that a new pic- ture- buying * ‘Lochinvar had come out of the West,” if the person of Senator W.A. Clark of Wyoming. The $66,000° Bad $53,000, which Meissonier’s “Fried- ee * = and. Rosa _ Bonheur’s| orse Fair,” respectively brought at. ‘the Stewart sale of 1887 are also. ‘well remembered, as also the resultant public excitement and the congratula-. tions offered when the late Cornelius. Vanderbilt, who bought both canvases presented them to the Metropolitan Museum. And let not the $8000 brought by Inness’s “Gray Lowery. Day,” at the Thomas B. Clarke Sale of. 1899 be forgotten, as this was the first big auction record price for an Ameri- can picture. r How small indeed do these figures now seem, in comparison with the} $130,000 Rembrandt, the $24,000 In- ness and others of the recent Borden pale. _ And, still snoties change is notice- able in New York art auctions, namely, | the comparatively small number of. buyers. The private buyers of the Borden pictures did not number over. ten, all told, and while some of the. dealers’ purchases were for clients, it, is probable that the chief dealers buy- ing, who were Knoedler & Co., Scott & Fowles, Durand-Ruel & Sons, Bous- | sod-Valadon of Paris and Agnew & | Sons of London, had no idea of letting’ the “market” for early English and Barbizon pictures fall down. It transpires that Mr. Ambrose D.| Monell of Tuxedo, was the purchaser | or-ihe —farge Turner “Regatta off, Cowes,” for $105,000. “St.. Mich- two “attributed” Turners, ael’s Mount” for $25,500 and “Grand. for $60,000 at the} Yerkes sale in 1910. Mr. F. D. Stout) 3) Canal—Venice, of Chicago secured the Franz Hals “Portrait of Rev. Caspar Sibelius,” for $45,000, and Mr. N. L. Amster of Bos- ton, the Decamps “Les Petits Nauto- miers” for $5,600. Mr. I. M. Stetten- heim secured the large Diaz “Sunset— F’bleu,” for $12,600, while Mr. James J. Hill of St. Paul was the buyer of the Delacroix’s “Combat en Algerie” for $16,000. It is also reported that the Daumier at $40,000, “Wagon de _ Troisieme ‘Classe,”’ was secured by Mrs. Henry} iO. Havemeyer. This great picture is one of four “variants” of the same sub- ject by "Demtaper. A larger canvas for which this was probably the model, was sold in the Doria sale in Paris in 1899, another is in the Guillemart col- lection in Paris, and a smaller more sketchy work, was sold in the recent Chapman sale in this city. PURCHASES BY DEALERS. | M. Knoedler & Co. It will be re-| membered that Mr. Monell secured the Corot, “Bohemienné a OUtAIME ese a as $ 18,500 ‘Rousseau, “The Poo aCieaetar One 17,000 ‘Troyon, ““L’Approche Ges rage ote aie ats 21,100 WGerome, “‘Bonmaparte-en Egypte’............ 3,500 ‘Detaille, ‘‘Prussian Cuirassiers Attacking a French CE OLION: SemMee ciianic ofa We seat e eet 6,300 Rousseau, ‘‘La Mare a Piat, Forest de Fon- tainebleau” Rech aero easeasbeti Mais Ghai Mahon eee ens 9,900 Rousseau, “‘Pool*tr the Forest”........... 3,800 Alma-Tadema, “Unwelcome Confidences” Z,800 |Teniers (younger), “Woman Smoking in Inn” 2,150 'Gainsborough, “Caroline Antfe Horde”...... 10,000 Wewtloogh sel be MUSIC: Party. orc oc s:. 60. oceue 5,100 |Rembrandt, “Lucretia Stabbing Herself’’..... 130,000 $230,150 Dr. Paul Mersch, of Paris. pw ouwerman, ‘““The Sutler’s. Booth’ .., 0+ ss.0% $ 3,050 RW ouwerman, Ia-AbDretvoir’ . .ctese see os we eb 2,500 $5,500> Kleinberger Galleries. Yan Ostade, I., “Peasants before an Inn’... $4,100 'Terborchs, Ga “Lady -Podurings Wite’s. 4. 35 op os ag Sp SA0) ALS eS $12,200 Cottier & Co. Ae Albert, ““Mother and Children’”.... $2,100 H. Schultheis. lyon Defregger, Franz, “The Adventure”’.... $5,00(i) R. C. & N. M. Vose (Boston). ‘Monticelli, SSROIMAILLC ICE ¢ on ee &. aes Sic eee $2,000. Scott & Fowles Co. ‘Romney, ‘‘The Willett Children”’........... $100,000 Bipnpner= Mrs. Arbuthnot’ 7. sy dice eroelats oa 60,500 Naonredes- Velde, W..%-Galme Seaw . ede iiss. 3,500 ‘‘Guardi, “Grand »Canal=Venice ies Sema cts ss 4,200 (\Guardi, “Piazzi San Marco—Venice”’....... 5,000 ‘Lawrenée, SSMS Gua Ment cameras steer at ee ae ee ore econ 14,500 ‘Reynolds, REtgs; aL Off 1S: stern <5 sce eats eae 36,000 ‘Hobbema, “Castle Kostverloren®’ * ....5 o: cen 16,000 (Millet, “‘Le Gardeur de Moutons”’..-....02. 22,500 $262,200 Ehrich Galleries. idee ouNSseLeneat Montainep lea’ sci. «ae $12,600 E. Gimpel & Wildenstein. Rirelie, oT nhocen ce’: code wand oo ele oo eae pee $13,000 Boussod-Valadon & Co. (Paris). Rousseau, ‘La .Plateau-dexBellecroix” iawn $15,200 Dipre, ‘Pasturage near TIsle EA air terest < 4,200 Dupre, “Summer Landscape” ale Po ek ot ees 25,1008 Measuve, Winter Dandstape sig. 0s.++. Se oe. wae - } \ é CONDITIONS OF SALE 1. The highest bidder to be the Buycr, and if any dispute arises between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. Ihe Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless other- wise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; im default of which the undersigned will not hold them- selves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, and make no Warranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is rep- resented to be, use every effort on their part to furnish proof to the contrary ; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the de- faulter 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, tf he thinks fit. 8. The Undersigned are in no manner connected with the busi- ness of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. THe AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, AvcTioneEr. ' REPRODUCED FROM vu E CATALOGUE PREPARED BY THEM FOR THE LATE ms “ae ! M. C. D. BORDEN, ESQ. PIES TET aM Ge SA, PAINTINGS BY OLD MASTERS By WILHELM R. VALENTINER DUTCH SCHOOL The principal pictures of the old masters in Mr. Borden’s collection are works by recognized masters of the best period of the Dutch School, the second third of the seventeenth - century. ‘The various manners of expression of Dutch paint- ing are excellently represented: the portrait, genre, landscape and seascape; even subjects of classical antiquity, which are but seldom and with little success cultivated in Holland, are rep- resented by a masterpiece of Rembrandt’s, “Lucretia Stab- bing Herself.” We shall begin with Frans Hals and Rembrandt, the great men who dominate the school by their strong personal- ities, and force into the two distinct channels they individually follow all its lesser masters. Although Frans Hals lived to see the fruits of peace begin to ripen in his later years, he repre- sents the people who lived in a state of war, the long war in which Holland and the whole of Europe were engaged in at the time. Rembrandt, who belongs to a little younger genera- tion, is the representative of the same community in a state of peace, and his style, full of feeling and thought, was developed under the stimulus of the hard and rough experiences of the preceding period. Yet Frans Hals’ artistic activities extended — almost to the death of Rembrandt; his realistic conception, depending upon momentary expression, and that of Rem- brandt, quiet, soulful and absorbed, are therefore contempo- aneous. We may safely say that one was evolved from the other, and also, that the manner of Rembrandt dominated Dutch art after the fifties. _- Ne See . . . 24 hs . These two absolutely different conceptions are very well illustrated by two works in the possession of Mr. Borden: Hals’ portrait of the “Reverend Caspar Sibelius,” dated 1637, and the “Lucretia” of Rembrandt, painted in 1664. ‘The Hals is one of the works in which, concentrating his broad, free art within the limits of a small canvas, the artist accomplishes all the more astonishing results. As soon as it was completed, this painting was twice engraved by J. Suydenhoef, one of the best Dutch © engravers of the time, and has become especially well known for that reason. Since several pictures by Frans Hals, and of similar size, are available in engravings of the time, it is logical to assume that the artist chose a small canvas, to which he was unaccustomed, out of consideration for the engraver. ‘The work belongs to the best period of his career, when with his peculiar vivaciousness he combined a comparatively painstaking and finely studied technique; when instead of the rugged figures of his earlier period he pictured jovial contentment, and sup- planted by the transparent gray tone his early garish color schemes. It was, furthermore, in the latter half of the thirties, the time when this portrait was painted, that Frans Hals painted some of his best works: the “Portrait of a Painter” and the “Portrait of an Old Woman” from the Yerkes Collec- tion, both of 1635, and both now in the Frick Collection; the portrait of Michiel de Wael (1638) in the possession of Mr. Morgan, and the two companion pictures of the same year, in Frankfort. It is rare that we should know the personality of Hals’ sitters, as in this case of Sibelius, who was born in Ger- many and enjoyed a reputation as a preacher in England, Switzerland, and finally also in Holland. If the inscription on the back of the canvas is correct, we also know the name of its first owner, a certain Professor Hoffmann, to whom it is said to have been presented by Sibelius himself. We may wonder how it came about that an artist like Frans Hals, whom we picture mentally as a manner of Falstaff, should be particularly successful in portraying ministers of the Gospel; yet he painted many of them. It is clear that an under- standing of naive piety, such as was imparted by gentle preach- ers, Was not incompatible with the rough belligerent natures of that time. In fact, war itself aided in furthering the influence of the priests, for a nation whose chief preoccupation is the defense of its territory is more apt to give the church its rights than a people living in peace and having time for reflection and therefore for scepticism. ‘These Dutch ministers also seem to have fostered a simple conception of life quite in accordance with the practical problems so close at hand, and by means of a jovial cordiality to have brought themselves close to their flock. Sibelius is not portrayed as a complex nature; on the contrary, his friendly bearing, the clear, intelligent look in his small eyes, the encouraging, eloquent position of his hands, do not reveal a man of philosophical and speculative mind with thoughts running in deep channels, but one of simple nature who understands his immediate task of heartening and com- forting. The artist himself was the same sort of man as his sitter. a: Frans Hals’ art depicts instantaneous impressions, and it is for this reason that his figures seem so direct and lifelike to us. But one artist above all others, Rembrandt, understood the combination of reality with delicately shaded psychic expres- sion. His picture in the Borden Collection is a striking ex- ample of this combination. It belongs to the artist’s later period and is one of the most magnificent and effective of his works. Toward the close of his career the artist confined himself to painting figures, somewhat statuesque in character, whose drastic gestures are similar to those used in operatic acting; the whole field of expression being transferred to the depicting of the inner life, and the rendering of the atmosphere in which his figures are placed. Such, surely, is the case with Lucretia. Her pose seems borrowed from the theater; she stands as though in the center of the stage, with both hands equally raised. This subject of Lucretia in the act of self-destruction was not a new one, and it is quite possible that the artist knew some of the pictures by the great Venetian artists, Titian and © Palma Vecchio, where the dying Lucretia is represented at half length. In the figure of the Northern master we do not readily note anything unusual. Primarily we recognize a well- known model often used by him in his later years, and that she wears a costume and jewelry we know to have belonged to him. The picture therefore has a portrait-like character. In fact, the whole of Rembrandt’s work is portraiture. . But despite this simple, almost crude composition, there is something in the picture which makes it one of the wonderful creations of the great artist. Considering first the. technique and color, one sees the figure looming through a flood of golden tones laid in broad masses and glittering in the jewelry; and the pale face appears as seemingly blurred by a diaphanous veil of sunny mist. At every point one is made aware of the master hand schooled in hundreds of pictures which are great achievements; the broad strokes, accurately subservient to the will, clearly indicate that disdain for the vehicle which only the greatest men can show, and only in their best works, and then unconsciously. But all this external splendor is surpassed by the intensity of psychic expression. Who can resist the appeal of this pitiful face, so despondent in its mental anguish; or the suggestion of life seemingly ebbing from the body even before the dagger has touched the breast; or again, the effect of this most touching silhouette of the slightly inclined head, and the hand out- stretched in a gesture which speaks of fear and resignation? Quite unique in art is this combination of a broad decorative effect with the extraordinary expression of distinct feelings, seemingly too subtle for expression with the brush; the com- bination, furthermore, of the real and convincing human appeal of the portrait with the distant fantasy of an Oriental fairy tale. It is perhaps because of the concentration of the whole action in a single figure that, just as thoughts flow most freely in a monologue, the artist has succeeded so strikingly in his presen- tation. Apart from Hals and Rembrandt, the remaining masters of the Dutch School can be grouped according to their respec- tive fields. At the same time it is obvious that practically all _are under the influence of the two great masters, and that many of them have developed from the manner of Frans Hals into that of Rembrandt. This is notably the case with the genre painters, who are represented by four pictures—one by Ter- borch, one by each of the Ostades, and one by Cuyp. Of all but the last of these it may be said that they came from the school of Frans Hals and were later influenced by Rembrandt. Terborch is the best representative painter of genre sub- jects depicting the life and manners of the upper class in Holland; and his own life illustrates the rise of the professional artist to a higher social position. ‘Terborch was born in 1617 and is ten years Rembrandt’s junior. ‘Two generations of im- portant masters had preceded him; his father was himself an industrious painter holding an official position in his home town, Zwolle; therefore in the choice of a profession he had no such parental difficulties to overcome as had Rembrandt. He could afford to travel, first in Holland, then in England and practically on the whole Continent, and had every opportunity for the cultivation of his art. As early as in the forties he became the painter of the highest political circles of the time; in 1648 he painted the assembled delegates to the Congress of Miinster at the close of the Thirty Years’ War; later he was | 7 called to Madrid by the Spanish Minister Peneranda and is there said to have painted a likeness of Philip IV. When, — after traveling in Italy and England, he returned home, settling — down and getting married in Deventer, he was overwhelmed — with honors and received from distinguished citizens and states- men enough commissions to keep him busy for the rest of his days. That the artist was a man of the world and of good breeding may be gathered from his portrait in Spanish costume by his own hand which is now in the Gallery at The Hague. In — the development of his art we note the growing social prestige which he enjoyed. The military pieces betraying the influence of Frans Hals belong to his early years; in his middle period, the late forties, he painted the charming genre subjects, full of a sedate and well-bred bourgeois atmosphere, which depict his own domestic environments; and in the work painted in the fifties appear satin robes and cavaliers in scenes of the life of the beau monde. 'The feeling for elegance, which presupposes a broad knowledge of the world, manifests itself in his easy, fluent technique, and in the influences which swayed him. Just as he follows Frans Hals in his earlier period, so later he is influenced by the Dutch painters of the bourgeoisie, and what is more, his versatile art shows also the influence of the great foreign artists —Titian, Velasquez and Van Dyck. The picture in the Borden Collection is of the middle period and is quite after the manner of Metsu, who, being the younger, must have been the borrower. Furthermore, the strong vermilion in the costume of the young woman—a color rarely found in 'Terborch—as well as the chiaroscuro, shows that this picture originated at a time when Dutch artists worshiped at the shrine of Rembrandt. While the women in the group belong to the simple bourgeois class, the elegantly dressed cavalier evidences that tendency of the artist which was soon to help him get out of this environment into the aristocratic world. Aelbert Cuyp, who is represented in an unusual way by a genre picture, enjoyed like Terborch the respect of his com- munity. He filled important and honorable positions in his native town of Dordrecht and was the owner of a small estate outside the city. Unlike Terborch, he felt no desire to travel, but remained always in the quiet mliewu whence he came, and only the warm southern light which appears in his landscapes indicates an appreciation of other climes. “The Mussel Eater” also gives a faithful picture of the surroundings of the artist. We look into a smithy in which the owner sits upon the anvil. Before him is a bowl full of mussels, one of which he is eating while two children interestedly follow his motions. ‘The somewhat stiff attitudes leave no doubt that the three are portraits,and that this picture is a group of portraits arranged as a genre scene, as is further demonstrated by the two men looking in at the window to the right who are also treated in a decidedly portrait-like -fashion. It may be that the older man is the paterfamilias and the other his son. At any rate, this picture is a reproduc- tion—either executed by the artist or done by a pupil—of a larger one in the museum at Rotterdam, from which it differs in several details. ‘The somewhat unnatural position of the hand of the older man in Mr. Borden’s example is explained by the Rotterdam picture in which he holds a glass of wine; the girl in the latter holds an apple instead of a pipe, and the child’s head just visible behind the barrel, as well as the cat in the fore- ground, have been entirely omitted in the present canvas. Also the complete signature, A. CuyP FEcIT, is replaced in our pic- ture by the monogram A. C. In Pieter de Hooch’s “Music Party” we have a typical ‘example of the genre picture of aristocratic subjects, the third phase of Dutch genre art, when it came under French influence and began to lose its national character. Pieter de Hooch was not an artist of social standing like Terborch or Cuyp; he lived in extremely poor circumstances, having started in life by being a servant in a noble household. But together with the two masters we have just mentioned, as well as with all the artists who lived until about 1680, he was affected by foreign influ- ences. His artistic development is of a kind with ‘Terborch’s. Like him, he began with military pieces, then in his middle and best period he painted bourgeois genre pictures, and in his later period he depicted scenes of the life of the higher and more elegant society. But in his last period is also to be noted a decrease in artistic feeling, greater in his case, and perhaps the result of discouragement at his lack of success. ‘The picture in the Borden Collection is one of the best in his last manner. While the drawing of the figure is heavy and the whole arrange- ment somewhat stiff, the picture nevertheless has excellent qualities. Several of the faces, not de Hooch’s strong point by any means, are especially attractive and the garments are painted with a fine feeling for texture and a good sense of color. ‘The influence of French academic art manifests itself in the emphasis laid upon horizontal and vertical lines, by means of which the figures at the table are practically enclosed in a square. ‘The garden, which is also in the French style, and arranged and pruned in rectilinear fashion, contains a structure in the classic style patterned after the Amsterdam City Hall. The best representative painters of genre subjects of the lower classes, Jan Steen alone excepted, are the two Ostades, each of whom is represented in the Borden Collection: Adriaen by an interior with gaming peasants, Isack by an inn stable. The older Ostade employed his great and long admired art in the presentation of the chiaroscuro of picturesque peasant interiors within which the gaudy costumes of stoutish inmates “ compose subdued harmonies; while the younger brother pre- ferred to reproduce the chiaroscuro of outdoor scenes in the late afternoon under the shady trees and bowers sheltering peasant cottages. Isack stands in the same relation to Adriaen Ostade as does Hobbema to Ruisdael. Isack is the pupil and the more temperamental of the two; like Hobbema, he achieves in his best works more fascinating effects than the older master; but, on the other hand, he is less balanced, and seldom succeeds in doing his best unless when guided by youthful impulse. Like him also, he is monotonous in his composition as well as less original, but broader in his execution and in his light and color effects. The composition of the charming picture in the Borden Collection is, like that of the majority of his pictures, reminis- cent of an older style, that of older landscapists—Van Goyen and Pieter Molyn. It is planned diagonally, the perspective deepening toward the right from a corner in the foreground; and conditioned by this, the light is disposed in such manner that each bright portion of the picture alternates with a dark one, so that by this means the depth of space is more definitely rendered. Also in general color tone and in technique Isack approaches preceding works more closely than his older brother, as was natural, since he was young (he died at thirty-seven). In the peasant types he imitates his brother; but in the golden color scheme, in which a few warm greenish-blue and yellowish- red tones are prominent, he follows Rembrandt, who at the time of the painting of this picture, the forties, was at the height of his reputation. With all this is allied a sort of romantic apotheosis of peasant life on the Dutch high-roads which belongs to him alone, and renders his achievement the perfected climax of the method first followed by Molyn and Van Goyen. Adriaen is more realistically and perhaps also more pedan- tically inclined, but his execution is more artistic and more accomplished; and he disposes his light and colors more evenly and harmoniously. It is in a picture like that in the Borden Collection that he shows himself to advantage. It presents the best of his art, showing neither the somewhat brutal conception of his earlier works nor the hard coloring of his later manner. The composition seems unintentional but is complete; the com- plex arrangement of the room does not have a restless effect despite the large number of objects on the walls, while the figures give a happy and comfortable impression. While the art development of the two Ostades shows ae decidedly the peaceful spirit of the Rembrandt tradition, we find in Wouwerman, however, a late representative of the military manner of Frans Hals. It may be said that he is the — last painter of the soldier subjects favored by the latter’s school, although his style is rather reminiscent of Rembrandt’s. ‘The two pictures in this collection are characteristic. ‘They show his preference for scenes of action from military or country life in the restless regions affected by the war, where numerous groups of figures are arranged in a rich and well-composed pic- ture. His motives, filling the canvas even to the corners, are inexhaustible; the drawing and, above all, the move- ment of figures and animals—not generally the strong point of the Dutch School—are excellent; and _ the technique has a fluency which hints at French eigh- teenth century art. The superiority of the artist, how- ever, as compared with his predecessors, Palamedes, Esaias Van de Velde, Duyster and others, lies in his understanding of the art of distribution. Among these men we still have the relief conception of Frans Hals, which usually permitted the consideration of only the foremost plane; here, on the contrary, we find the plastic style of the baroque of Rembrandt and his contemporaries, with their greater richness and variety of forms. Whenever the figures of the foreground allow a per- spective view, the eye is attracted into the middle distance by = spirited figures, and new motives lead still further on, out into the background where ranges of hills and a well-composed, plastically clouded sky deepen the distance. Dutch landscape painting is represented in pictures by its two most important masters, Ruisdael and Hobbema; by a ‘seascape from the brush of one of its best sea painters, Willem Van de Velde, and a landscape of dunes by Jan Wynants. The first among these men is Jacob Ruisdael, who, despite a momen- tary vogue for Hobbema, still remains the great master of Dutch, and, in fact, of all earlier landscape painting. His two pictures here present similar motives—in each case a waterfall crossed by a footbridge and bounded by rocky and wooded banks—and both date from the later period of the artist. Pic- tures of this kind, of which Ruisdael produced a large number in the later years of his life, occasionally suffer the not un- grounded objection that they are too consciously composed and one censures the deficient conception of the artist who presum- ably never saw waterfalls and mountains. This, however, is not the case in his best works, of which the great waterfall in the Borden Collection is an instance. It manifests in the high- est degree the poetic feeling which raises the artist above all landscape painters of his time. That which we so often find wanting in Dutch landscape work, the feeling of unity to which all detail is subordinated, is perfectly expressed in these pictures which are the outcome purely of the imagination. The longing of the Dutch people for the mountain scenery which is lacking in their native land has found expression at the hands of Ruis- dael in these pictures composed of strongly drawn mountains, tumbling waterfalls and dense oak forests, under a lowering sky, broken only by a pale green sheen at the horizon. And this form of expression seems to us actual, because the artist’s fancy and his extraordinary memory for the individual features of nature have been guided by a hand tested in decades of experience; and because they are the creations of a serious and reflective mind, which, during his later years, deeply felt the noble and solemn beauty of melancholy regions overcast with gloomy clouds, where he was more at home than in sunshiny scenes. Compared with Ruisdael, Hobbema has a more friendly air; he does not wander far, but exerts all his powers in the por- trayal of serene and poetic forest landscapes such as he sees about him. This picture of the Castle of Kostverloren belongs to his earlier period, when he kept especially close to nature. It is a simple study which was executed in the autumn, perhaps on the spot, or after only slightly altered preliminary sketches and without much thought for composition. This castle, built in the fifteenth century and now no longer standing, was several times painted by the artist. In one of his pictures, which was sold at Amsterdam in 1907, the tower is seen from the side where stands the chimney, and in the wall of the main building the remains of a gable may be distinguished. Jan Wynants also presents a typical Dutch landscape in a picture of dunes with blasted oaks by the roadside, a landscape of the type which one finds in Guelders, a region which because — of its dunes and woods often lured the Haarlem painters—of whom Wynants was one—into study trips. But we must not believe that this landscape is an accurate transcript from nature. From other works of the artist we know that certain features, such as blasted trees, the sandy road leading around the hillock and from which an old pale-fence straggles down, and even the deep blue sky with isolated lumpy clouds, are typical composi- tion motives of the artist that have been used by him often. Though handicapped by the somewhat hard and lifeless style which is particularly characteristic of his later pictures, his compositions make a pleasant impression because of their well- balanced proportions and especially when they are enlivened, as “ in this case, by figures painted in by that great little master, Adriaen Van de Velde. In Dutch art, paintings of the open sea are seldom met with, no doubt because, the artistic centers of the country being mainly inland, the artist did not then experience the desire— which has been awakened by modern city life—to settle some- where on the seashore far away from the world. ‘The picture by Willem Van de Velde, dated 1661, and belonging to his Amsterdam period, represents not the open sea but the Zuyder Zee, which was nearer the painter’s home. He achieved his best work when depicting a quiet, sunny afternoon, with the water clearly mirroring yellow and brown sails, and ships outlined in the distance against a warm hazy sky. FLEMISH SCHOOL The ensemble of Flemish painting in the seventeenth century is not as many-sided as that of the Dutch School; above all, the specialists, commanding a small field to perfection, are lacking, as though they had been unable to develop beside the dominating Rubens. It is therefore quite proportionate to the representation- of the Dutch School, in this collection, that Flemish art should appear in but few examples—a portrait by Anton Van Dyck and a genre picture by David Teniers. The portrait by Van Dyck is a masterpiece of the artist’s Antwerp period, the period when he acquired the mastery of simple noble forms, and showed as much mental composure as was compatible with his restive and nervous temperament. It represents, very likely, the famous engraver Scheltius a Bols- wert, who was the best of the engravers of Rubens. ‘This is proved by a seventeenth century print by Adrien Lommelin which states the person represented is Schelte or Bolswert. The wild passion of precocious youth, the noisy elegance of the Genoese period, had been conquered, and the artist painted in his home city, Antwerp, a series of portraits distinguished by an intensive characterization of the heads, simple from outlines, and a reserved gray tone. In the careless, indolent position of the hand in our portrait we already detect the approaching note of his English period, but the quiet and impressive head shows still the stamp of individuality. A late copy of this picture, which is still catalogued as the original, is now in the museum at Douai, and the sitter is designated as Hubert Duhot. It is a moot question to what extent this designation is justifiable, and whether or not it is based upon tradition. Having first considered Dutch painting, Flemish pictures — seem less varied in their types, less individual in their char- acteristics. Teniers is a marked example in point; he repeatedly uses the same types, even upon the same canvas. For instance, the lover in the foreground of the picture in the Borden Col- lection figures also as one of the men near the fireplace. That which interests us principally in Flemish, as compared with Dutch painting, is the fluent technique reminding one of French art and sharply distinguished from the heavy impasto of the Dutchmen, as well as the omission of useless details, and the bright fresh coloring which lends even to serious scenes a festive character. In this particularly well-preserved and excellent example these traits are pleasingly obvious. -The room is not overburdened with detail, as is often the case in Dutch interiors; even the dog and the still-life are painted with a freedom and a feeling for essentials which bring to mind the work of the greatest master of still-life in France, Chardin. ‘The couple in the foreground is not only well composed and excellently drawn, but also exceptionally effective in its scheme of color, notably in the garments of the woman, her blue skirt, red bodice, white shift and cap.- The picture depicts that peasant life for the portrayal of which Teniers is famous. FY ITALIAN SCHOOL We do not stray far from our field if, in conclusion, we consider two paintings of the Italian School: Venetian views by Francesco Guardi—for the Venetian School is more intimately related to the Dutch than is any other of the Italian Schools, and comparison between Dutch and Venetian art has often been made. The similarity lies in the influence exerted upon art by partly similar climatic conditions. Much moisture in the atmosphere creates a fine silvery haze which veils the con- tours of the objects and gives greater interest and significance to atmospheric appearances. Dutch, as well as Venetian paint- ing, is therefore remarkable in its rendering of air and light, and among the Venetians no one understood how to reproduce in his pictures the shimmering sun of Venice as Guardi. Truly, in the art of Guardi we are considerably removed from the Netherlands, not only geographically, but because the sun of _ the south was an inspiration for a brighter and infinitely more brilliant scale of colors. Perhaps the more important difference is that of time; the great Hollanders belong to the Baroque period with its feeling for massive, heavy forms, for strong contrasts of light and shade, and for cumbersome drawing. Guardi is a representative of the Rococo, which transformed heavy forms into well-composed masses, straight broad lines into short and elegant curves, and which brightened chiaroscuro and brought out scintillating light. If we compare this view of the square of St. Mark with Mr. Borden’s picture by Pieter de Hooch, where the artist obviously strove for elegance and brilliant light effects, it is evident that Guardi belonged to a more advanced and a happier time, to a period of easier living. The two paintings, the view of the Canale Grande and that of the Piazza San Marco, are small but excellent examples of his versatile and charming art. PAINTINGS OF THE ENGLISH MASTERS By AUGUST F. JACCACI In Mr. Borden’s collection of English pictures, all the leading eighteenth century portrait painters, with the exception of Raeburn, are represented. In a manner of their own suited to the taste and needs of the period, the painters of this school carried on the gracious and urbane style of Van Dyck, as well as the traditions of the old Italian masters, especially those of the Venetians, which came partly through Van Dyck, and in the case of Sir Joshua were renewed at their source. A certain union of dignity, grace, ease, and the adaptability of the por- trait to a decorative arrangement as established by the painters of the grand life of Venice, by ‘Titian especially, is thus carried into the eighteenth century, but the subjects and the art are native. While the Italian tradition predominates only in the works of the famous first president of the Royal Academy, and the production of each artist has its originality and distinct characteristics, its marked difference of temperament and edu- cation, all endeavored to give the particular elegance, the well- bred manner which was the cachet of English society at the time, all found their individual mode of expression within this general desire—and, no doubt, necessity—to depict the refine- ments of life. Hence their air de famille. They all are, like their illustrious predecessor Van Dyck, painters of fashion, who only saw their sitters (whether of high or low degree) in atti- — tudes and with expressions which were recognized as de bon ton in the fashionable world. Even when they were not men of culture, they reflected the amenities and polite graces of their cultured milieu. We may add that it was their great good for- tune—and ours—that the taste of their time was good, and the costumes simple, most becoming and eminently paintable. Pic- torially and psychologically the portrait painters of the eigh- teenth century English School have met their problem and used their material with fine results, and deservedly achieved a great success. Mr. Borden’s collection comprises some typical examples. In “Miss Morris” the seriousness and intellectual weight which belong to Sir Joshua, the acknowledged head of the school, and to him alone, are clearly evident; and they are here allied to a sense of composition quite free from conventional canons. ‘The ingratiating personality of this straightforward, innocent and sensible young lady is rendered with authority as well as kindly understanding. With all that innate elegance which is the dis- tinguishing mark of the art of the period, this canvas has the poise, the dignified tenderness of the artist; and the grave sympathy, the unaffected and penetrating straightforwardness of its portraiture, are revealed in the noble simplicity of its treatment. | 7 Gainsborough’s portrait of “Miss Horde” has all his verve, finesse and his unrivaled piquancy of execution. The lightness and grace of this work in oils has the playfulness of touch, the daintiness of improvisation, of a pastel, and is admirably suited to the presentation of so vivacious, spirituelle, and entirely sophisticated a young person. Sitter and painter present the critical and philosophical attitude of the eighteenth century. The artful simplicity of pose and costume give extraordinary interest and importance to the sgwardo, the look in the eyes, and to the smiling mouth. This most expressive and delightful piece of characterization is carried out in a subdued and har- monious scheme of color. The dash, abandon and supreme cleverness of the great virtuoso of the school, Sir Thomas Lawrence, are fully revealed in his “Miss Kent.” And it is the more valuable an example md that it retains the freshness and attractiveness of a happy, thoroughly artistic and satisfying improvisation. Cleverness _ allied with elegance and painter-like feeling can go no further. Costume and draperies are merely brushed in, and in contrast, the head, which is carried much farther, acquires the finished bloom of a perfect flower. The face in profile is representative - of the English “beauty” of the time, for it is evident that the “classic” type, which was then in fashion, affects the por- traiture. : Romney has a full and varied representation. An im- portant composition, “The Willett Children”; an almost full- length portrait said to be the “Countess of Glencairn,” and an idealistic representation of his favorite model, Emma Lyon (Lady Hamilton), as Madonna, whose pseudo-religious char- acter gives the manner in which the classical subjects of the Italian School were adapted to the taste of polite English society of the time. ‘The Countess is an entirely representative picture, although the lower part of the dress has either been repainted or was finished by another hand. The natural and graceful pose, which recalls another celebrated portrait of the artist, of Miss Frances Woodley, brings out the feminine charm of the no more young but still most attractive sitter. The débonnaire treatment has an easy assurance and a sum- mary decorative sweep. The lady who is not absolutely identi- fied may be the Lady Bell Cunninghame of whom, according to Romney’s ledger (under No. 33), he painted a half-length and two whole-length portraits, of which only one was finished. Lady Bell was Lady Isabelle Erskine, second daughter of the Tenth Earl of Buchan. She was first married to William Leslie Hamilton, and secondly to the Rev. John Cunningham, who afterwards became the Fifteenth Earl of Glencairn. We have a list of the many sittings she gave to Romney during her first and her second marriage. ¥ The large and important “Willett Children” is beautifully handled in an assured and convincing manner of presentation, which is so thoroughly suited to the subject as to be a part of it. Its composition seems as spontaneous as its technique; both have the look of being born together by happy chance. The background is amusing in its rapidly sketched indication of a landscape motive, but it also plays its part well in the general arrangement, and in tone and color it admirably fulfils its function of bringing out the figures. The grouping of the children might seem casual, but in reality it is carefully thought out and is most effective—only there is no trace of effort, all is perfectly natural; yet poses, faces and expressions are full of character and each child has his clearly defined individuality. One feels sure that here are good portraits. And when one remembers how few great portraits of children there are in the whole field of art, one realizes how precious is this rare gift, this true understanding of childhood which Romney shows in such a canvas. It is one of his most successful works, and, like the “Countess of Glencairn,” it has that unaffected grand air which is what eighteenth century patrons desired and what remains to us also a large part of their appeal. In the Hoppner “Miss Arbuthnot” we find the same view- point as in the works of the other and greater men, and, in a measurable way, it achieves the same success. It is a triumph of distinguished and rather sophisticated simplicity. Out of most ordinary material, of a face with no particular beauty or specially marked character, the eighteenth century convention (a most happy one in this instance), while expressing enough of the real facts, presents them with so fine a sense of elegance and breeding that as a result the picture is extremely attractive. The excellence of the general arrangement makes one pass over the faulty draughtsmanship in the lower part of the figure. One wonders if the artist was deprived of the one more sitting, or the few more moments he needed. But it may well be that the artist did not care, and why should we? Are not all the essentials of the portraits there, all that is significant and matters? Does not the work tell—as it should—and tell gracefully and with most capable understanding? Is not the characterization excellent, the landscape background fine and the whole result delightful ? : When these portrait painters make use of nature in their backgrounds, they cannot but arrange it to suit their purpose. Having to be subordinated to the figures, it has to be treated artificially—much like a piece of tapestry suspended behind the sitter. Even Gainsborough, who was both landscape and por- trait painter (and seldom introduced landscape backgrounds in his portraits), and who painted some excellent landscapes during his early period when he took his inspiration from the Dutch masters and was concerned with real facts, soon fell into making use of nature in painting landscapes which, while deco- rative and beautiful, are essentially arbitrary arrangements. The English landscape painters on the contrary went straight to nature for their facts and their inspiration. Of course they knew and admired the Dutch and Flemish masters and they loved Claude, but they took their subjects from the familiar nature around them, and to express themselves they developed a manner of their own. They mark the starting point of modern landscape. Constable was the precursor of the great Frenchmen of 1830, and we know what a revelation his work was to them and how it inspired them. Of him Mr. Borden has a small early example, “The Sluice,” one of those thorough studies of facts upon which are built the fresh, luscious and radiant achievements of his maturity. “The Willow” is one of the most important and best known pictures of John Crome (“Old Crome’). It figured twice, 1876 and 1891, at Winter Exhibitions of Old Masters at Bur- lington House, and is considered the artist’s masterpiece by Mr. J.C. Horsley, R.A., who selected the English pictures for both exhibitions. The two old trees which dominate the composition give it a nobly dramatic character. Warm glowing color is allied to solidity of construction, the peaceful country stretch- ing out to the distance is bathed in soft sunshine; in the moist and luminous sky, tenuous summer clouds float across the azure. In this picture the dignity of a Dutch formal composition is united to a fresh native outlook. While this Dutch influence is marked, Crome is too real, too profoundly sensitive to nature itself, for the work to be in any way derivative; it is Knglish to the core. One would say that the attitude of this sturdy British artist makes him nearer to Ruisdael than to Hobbema. Like him, his very serious and elevated mind dwells upon the more significant and deeper aspects of nature. In the serenity and the ever young beauty of a summer’s day, those two vigor- _ ous old trees, bearing the marks of the struggles of years with the elements, have a rugged grandeur which imposes itself and give a lyric quality to the whole picture. Of the two ‘Turners in the collection, the small one be- longing to his early: period, a seascape with strong oppo- sition of sunlit and dark masses, shows the harbor of Dover in the middle distance. The larger one, “The Regatta Bearing to Windward,” is a representative and masterly example of the second and best period of the artist. It is one of the scenes of yacht racing in the Solent which he either painted at, or during his visit to, Kast Cowes Castle, the Isle of Wight seat of his friend, Mr. Nash (the great architect of the Quadrant, Regent Street, ete.), in the autumn of 1827. Together with a companion picture, “The Regatta with the Royal Yacht Squadron Parting from its Moorings,” which is now in the Sheepshanks Collection at the Victoria and Albert Museum (No. 210), it was painted for Mr. Nash and exhibited at the Royal Academy in 1828. That these yacht racing subjects fascinated him may be seen by the five examples, all of smaller size, which are in the ‘Turner Collection at the National Gallery (Nos. 1993, 1994, 1995, — a 1997, 1998). : This picture, which with the Sheepshanks example is the best of the series, illustrates not a romantic but a real phase of the artist’s mind. Soberly conceived and soberly carried out, it nevertheless expresses the poetry as well as the bustling spirit — of the scene. The clear joyous sheen of sunlight on sea, boats and distance, the wonderful and exquisite atmospheric quality have never been surpassed by him and show him at his highest. No one but he could have painted such a sky, of such infinite depth, in so high a key, so suffused with tender light, and so alive and mouvementeé. There is animation everywhere and tumult on the sea. The fluidity and weight of the rough water, the force of the wind filling the sails, and the rush of the boats as they drive through the big waves, are marvelously expressed. In subjects of this kind, objective, pregnant with observation and vital sympathy, Turner cannot be surpassed. It is not the pictur- esqueness of the scene, but its life and truth—its dramatic quality—that appealed to him and appeals to us to-day. George Morland’s intimate pastoral note is an excellent example of the work of this honest and most sympathetic artist, in which pigs, a donkey, a dog and a countryman are used to express the poetical charm of an English rural scene bathed in soft summer sunshine. Painted in a minor key, it fitly repre- sents this modest man, who is a genuine artist and not merely popular and pretty. To appreciate Morland’s value as a painter we have only to compare him with the Victorians who v followed. We can enjoy his donkeys and his pigs as we enjoy ~ those of Decamps, and he has a tenderness and a charm all his own. In its atmospheric quality Nasmyth’s “Edinburgh from Gogar” shows the influence of Claude and the classical tradi- tion is also felt in its artful and effective architectonic arrange- ment. From the foreground, all lines carry the eye towards the center of the picture, where, far away, looming up as the focus of the whole composition, the Castle dominates the city which is lying at its feet. Tree masses, very dark in the fore- ground, less dark in the middle distance, bring out and em- phasize the shimmering beauty of the distance, the glowing lightness of the sky and its reflection in the water. A life-size portrait of a child holding a parakeet on her hand, “The Pet Bird,” by Sir John Millais, is a rather late work, which for its subject is more interesting than usual. Opus CCX XXII of Sir Laurenz Alma-Tadema is a scene with two maidens seated in.the loggia of a Roman villa. Both are characteristic examples of the two most popular artists of the modern English School at the end of the nineteenth cen- tury. (Sir Laurenz, although a Hollander born and bred, belongs to the English School.) PAINTINGS OF THE MODERN 4 FRENCH, DUTCH, GERMAN AND AMERICAN — MASTERS i By AUGUST F. JACCACI The large representation of French art in Mr. Borden’s collection begins with a picture of the eighteenth century and comes down to work of the end of the nineteenth. It includes | many examples of the so-called “Barbizon School.” , Greuze’s “Innocence” is a finished example of the senti- mental genre, the popularity of which with the French public of the second half of the eighteenth century was largely due to the encyclopédistes, the advanced thinkers whose ideas and — theories were preparing the Revolution. It was an art which reflected their humanitarian literature. Like Jean Jacques - Rousseau, Greuze aimed at the glorification of the poor, of the a peasants, by illustrating their humble joys and their sorrows. _ The life he depicted, however, was an imaginary one; his per- sonages were so sentimentally sweet, so candid, so good, their manners were so modish that they had no prototypes in reality. It is difficult for us to realize that these fairy tales had so great and so real a meaning for the thinkers of the time. And it is appalling to reflect that, in a way, they helped form [état d@esprit of the revolutionary doctrinaires, giving them their sentimentality for imaginary people and conditions, and leaving them with their pitiless cruelty for living humanity. Having had extraordinary success, it was the misfortune of Greuze to find himself out of touch with his public in the latter part of his long life, when the Revolution came, and with it the school of David based upon the art of Greece and Rome which was hailed as representative of the ideals and aspirations of Republican (and later of Imperial) France and became its official school. Greuze was ignored, his work fell into contempt and he ended his days in misery. The catholic and enlightened curiosity of following generations has rescued him from unmerited neglect, for he not only is historically an important figure marking a period of French thought and feeling, but he is an artist of no mean capacity. It is true that, often carried away by the philosophical and sentimental side of his subject, he forgot that his duty was to paint and not to preach, but Mr. Borden’s picture proves that he could be a real painter. Its drawing and modeling are excellent and the general color scheme is not with- out distinction. Of the early nineteenth century romantic school—which was a revolt against the pseudo-classical school of David and his followers—there is an excellent little canvas by Géricault, who, by his great personal influence more than because he really was the first in date, deserves the honor of being considered its founder. An early death cut short his career prematurely, before he had given his full measure, hence his limited produc- tion is all the more valued. But his great works, “The Raft of the Medusa” and his portraits of officers on horseback, need no apology—they remain glorious landmarks of protest, and of an: achievement which is pregnant with all the possibilities of the future. We can only realize what was then called the artist’s vehemence and audacity when we look at the cold, lifeless pic- tures of the academic school of the period. He was a man of the world, well born, who knew England and English art well, _and was a sportsman and a great rider. The little canvas of a white Arabian horse in a stable, which is one of several similar pictures testifying his love for and knowledge of the horse, shows in its powerful modeling that he had the temperament of a sculptor as well as of a painter. Of Géricault’s friend, Delacroix, who is in every way the great man and dominating personality of the school, there is a very fine picture, “A Combat in Algeria.” The choice of sub- ject is significant, and proclaims the independence from sterile conventions and the return for inspiration to nature and life. In the school a subject of this sort was considered impossible — and vulgar, for the simple reason that it was not “academic,” never having figured in the repertory of the Italian masters. We fully appreciate the beauty and personal qualities of its composition, and see that while Delacroix was disdainful of all formulas, he also worshiped at the shrine of these old masters whom he refused to insult by copying them. It is clearly their spirit that we feelin him. In his work, as in theirs, we see that, while impressed by reality, the artist has given free career to his imagination. And with Delacroix, as with them, it is an incomparably fertile and compelling imagination. ‘The fiery technique which was admired by the few and criticized as revolu- tionary by the many, remains original even for us to-day, precisely because it is his, because it is fashioned by him as the best means for the realization of his conceptions. “To assure ourselves that he was one of the great composers as well as one of the very few truly great colorists of the world we need not look at his large decorative work, as the example in this collec- tion shows. The scene is rendered with absolute directness and epic vigor; and the brilliant variety of its chromatic harmony is wonderful. ‘This splendid picture, one of the last painted by Delacroix, justifies the unanimous verdict of the critics when shown at the Pavillon de Flore exhibition in 1878, that it em- bodies all of his qualities and the fulness of his genius.” | In consequence of the example given by their leaders, Géricault and Delacroix, the artists of the romantic movement soon began to understand the importance of travel and to cultivate an interest in foreign lands. Descriptions of places, ¢ b) “voyages pittoresques,” were the vogue in France, Germany, and in England, where the series illustrated by Turner are an example in point. The travels of Delacroix in Morocco and Algiers mark the beginning of the orientalism of the romantic school, a term which included Italy (the picturesque and not the “classical” Italy) as well as Constantinople, Asia Minor and Northern Africa. While he painted many other subjects, Decamps was recognized as one of the founders of orientalism and with Marilhat he became its most popular exponent. His small Italian genre picture, “The Little Sailors,’ has an accent of truth which at the time it was painted constituted a good part of its novelty and of its attraction. It shows his parti pris of light and shade, and, rather more soberly applied than is usual, _ the familiar and curiously complicated technique which was one of his chief preoccupations. ‘This picture reminds us also that the world was not only turning towards exotic subjects, but towards subjects from the life of the peasantry. There were hardly any others left to the painters, for the aristocracy, as having a life of its own distinct from that of the community, had practically ceased to exist, and the life of the bourgeoisie, which was becoming the dominant class, offered no field what- ever to the artist. Moreover, peasant life as a subject was in accord with the democratic aspirations of the world. This class of subjects brings us naturally to Daumier, whose whole interest was centered in the life of the people, more generally in the petits bourgeois, the workingmen, the proletariat. In the synthetic simplicity and extraordinary force- fulness of his drawing he reminds us of Michelangelo, who evidently influenced him, and makes us think of Millet, whom in turn he influenced. He was a great painter who had to make his living by hurriedly jotting down his comment on the life and manners of his time in innumerable lithographs, which prove him to be a keen satirist as well as a master draughtsman—a very different person from the mere caricaturist that he was considered to be by the successful painters and academicians whose opinions were law in the official world of his day. (And we know neither their works nor their names!) His important example in this collection is the earliest in date of two pictures, the second of which with varientes belonged to the collection of — Count Doria. This is one of the series of scenes in a Third- class Railway Carriage, and has the eloquence and power of characterization which we naturally expect and always get from Daumier. But it also shows what should be expected, and is not as yet, a beautiful sense of color. For, in a quiet and sub- dued way, most subtly, by the use of but few colors, the artist proves himself a rare tonalist and colorist. The world has come to acknowledge him a great painter, but during his life his pic- tures accumulated in his studio and could find no purchasers except a few artists—Daubigny, Corot, Rousseau—who hon- ored themselves in showing their appreciation of him. This rarely important example, of the best quality throughout, must be ranked as one of the artist’s finest achievements. The figure painters of the romantic school, among whom men like Decamps painted occasional landscapes, were working on the principle: “La nature c’est le prétexte, lart c est le but.” But the landscapists of the new movement made the study of nature their goal. It has been clearly demonstrated of late that throughout the eighteenth century there existed in France a national landscape tradition which was still alive when the romanticists began. The example of some brilliant men, little known, who had felt the influence of Rembrandt and Rubens, was also of importance to the new men; and so was the Italian tradition, misapplied it is true by the academic school, but which was finding a new and worthy expression in the works of artists who cannot be classed as fully belonging to the romantic move- ment; then the brilliancy and beauty of color of the work of Constable came as a sudden revelation of possibilities. It was under all these influences that the artists we know under the names of the “men of 1830” began their work, and followed their standard bearer Delacroix in the fight against the preju- dices and the privileges of the entrenched school. All they wanted was the right to their own expression, and it was that which was denied to them. It was the fine period of youth, of generous enthusiasms, of devotions to ideals, and the din and roar of battle as stimulating. But these landscapists were not theorists, they were rather religious fanatics who felt the call of le retour a la nature as their shibboleth and obeyed it. The very simple term of naturalists can be justly applied to them. The same spirit animated them, they all loved nature, but every one of them strove to develop a straightforward, personal and painter-like technique suitable to the expression of the par- ticular aspects of nature he loved best. Instead of following the deadening formulas, the affected conventions and subter- fuges which composed the practice of the academic school, they tried to render in terms of pure painting the depth and sincerity of their feeling for nature. And it is because they shared the same ideals and aims that their production, unlike that of the followers of the Academy, is in every respect, in choice of sub- ject and in treatment, so intensely personal. The Borden Collection is rich in examples of their work. In “The Approaching Storm,” painted some years after his voyage in Holland when Troyon’s robust talent was at its best, the artist shows himself a great landscapist as well as a great animal painter. The broadness, sanity and truth of his observa- tion are clearly revealed in this painting of a spacious, almost level, stretch of land, rising, like the floor of the ocean, to a horizon line which seems to mark the end of the earth, and infinitely beyond which is the glory of a resplendent sky. The general outlines of the rapidly approaching storm clouds and their clever repetition by the broken line formed by the slow- moving oxen which two peasants are trying to hurry, give the sense of movement and make the scene alive. The artist loved such contrast of sunlight and shadow as this picture shows, but he seldom achieved them so successfully and in so big a way. Troyon and Daubigny have been called the prose writers — of the romanticists. There is some truth in this attempted definition, but the whole and significant truth in regard to Corot is that he is the poet, yet he can hardly be called the romantic school’s poet. He was and is included among them largely because, even if he was not aware of it, his tendencies were those © of the romanticists, and he was against the fossilized spirit of official teaching and its deadening influence. The Academy did not suspect that it was he who was the sole follower of Claude Lorrain and of the French tradition which continued the Italian classical style. The quality of his genius was too personal, he was too simply the lover, the humble and enthusiastic lover, of nature, the unpretending and joyful painter man, and so they refused him admission to the Salon and persecuted him. Being — as they were, what could they understand of his researches for a subtle differentiation of light, of the envelope, of the relations — between the sky, the water, and all the features of a scene, the figure and the landscape? A candid, honest and isolated student, such as he, was too far removed from their sphere, and so, fortunately, he went on trusting in himself in spite of his modesty, feeling his own way and working constantly. He proceeded slowly, and it was only after twenty years of hard work that he finally abandoned all traditionalism, but the flavor of the classical style remained with him and we can detect it even in the most summary of his sketches from nature. This penchant for the classical is particularly felt in two of his four pictures in the Borden collection, the “Bateau au Clair de Lune” and the “Cueillette au Bord du Chemin.” Both are variations of favorite themes of the artist which first made their appearance in some of the pictures he painted in Italy, and to which he returned at different times throughout his long career. He employed these schemes of arrangement built on the same general lines, but contrived to make each a distinct achievement, an interpretation of the rural France he loved, and to which he thus added dignity of style to the beauty and Virgilian serenity which are the stamp of his genius. The “Pont de Mantes,” with its subtle and masterful rendering of tone values, shows him as the discoverer of the discreet and idyllic charm of the French country. And yet it is the faithful portrait of a site. He was the first of the modern painters (and remains incomparably the most accomplished) who lightened his palette, discarded the brown and reddish tones, and revealed the bewitching charm of gray harmonies. These pearly gray tones enabled him to render the luminous silvery atmospheric effects which we may perhaps consider his most precious contribution to art. No one had ever attempted before to paint the air and white light of _ early morning. 7 The last picture of him is one of the figure pieces which have come to be so highly valued, and in which he studied the tonal relations between figure, landscape and sky. The back- ground is always in light gray modulations; in the figure, the costume of which denotes the romanticist mliew, are decided colors and a more solid and enameled execution which recalls Vermeer or Velasquez—and that idyllic personality of a pure- minded man with the heart of a child, whom age did not change. He remained to the end an idealist. Yet it would be a great mistake to dwell too exclusively upon his gentle poetic qualities, for under them is always the virile power which gives vitality to all great achievements and without which they are impossible. Of Rousseau, the great lyric and passionate painter, Mr. Borden possesses also four pictures which demonstrate the respectful attitude of his reflective mind before nature and the = patient firmness of purpose with which he worked. He sees everything, the infinitesimal and the big, the moss, the tiny blade of grass, and the oak; and he wants to include in a picture | each component thing with its character, color, and life, and without losing the harmony of the whole. What such a pro- gram means of undaunted pertinacity can be surmised. Because of it, his whole life was a constant attempt at full expression, a series of heart-breaking efforts, a struggle of Sysiphus. Hence the grave, religious, the almost tragic note of his work, and his wide range of subjects, of effects and of technique. No achieve- ment could satisfy him, he was ever after a more fitting realiza- tion of the ideal that possessed him. But in his search for the unattainable he produced masterpieces, and his whole work is an unrivaled revelation of power and of love and of under- standing of nature. 3 It is difficult for us to fully comprehend of what enormous — importance to art have been the achievements of the landscap- ists of 1820, those of Rousseau in particular, unless we remem- ber that the teaching of the official school was confined to the study of the works of Italian masters and to their imitation, con- stituting the “heroic” style, which produced not landscapes but scenic arrangements filled with “noble” features, tombs, foun- - tains and monuments. ‘There also was an approved “rustic” style which copied the features of the old Dutch landscapists. The depicting of something actually seen, for example, a bit of French country under the noonday sun or at sunset, was a treasonable innovation, a revolutionary proceeding, the perpe- trators of which were ostracized. It took faith and determina- tion to live and work as these men did under persecution and with hardly any encouragement but from one another. The world is their debtor far beyond the value of their pictures. If we look with that in mind to the little canvases of Rousseau in Mr. Borden’s collection they acquire an added bigness, and we can penetrate their meaning and appreciate them all the better. No. 55 is a landscape entitled “Le Plateau de Bellecroix”’; the “Pool in the Forest”’ (with its superb design of tree tops against the sky) is a site in the forest of Fontaine- bleau; and “La Mare a Piat, Forét de Fontainebleau—Soleil Couchant” was probably painted near the home of the artist. They have a grave look, something of the same lofty seriousness of Ruisdael, and an intensity of expression which embraces detail and ensemble. ‘They depict nature as it is, but seen with devout concentration of thought through a noble temperament. Four examples show the different phases of Dupreé’s talent. If to them were added a sea picture the representation would be complete. Dupré was also a true artist, a student and lover of nature, with a sincere and powerful vision; and he was a scien- tific and magnificent technician, the best among the naturalists. Yet if we compare his work with that of his friend Rousseau, we see that technique, however impeccable it may be, is but one of the elements of art. Rousseau was not by any means a con- summate technician, for he was constantly trying some new method; but he was-the bigger nature, he had the greater range and depth of emotion, feeling and understanding. 'The two were life-long companions and their work had much in com- mon, for they shared the same ambitions and led the same life. It is the difference in their natures alone which made the differ- ence in their art. Two of the pictures express the peaceful charm of nature and two its more dramatic side. The artist’s plastic expression adapts itself to all phases; being rugged and powerful at times, smooth and flowing at others. , Daubigny’s personality is robust and simple; the honest directness of his work is convincing and its charm thoroughly satisfying. He writes prose in a limpid and manly style whose perfection seems a matter of course since the right word is so naturally always found in the right place. His manner is not searched for like that of the other men we have been consider- ing, but it admirably fits his subjects—banks of placid rivers where, set in the greenery, little villages lie peacefully in the = noon-day of summer under the guardianship of some tall pop- lars. Itis evident at a glance that he painted from nature. He was the first and only one of the men of 1830 to paint his pic- tures entirely from nature. While his friends left a large number of studies from nature, their pictures were at least finished and in general wholly painted in the studio. It was in © the open air, face to face with the scenes that captivated his fancy, that Daubigny achieved his cursive, competent and alto- gether splendid métier. The single-mindedness and energy of his effort is patent in the innumerable rapid studies that he accumulated: stenographic notes, “impressions,” which fore- cast later developments. Was he consciously following the -example of Constable in thus jotting down all that struck him? = : We know not, but of all the Frenchmen of his time he is the nearest to the English master; perhaps because he also is gifted — with the sense of fresh, vital color, and loves the rich, solid, — luscious green of summer vegetation. His is a sturdy and straightforward talent with no dark and dramatic tinge. His mood is pastoral, and the scenes he depicts are mostly from his beloved valley of the Oise, that of the Isére and of the Seine, their waters mirroring the fertile banks; and occasionally with a figure or two, or some birds, to give them a sense of pulsating life and emphasize their silence and restfulness. His three pictures in the collection represent him well. The Seine motive, a view of Mantes la Jolie, gives the stateliness and orderly beauty of a justly celebrated site of the park-like region of the Isle-de-France. It antedates by eleven years “The Willows,” a picture of robust serenity, of simplicity and intensity of vision, and of the virile technical assurance. The “Bords de lOise,” of a little later date, 1866, a variation on one of his favorite and more intimate themes, expresses in the most direct manner the winning, restful charm of one of the many quiet little villages strung along the course of his favorite river. By Diaz, the most successful man of the school, because more familiar, facile and brilliant, and therefore more easily understood, is an excellent landscape in which we find much to remind us of the men he most admired, Rousseau and Dupré, to whom he ever was the best and most helpful friend. A figure piece, “La Bonne Aventure,” a “romantic” genre scene with personages in a landscape setting, of a sentiment somewhat stereotyped, is a graceful presentation of a subject literature had made popular, in which no serious appeal is made either to our imagination or our feelings; but it is painted by a born painter—a man who was intensly and joyfully inter- ested in the thousand ways of handling the brush, in the alchemy of the palette, the qualities of paint, and who reveled in execu- tion, in contrasts of transparent washes and hard enameled impastos, of smooth and rugged surfaces. The fancifulness of the costumes is a pretext to bring about certain color relations, such contrasts as between the light blue dress and white mantilla of the fair lady, and the dark costume, the swarthy face, the dark toque and feathers of the cavalier standing behind her; between the dark gipsy and the light colors of the two little girls standing before her—in a mosaic-like ensemble where delicate pale salmon, pale yellows, grays and silvery whites, sing out as the petals of rare flowers. Everything in the picture is but the play of a happy and youth- ful nature. While there is no deep meaning but a simple desire to exercise facile and charming gifts, to be attractive and to please, while the appeal is to pure sensual enjoyment, the story is not a scenic figuration, a cold simulacre of life; it is inspired by the romance of life and told with zest. The technique of the landscape is altogether fasciiaeinel It is clear that such a subject would never have been chosen by the artist if Rousseau and Dupré had not lived. It is a stern subject, but it loses its sternness when painted by Diaz; the masses of cloud might have a tremendously dramatic look, they have not; cloudy sky and arid land merely serve this gifted artist to fashion something which is fascinating to look at. We have now come to the end of the so-called “Barbizon” school, which in reality is not so much of a school in itself as a development of the “Romantic” school. But we must remem- — ber that it is only historically a part of that movement of protest and emancipation, and that if we were to give to these lovers of nature a more true and explanatory title, we should call them naturalistes. Monticelli, who began a little later hen they did and when the right to be oneself had been vindicated, profited by their example, but grew and ever remained an individuality entirely _ ; apart. His great admiration was for the Venetians, but we find in his work other and stronger elements, the souvenir of — Watteau and his gallant scenes, the knowledge of the chiaros- curo of the Dutch, the decorative use of landscape and the free manner of the English school. Out of all this, Monticelli evolved a personal, complicated technique; the like of it had never been, and it is safe to say, never will be again, as it is a part of the man, invented for and suited to the extraordinary conceptions of his singularly fanciful and fertile imagination, and without which they could not be expressed. He is a romantic in the choice of subjects, vaguely medieval or what not, but always and really fantastic. Disporting themselves in mysterious glades and forests are women, in gowns of his own invention adapted from the fashions of the Second Empire, who have the elegant air and aristocratic manners of the fated and beautiful Empress Eugénie for whom he had conceived a pro- found passion: ““PAUVRE VER DE TERRE, AMOUREUX D’UNE ETOILE!” They are scenes of a new Decameron, his own Decameron, —which never have a precise subject—where his choice crea- tures rest, move about, attitudinize—and one wishes for nothing beyond, for they are part of a most ravishing world of color. The pictures of this very great painter executed with the brush, the palette knife, the thumb, present warm and deep harmonies scintillating with exquisite bits of subtle, or tender or brilliant color, which gives them a resemblance to rare precious stones in which splashes, veins and points form strange and fascinat- ing combinations. Even when painting pure landscapes from nature in which he sought to depict what was before his eyes, we can see what an imaginative lyric poet he was, for these studies reflect and are dominated by his mood. His two can- vases in the collection represent him well; and they fortunately belong to the class of his blond schemes, and therefore retain the bloom of color which the brown pictures, grown dark, have par- tially lost. The “Shepherd and his Flock” has that austere almost religious look which defines Millet’s attitude before life and art. Its subject is of the simplest, a shepherd who leans against a rock in the foreground, looking at his flock in the vale beyond. He is standing in the shade, his watchful dog near him, while the sheep pressing together in the sunshine fill the narrow bottom of the little valley. Small in size, it is big in conception and sentiment, built upon Virgil and the Bible. The early work of the artist, the mythological subjects which he painted under the inspira- tion of Poussin and in which there is a flavor of the eighteenth century, was most important by way of education, so that when this grave and tender artist came to his real work he was singularly well equipped, as this little canvas proves. His true expression was the paraphrase of the commonplace and tragic details of every-day peasant life. His profound sympathy with the man whose life belongs to the soil as the trees and the rocks, was without sentimentality, and his manner with no tinge of cleverness; and he was no naturaliste, for he did not paint > his peasants from nature. The epic simplicity of his synthetic drawing is compelling, and it is through that Michelangelesque drawing that he has been able to endow his familiar subjects with such grandeur and to express such tender and elevated | thoughts about the peasant whom he saw with deep brotherly sympathy, one might say almost in an evangelistic spirit. Rosa Bonheur suffers now, and unjustly, from the great success she had during a large part of her long life, yet she belonged to the new movement. Following Troyon in the field in which he was the leader, she kept to his high standards of sincerity of observation and scrupulousness of rendering. Her group of Highland cattle in this collection (belonging to 1862, her best period) is a fine picture, whose honesty is evident, for not only are the animals thoroughly studied—they were of course her subject—but the setting is searched for with much conscience. She is no more truthful than Troyon in the choice and delineation of her landscape backgrounds, but she shows a greater range than he does; we find him often repeating him- self, she seldom if ever does—and we can see in this picture how full of local character the setting is in its rugged simplicity, the largeness and soberness of its lines, its sense of big wind-swept spaces and of the solitude of the heights. Her art is based upon close observation. Fromentin marks a special development of the French school, that of the Orientalist genre which, with the modern curiosity for and the facilities of travel in foreign lands, has been steadily growing. The Bellinis and Carpaccio have testi- fied to the importance of Islam in the Venetian world; under the gray skies of Holland Rembrandt had been haunted by visions of the Orient, and in the eighteenth century the inter- est fostered by the accounts of missionaries and travelers had resulted in the popularity of Turkish subjects and Chinoiseries (treated, it is true, in an operatic fashion)—but Orientalism really begins in the nineteenth century, and Delacroix, De- camps and Marilhat are its pioneers. ‘Their example was followed by a host of artists who accompanied the armies which were conquering Algeria and reported their feats of arms and, after the domination of France was firmly established, by other artists who went to make a close study of the country and the people. Among the later was Fromentin, a subtle analyst of highly cultured and philosophical mind, who has left us some books of the greatest distinction, two on Algeria, and that extraordinarily penetrating book of art criticism: “The Masters of Old,” perhaps the best work of the kind that was ever written. | , In Algeria he found new elements of inestimable value. The manner in which he used them makes his role in the devel- opment of Orientalism an extremely important one. He was the artistic discoverer of Algeria. He saw this unknown fairy- like world and the patriarchial and chivalric existence of its primitive and heroic humanity as no one had seen it, and he has made us feel its irresistible seduction. The picture “A la Fon- taine” gives us in an every-day scene the sense of dignity and the unconscious elegance of Arab life. Like his hunting sub- jects, his razzias, his scenes of tribal wars, this simple scene reveals the life of the Arab with the richness of its setting, the magic of its sky, the beauty of the race and the picturesqueness of the life. And, moreover, the picture makes us realize that, with a mind steeped in the knowledge of the old masters, Fro- mentin’s ideal was to adapt their teaching to the new problems | confronting him. | | A little picture shows the character of Meissonier’s later work. It represents a cavalier dressed in that Louis XIII costume which, with that of the period of Louis XV, he adopted almost exclusively in his genre subjects. His art clearly goes back to the Dutch masters, Terborch and Metsu, with this vital difference, that their models were of their time, while Meisso- nier’s personages of the past perforce lack the charm of sincer- ity and reality of people constantly and familiarly seen. In his early period he was inspired by the splendid technique of these incomparable little Masters, their strong light effects, their rich- ness, warmth and transparency, the suppleness and broadness of their touch, but he gradually became the slave of his qualities and much of his work, with a precise and microscopic rendering, lacks atmosphere and is quite cold in color. But as we may see in this Musketeer, his drawing has an elegance and distinction entirely racial, and a virility, a decision, a certainty which are admirable. It clothes his purely objective vision with the force of life and explains the decisive influence of the artist upon the whole modern school of French genre. One has only to think what it was before him to see how vital his example has been. He has given to it its solid qualities of observation and of com- position, and its respect for truth. : One of Henner’s heads examples his Correggio feeling for the glow of the flesh against a dark background which, serving as a repoussoir, brings out its exquisite flower-like quality. Entirely independent of the world around him, filled with the souvenirs of the great Italian classicists, he is partly an idealist and partly a realist, and in this he is typical of his native Alsace. He learned to paint at a robust and manly school, his early works having the startling accent and searching finish of the primitifs, hence the solid reality, the impeccable construction of all of his work. He pursued with rare single-mindedness his own ideal of beauty: beauty of type, beauty of color and effect, and beauty of technique. In looking at the Gérome “Bonaparte en Egypte” one recalls what he said of the exotic spectacles of the Orient which is doubly applicable to this picture because of the immense popular interest in Napoleon: “Ce sont des sujets qui portent; plus dun qu na pas eu de talent ailleurs, en a trowvé la.” The choice of this subject shows a knowledge of the world, of how to appeal to the public. But what concerns the world in the end is something else, and the definite rank of an artist depends solely upon his pictorial qualities. ‘There is in the personality of this Franc-Comtois painter something of the strong honesty which marks the work of his compatriot Courbet. He is an archeologist and an ethnographer, but whatever the subject, his work is done with a stern conscience, with picturesque in- geniousness, but with a need of precision and truth which is of the same sort as the documentary realism of Meissonier. He ended very late in life by modeling in the round, and his statuettes of Bellona and Tamerlane tend to show that he was perhaps more of a sculptor than a painter. At any rate, his _ drawing is of the quality to justify Ingres’ definition, la pro- bité de Vart, and to account for his great and excellent influ- ence as a teacher—it has a scrupulous quality which we see well exampled in Mr. Borden’s painting. Without lyric lift, we feel the extraordinary impression of the enormous bulk, with the eternally questioning look, of the ruined Sphinx, and real- ize all the facts of the desert landscape which he alone animates, the particular character of the atmosphere and of the light. It is for us to use these true statements, as any traveler uses the facts before him, as a basis for our musings on the frailty of human life. Géréme has given us the facts. An example of each of the two military painters, Alphonse de Neuville and Edouard Detaille, presents an episode of the Franco-Prussian War. After the disasters of 1870 the recent and vivid souvenir of the great struggle was the cause of a recrudescence of battle genre painting in which these two men — : are the prominent figures. For many years De Neuville with his élan, his passionate temperament, and Detaille in a quieter way, played upon the patriotic fiber of the French nation. They both are in the direct lineage of Meissonier and Gérome, and show the qualities of close observation and thorough grasp . of the elements of their subjects which distinguish the older men. Their works will remain as accurate historical documents, in the case of De Neuville animated with the reckless and a dramatic war spirit. The “Return of the Reconnoiterng — Party,” one of the humdrum incidents of campaigning, is full - of spirit and makes us feel that its few soldiers have been in a skirmish, that fighting is their daily portion and that the spirit of it possesses them. In contrast, the Detaille “Charge,” which depicts an actual conflict, has the veracity of photo- - graphic presentation—that is the way it must have happened, —__ and the way the scene and every one of the protagonists must have looked to a cool observer. Jules Breton’s “Fin de Récolte” gives a fair presentation of the point of view of this kindly and sentimental painter, who has also given expression to his ideals in a book of verse and‘in © a volume which is a manner of autobiography. It is important in considering his art to think of his teacher, Martin Drolling, a man of his native North, one of those genuine artists of the beginning of the nineteenth century, continuators of the Dutch masters and precursors of the most modern forms of art, whose works were in Thoré’s (Biirger’s) mind when he said: “Formerly our art was made for the Gods and Princes; perhaps the time has come to make art for man.” (How trite, for example, is that often painted subject, a Kitchen Interior, 7 | and yet how beautiful and original is the little masterpiece of Drolling in the Louvre in which the artist found again the sincere and concentrated sentiment of the light in an interior, and the simple and intimate poetry of the humble subject with its tranquil atmosphere and calm radiance.) What is best in Breton he acquired from his master. He was also influenced by Léopold Robert, whose vogue is so passé but who nevertheless felt the beauty, the simple nobility of peasant life, and was the first to try, unfortunately without adequate means of expres- sion, to render it. ‘These two men and the poetical turn of mind of Breton determine the choice and character of his work, his desire to extol the life of the workers in the fields and to give, with its unchangeable and primitif character, all its poetical beauty. A picture of Jehan Georges Vibert, who has been de- scribed as the vaudevillist of the brush, shows his talent at its best, and with it we bring to a close the French pictures in Mr. Borden’s collection. An evolution which was fostered by the Louis-Philippe bourgeoisie, which represented its taste and received its substantial reward, was the treatment in genre painting of comic or educational subjects whose story was told with point and wit. There followed scenes with ecclesiastics as actors, jolly monks, good curates sitting at table, glass in hand and in amiable company. No drawing-room was complete without such pictures to adorn its walls, and their popularity with the large and naive public was attested at exhibitions. Among the painters who cultivated this remunerative field a few were artists. Of these few, the best perhaps is Vibert. He is, as we can see in this “Dispute,” a first-rate story teller and also a real painter. The stern discipline of Meissonier is felt in his drawing, which is conscientious and serious; moreover, he has faced the difficult part of his problem, the accord between the figures and the setting, with happy and satisfactory results. It is also towards the middle of the nineteenth century that the art of Holland shook itself free from the academic influences which it had received from France and the school — 4 of David, and returning to its national traditions, developed anew on the old lines of landscapes painted under the inspira- tion of nature, and genre scenes depicting in an intimate way the life of the people. In such a picture as that by Neuhuys we feel something of that great flame of tenderness and humanity which illuminates the work of Rembrandt, and which we see burning so brightly in that patriarch of the modern Dutch _ school—Israéls. Perhaps in no other school of painting is the ‘ inherited tradition so apparent as in the modern Dutch—the quality is probably a racial one—and while the modern men | are modern in every sense of the word, their adherence to the — tradition of their forefathers in painting is quite remarkable; in their vision of the world, in their arrangement of the elements which make their pictures, they have that rare power, and it is a highly artistic one, of discerning in the banal—the common- place things of life—the profoundest beauty. Moreover this — revelation of beauty is made with a simplicity and unpreten- tiousness which awakens more than surprise and pleasure, and is no doubt a great factor in the success of the Dutch painters - among other nationalities. Their closeness to Nature, their — contentment with the things about them, the homeliness of their subjects, whether a kitchen interior with wonderfully painted copper utensils, or a shepherd driving home his flock, whether it be a mother spinning, her children playing about, or an old man playing with a child—these painters have a power — of investing their pictures with a poetry which is compelling, which appeals to the universal heart of mankind. Two typical examples of this school in Mr. Borden’s collec- tion are from the brushes of the brilliant painters Anton Mauve and Albert Neuhuys. The subjects are a mother and children in an interior, and a man driving a cart along a lonely road in the woods. In the latter Mauve is present with all his verve— his power, breadth and dexterity: a painter of the outdoors and gray skies of the big world, and of cattle and flocks of sheep. He is a happy compromise between the real and the abstract—surely his pictures have the tang of the soil and the reality of life—but withal there is a seriousness, an aloofness which lift his subjects out of reality into the world of poetry. In this picture how truly seen is the road, the gray trees against the gray sky, the distant hills; one is almost conscious of the creaking cart as it lurches along over the wintry road; there is a dip in the road and one feels that in a moment wagon and man will have disappeared. Not too much is said, but Mauve says Just what is needed and he says it perfectly. There is none of that undertone of sadness and no trace of the influence of Millet which mark some of his work. In the picture by Neuhuys the same sense of poetry is pres- ent, and the same sense of reality—both are characteristic of the Dutchmen. The canvas is unusually rich in color, and in this it is something of an exception, for the tendency of the modern Dutch school is towards gray, so that the large bulk of its work is almost monochromatic. This mother and her children is a handsome picture painted in an artistic, workmanlike spirit with assurance and robustness; the medium is rich, the sur- faces beautiful, and the distribution of the light most effective. Both pictures example that sterling love for, and mastery of, their métier which distinguish the old Dutch school above all others and which has always been recognized and valued by connoisseurs and painters. MODERN GERMAN MASTERS Mr. Borden’s German pictures are of the second half of the nineteenth century, and with one exception are examples of the Diisseldorf school. In a way of its own this school parallels the evolution which took place in the art of France. Directed for a time by Cornelius and afterwards by Schadow, a member of that coterie of artists who had worked with Overbeck in Rome, its teaching on pure classical lines began towards 1836 to give way before the logical reaction towards realism; and its output changed from purely religious subjects, subjects of ancient history, or lofty academic conceptions, to popular episodes of national history, to genre and landscape reflecting _ the intimate observation of the world as it is. This was the point of departure of all modern German art. The German pictures in Mr. Borden’s collection are all of genre subjects — and by men who achieved fame in their day. The picture by Litschauer, an Austrian artist, who first studied at Vienna under Waldmiller and afterwards with Tidemand at Diissel- dorf where he settled, is one of a class of subjects he affected, one of which, “In the Laboratory,” is in the Wiesbaden Gallery. “The Counterfeiters” is a drama which is dominated by unseen protagonists. Only two figures show, an old man with gestures and an expression of surprise and fear, and his determined fellow-worker, a rough-looking, gigantic peasant, who stands ready to swing his hammer at the intruders; both are looking toward the closed door before which a fierce-looking hound, his hair bristling, stands ready to spring. One hears the knock and feels the door shaken; and the meaning of the scene is brought home by the paraphernalia of the counterfeiters which is seen all about—everything has been thought out, to the rag hanging at the door before the keyhole. ‘The Grandmother,” by August Siegert, the painter of historical subjects, whose best works are at Hamburg, is one of his few genre pictures. It represents a domestic scene of the sort to bring out a smile and wake up tender feelings in the beholder, carried out as a carefully thought out piece of stage arrangement, in a manner a little dry, but most precise. The Dieffenbach “Girl and Child,” an idyl full of German sentiment, is entirely represen- tative of this favorite painter. Lighted from the side and brought out in strong relief against the darkness of the stable, the girl and child make a gay group, the cooing of the baby answering the smile of the girl. It is a happy hour for every- one in this quiet little corner of a pastoral world, for the goat and the rabbits as well as for the two human beings. The picture by Ludwig Knaus, whose works are found in German museums and in private collections everywhere, is of larger size and more importance and belongs to the artist’s late period. It represents a scene before the terrace of a Bavarian inn where decorous bourgeois from the city, out for a Sunday excursion, are seated at tables sipping their beer and coffee. Some of them are watching a young girl who, having left one of the tables and come down the steps of the terrace with a basketful of dainties, is distributing them to a group of ragamuffins. The terrace is set among large trees and bushes; one of its ends, where children are playing, shows, and there is a glimpse of the little village and of the plain basking in the soft sun- shine beyond. It is a charming place where one would like to go of a Sunday, and a charming scene suffused with peaceful, gentle happiness. One realizes that what the artist has tried for, the seriousness of the city girl playing mother, and the individuality of each one of her ragged beneficiaries, has been successfully rendered. ‘The back of an older boy who stands aside in the foreground watching the proceedings is eloquent of his feelings. : These four men belong to the Dusseldorf school and their works are typical of that school (although something of the eight years Knaus studied in Paris and of the seven years Dieffenbach also spent there is felt in their work). They all express the point of view of their country and of their time. First of all, it is clear that they need to tell a story and to tell it with every possible detail in order to find favor with their public. It is also clear that the doing of this so engrosses them that they are satisfied with a technique which hardly ever takes into account such problems of quality of touch and surface, and of the search for atmosphere and envelope of the old Dutch and — Flemish painters as well as of the Frenchmen of 1830 and their followers. They are intent upon telling their story the best they can rather than upon the manner of telling it. ‘They accomplish what they set out to do, for the story is always obvious, and it is told in a manner which is equally expressive of German sentiment and German thoroughness. Mr. Borden has one more German picture, an example by a Munich artist whose pictures are also found in the Berlin, Munich, Dresden, Vienna and other German museums and in several private American collections. Franz Defregger, who was born in the Tyrol, studied in Munich under Anschiitz and Piloty, and for eighteen months in Paris. His subjects are of his native land and have been so popular that in recognition of - his success Defregger was ennobled in 1883. “The Hunter’s Tale,” which was painted in 1892, also tells its obvious story. It shows the artist’s attentive observation, his rare faculty of expressing the gestures, the attitudes, the countenances, and of grouping figures which gain an additional interest from the quaintness of the life depicted, the sympathetic healthiness of the types and their picturesque costumes and setting. | AMERICAN MASTERS In the history of painting in the United States of America the first appearance of a native school occurs soon after Durant and Cole, in the early fifties, and is known from the choice of its subjects as the Hudson River, and sometimes as the White Mountains School. The expression of character of this school was essentially American; they were inspired by a patriotic | loyalty and devotion to native scenery. One cannot but admire the sincerity of their aim and their enthusiastic devotion; but their lack of technical equipment, their adherence to fact to . the sacrifice of breadth, simplicity of vision, and unity of impression, compel one to count their contribution to art largely in the nature of a stepping-stone from which such men as Fuller and Martin, Inness and Wyant, reached greater things. Worthington Whittredge, during the early part of his long career (he died in 1910,) was classed with the Hudson River men, but his experience was undoubtedly larger and his scope wider. Born in 1820 in Ohio, he painted portraits before turning to landscape. In 1849 he went to Europe, where he remained ten years. It was at Diisseldorf under Achenbach that he acquired the thorough, accurate but rather dull, style _which he fortunately later grew out of; but the thoroughness he there learned always remained as a most valuable quality of his art. After spending several winters in Rome he re- turned to this country in 1866, when he made a trip to the Far West, and gradually began to grow out of his conventional style—his color became richer, his work, always animated by a wholesome love of nature and of solid construction throughout all complexity of detail, struck a deeper note than that of his contemporaries at this early period. The manner of his forest interiors, in which dense masses of trees and underbrush are expressed with fine sense of their weight and significance, of his rushing woodland streams with the depth of shadow and mystery of light on rocks and trees, place him in a different category from the work of the Hudson River School. In Mr. Borden’s collection is an interesting example of his, a scene in Central Park. It is a long, narrow composition rep- resenting a mall with parallel lines of tall trees in light and in shadow. The massing of the crowd, its sense of life and motion, the gem-like color, revealed by the sunlight, of its gaily dressed women, the breadth of the conception and the success of the achievement surely place Whittredge in a rank other than the one in which are to be found the hard, literal, piecemeal painters of the Hudson River School. There is a sense of atmosphere, a sensitiveness to color, especially an appreciation of greens and grays, which is seldom if ever found in its other men. The work of Jervis McEntee is much in the same feeling; however, he had not the thorough training of Whittredge and his lack is often apparent in his painting. Autumn and winter scenes were his best productions and have a very personal character. There is a strong local flavor in this “Autumn Landscape with Figures,” an essentially American scene which is expressive of sentiment for youth as well as for the country. It is a well-balanced composition, in the use of values finely modulated, and with a delicate color perception in the contrast of silver tones against brown; the trees are drawn with a true sense of their character and anatomy; the figures of boys and girls which, in groups and singly, animate the picture, are well distributed. These figures are treated incidentally and take their place in the landscape with a natural air which could only be the outcome of unusual artistic intelligence. There is also a robustness in the painting, done with full brush and loosely handled, which in that day and school was indeed a departure. While with few exceptions such as Whittredge and McEn- tee little inspiration and no mastery of noble tradition dis- tinguished the Hudson River painters, our debt to them is a great one, for they created an atmosphere in which the develop- ment of Martin, Inness and Wyant was possible. Those really great men who are the glory of our landscape art emerged from it, and their achievement may be looked upon as the culmination of the Hudson River School. In Mr. Borden’s collection Inness and Wyant are well represented. Both are poet painters, loving nature with tender reverence but each with a vision entirely personal. ‘They differ as the ruby differs from the amethyst. Inness, in his approach to nature, struck a note which might be likened to the quality of Beethoven in the art of music. His similarity to the master- musician is not only in the romantic aspect of his composition, not only in the full-toned chromatic beauties of his palette, but in that spirituality, that faith in the unseen, which ranks his works with that of the greatest. His own words eloquently express his belief. He said: “The paramount difficulty with the artist is to bring his intellect to submit to the fact that there is such a thing as the indefinable, that which hides itself that we may feel after it; God is always hidden, and beauty depends upon the unseen, the visible upon the invisible.” This is the keynote of the art of Inness, of his final elemental sim- plicity, of his breadth of vision and of his power of suggestion; these are the qualities which fire the imagination of the beholder who comprehends the significance and the beauty which dwell behind the presentment. The search for this quality is fully revealed in the two canvases by Inness in this collection. While belonging to different periods in the artist’s life, they both emphasize his spirituality and breadth. The interval between them is twenty years. In the earlier picture (1865) the same poet-nature is apparent as in the latter; and we can see that at the time he had already overcome the difficulty with the inde- finable, “that beauty which depends on the unseen; the visible on the invisible.” , The picture, exquisite in sentiment, filled with the mystery of the passing day, is perhaps more charged with incident than the later one. Superb in their character are the two elms occupying the center. The housetops nestling among trees, the evening light on the church steeple, the tranquil stream, the flock of sheep, all express an ineffable peace, the hush of bene- diction. Here is surely the poet painter. The technique is not quite so free as that of the canvas of 1885. Whether it is a more or less beautiful picture is a question. They are both master- pieces. In the latter picture, “Sunset at Montclair,” the means are very simple. Elemental in their apposition are the masses — of light and dark; and the psychological appeal is most sig- nificant—the human elements, youth, age, and labor, all are conveyed with the briefest suggestion within this glorification of a sunset sky and of the peacefulness of the earth. Such pictures are great expressions of a great nature. With Wyant the approach to nature was more reserved. Of a gentler temperament he is endowed with an imagination which, though not so rich and varied as that of Inness, is never- theless of a refinement and freshness, of a purity and sweetness, that appeal at once and directly to the heart. His gentleness and delicacy were by no means effeminate; his art was robust and virile, but nature made her strongest appeal to him in wood- — land interiors with, in the foregrounds, quiet pools reflecting — the heavens, in landscapes enveloped with cool silvery light where his rendering of tree forms evinces the depth of his devo- tion and regard for them. “The Approaching Storm” shows that he could appreciate and express the dramatic moods of nature, for it is a dramatic landscape. The sky is tempestuous, thick ominous clouds are gathered in the distance, lighter ones are scurrying across the upper sky, and reflecting these is the characteristic pool in the — foreground; trees at the left are swayed by the wind and below the murky horizon is a flash of sunlight. It is an impression in the finest sense—seemingly painted dw premier coup, sum- marily, and never again touched. The canvas is rich in color: the paint flows from the brush with the rapidity of thought, and vividly the image of the storm and sunlight reflected from the artist’s mind is fixed forever. This is in every way a spirited performance, worthy of the artist at his best. FIRST EVENING’S SALE THURSDAY, FEBRUARY 13, 1913 IN THE GRAND BALLROOM OF THE PLAZA FirtH AVENUE, 58TH TO 59TH STREETS BEGINNING PROMPTLY AT 8.30 O’ CLOCK No. 1 | PATRICK NASMYTH EnecusH 1787—1831 EDINBURGH FROM GOGAR "> RIOR, f VW. We. A. SUMMER landscape with a rare sense of space. In th¢/ eXx- treme distance and almost in the center of the picture, the high castle of Edinburgh looms as an apparition against a sky flooded with light, and at its feet lies the city, its jumble of 2 buildings seen beyond groves of trees. All this lies beyond the middle distance. The lines of the composition lead up toward it, while darker and larger masses of trees standing to right and left on the banks of the Gogar, and their accompanying reflections in the water, emphasize the shimmering atmospheric beauty of this background. The presence of the Gogar is first revealed by a stone bridge to the right; the river appears near it in the center, and changing direction twice, swiftly flows , i toward the foreground to the left, expanding so as to fill the | whole width of the picture. Height, 115% inches; length, A - Signed at the lower left, Parrick Nasmytu, 1818. f Yb 7. Collection of F. Whitehead, Leamington, England. | | urchased of M. Knoedler & Co., New York. Apy/ac. 20007 per’ , thr DS 1693 /9 —< No. 2 do au ¢ oe WILLEM VAN DE VELDE © a Durcx 1633—1707 | a CALM SEA Height, 141% mches; ee inches pec! a , A soat with large cream-colored sails lies in a bay extending — toward the left of the canvas. A smaller boat is anchored beside it. In the left foreground, on a dyke fortified with piles, — two men are seen. A boat with three fishermen at work in it lies nearby. A fourth man advances along the shore from the right, carrying a basket on his back. Just beyond, two men are bathing off a low sand-spit, where a sailboat has been beached. Several frigates are lying at anchor at the mouth of the bay. It is afternoon, with warm yellowish clouds in a blue sky. Signed on a piece of wood in the foreground, W. V. V., 1661. Hudson-Fulton Celebration Exhibition, New York, 1909, No. 184. te ape 8 Dwr a oJ frO JOHN CONSTABLE x ee , Eneuish 1776—1837 THE SLUICE | H eight, 1134 inches; length, 1534 inches Near the center of the composition a torrent of water come foaming down an old sluice, and'rushes into a little canal to the right of and outside the picture. The sluice is constructed of brick walls, reinforced by rough-hewn timbers, and is spanned by a rustic bridge. The point of vision is from below, and seen in sharp perspective along the sky line are the head and back of a white horse, the heads of a man and woman, and a column of smoke at the left; in the center, a group of trees and some flowering shrubs; and at the right, a man holding a staff and leaning against the extended fence-rail of the bridge. Among wild flowers and grasses in the picturesque foreground are the beams which brace the side of the canal. It is a bright day of summer, with the sky filled with light clouds. rg Yoo. | ay a WU Ox INU \ ‘ am ~, «, \ _) Lhe RS ba YVUON CAA O;,/ RF ; No. 4 SIR LAURENZ ALMA-TADEMA, R.A. EnevisH 1836—1912 ‘ UNWELCOME CONFIDENCES (Panel) Height, 18 inches; width, 111 inches ttre Ges In the loggia of a Roman villa two young women facing the spectator are seated on the fleecy fur thrown over a marble bench; their feet are rest- ing upon a tiger skin ly- ing on the marble floor, and to their right a richly chased silver vase filled with lilacs stands on a large coffer covered with a tapestry. Behind them, partly framed with the beginning of an arch to the left, is the sunshiny background of sea and sky against which their faces stand out in strong relief, and before which a fruit tree in blossom and a marble group of two figures, set upon a large pedestal, break the line of the horizon. One of the young women con- fides to the other some secret, probably of the heart, which evidently falls on reluctant ears. The costumes, one of light grayish-blue, the other purplish, contrast and harmonize; the attitudes are graceful and expressive. The picture is full of light and the spirit of youth. Signed at bottom toward the right, L. ALMA-TADEMA, OP. CCCXxxII. 442.4 Purchased from M. Knoedler & Co., New York, 1895. €.S%% No. 5 9) DAVID TENIERS THE YOUNGER | F © Durcn 1610—1690 ~ * ; i WOMAN SMOKING IN AN INN Height, 14%4 inches; Male revg To THE left sits a woman in a gray-blue petticoat, white skirt, and pink and white waist, lighting a pipe. A peasant nearby puts his arm around her neck and offers her a glass of wine. He wears a brown coat and reddish-brown bonnet. At the right of the group, on a table made from a barrel, rests an earthen jug, a pot and a napkin. A little dog lies quietly in the left foreground. At the back there is an open door, and a chimney- piece with a fire, near which two men are standing and convers- — ing, while a third warms his feet. In the right foreground are sundry utensils. From the plain dark background the figure of the woman stands out clearly. Signed in the left corner, D. TEnters. Collection London, 1818. oe Collection of John Webb, London, 1821. a ay | i Smith's Catalogue Raisonné, London, 1831. No. 877. bt @& P DIST Collection of Claude Tolozan, Paris, 1801, : 7 Pukur Cree 189 /. on 1894 NM 4S. ae Se ) J» 4 aa No. 6 IZACK VAN OSTADE ° Dutcu 1621—1649 er : we Uv PEASANTS BEFORE AN INN > 7 (Panel) 3 Height, 15% inches; length, 22 inches Two PEASANT houses are shown on the left side of ¢/road which _ leads to a village with a church in the right distan The first house has an arbor near which some peasants are drinking and smoking. In the foreground to the right of it is a table, ,on which leans a peasant holding up a glass of beer to a woman who is seen from the back. es a Dutcu Between 1613 anv 1617—1681 | = a LADY POURING WINE a | (Panel) : eee 2 <5 . Height, 18 inches; width, 1014 inches. , 5 g “a . y/o A group of three half-length figures in an old Dutgh home. — On the left a smiling young woman in a red jacket and a gray — skirt pours wine from a pewter flagon for a man sitting near her at the right. He looks toward her with evident and long-— ing admiration, and the pleased and hospitable old mother, standing behind her daughter, offers him a plate of food. He wears a dark suit and a large black hat. Collection Mr. Van Loon, Amsterdam, 1842. Hudson-Fulton Celebration Exhibition, New York, 1909. ferws /& 9 NW 131— fr Oran n% — + : { 7 ( «\ ae we ee Prof essor Hoffman. | Signed on the right: Arrat. Svar 47, Ano 1637. At the top of the No. 10 FRANS HALS Dutcu 1584—1666 THE REVEREND CASPAR SIBELIUS (Panel) di D 3 Height, 1014 inches; width, 8°4 inches A HALF-LENGTH portrait, showing the clergyman turne 7 slightly toward the right but facing front, addressing his con gregation. The left hand is raised in eloquent gesture, and he holds a small prayer-book in the right. He is dressed in — black with a white outstanding ruff and a black skull-cap. Sibelius was born in Elberfeld in 1590, and preached first ine = London, then in Zurich, and finally in Deventer, where he died- _ in 1658. From what is written on the back of the painting it would seem that Sibelius presented this portrait: to a certain: canvas, in the center, is the scription, Natus 1590, S. M. Funcruvs 40. Print by J. Suyderhoef; (1) folio, inscribed “163 aet. 48”; (2) small quarto inscribed “1642 aet. Pe an impression of which is recline to this picture. : Exhibited at the Palais du Cobpe Législatif, Paris, 1874. Collection of Hendtick Gijselaar-Assendelft, Amsterdam, 1891. iE. W. Moes: Iconographia Batavia, No. 7176, 1 and 2. E. W. Moes: Frans Hals, Bruzelles, 1909. No. 74. Hofstedt de Groot: Catalogue Raisonné of the work of the most emi- nent Dutch painters of the Seventeenth Century, 1909. No. 226. Hudson-Fulton Celebration Exhibition, New York, 1909. : a ee St Ss eR nc = No. 11 ADRIAEN VAN OSTADE Dutcu 1610—1685 BACKGAMMON PLAYERS AT AN INN Height, 14 inches; width, Pike wpe” IN the center of a homely room two men are af at a ta ble playing backgammon. The man on the left, dressed in yellow- — brown, is drinking; the man on the right, in a gray costume, arranges his pieces. In front of him, to the right again, a peasant in a dark blue jacket and dark red bonnet is seated in a little armchair with his back to the spectator. The hostess, in © a dark blue dress and red waist, stands back of and at the right of him, and offers him a glass. Back of the table are other peasants. On the left a little dog lies on the floor, and at the right a door leads to the cellar. | | Signed above the dog, A. Vv. Ovthne _Mentioned by J. B. Descamps: “La vie des peintres hamondie allemands et hollandais.”’ Paris, 1753-64. Collection of Anthony Sydervelt, Amsterdam, 1766. Collection of Gerard Braamcamp, Amsterdam, 1771. Too f#? ‘ Collection of P. Calkoen, Amsterdam, 1781. Collection of M. Calonne, Paris, 1788. 2020 spre : Collection of M. Calonne, Paris, 1795. #£ Ns - Smith’s Catalogue Raisonné, London, 1829. Nos. 81 and 48. Mentioned by Ch. Blanc: “Le trésor de la curiosité,” Paris, 1857-58, I, 169. | Exhibited at the Royal Academy, London, 1892. No. 97. Exhibited at the Guildhall, London, 1894. No. 66. | C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most eminent Dutch painters of the Seventeenth Century. London, 1909. Nos. 828 and 821G. | | Collection of E. H. Lawrence, London. YA Purchased from M. Knoedler & Co., New York. V7 If Seelauy tixxx q Ve Lacy er ot ]q4 F2r-000 — @ » a P F >t at ; é . - . ae * i % eA a = 7. A es . 7 gr: ‘ No. 12 JAN WYNANTS Durcn (About) 1615—1680 HILLY LANDSCAPE WITH GROVE Height, 1934 inches; length, tai ae Ay roAD leads from the foreground around a hill to a grove. At the left, at the side of the road, a traveler in a pink coat and yellow trousers talks to a woman who is seated on the ground, and a dog ambles along near them. Another road leads down the hill, through a gate in a rough fence which surrounds the 7 hill, and joins the first road in the foreground near a little pool. _A woman with a bundle on her head, accompanied by a dog, — q descends the hill. In the right foreground are seen two gnarled trees and some shrubbery. Behind these are wooded hills and — a cornfield. Around the cornfield is a road along which a horse- ss man and a peasant are advancing. In the blue sky are rising dark gray clouds with yellow borders. The figures are by the hand of Adriaen Van de Velde. Signed in the left foreground, J. Wynants, An. 1663. \ a - Att gh Re Mise ee No. 18 HN ae GEORGE MORLAND EncusH 1763—1804 RUSTIC SCENE Height; 19 inches Ff 25, aes 7 OccuryIne the center of the asaya = is lying down with her two young ones against a heap of manure and straw. ‘Toward the left a pig is searching for food. Be- hind the heap a youthful farm laborer, his hands crossed and resting on the handle of his shovel, faces forward and smiles at a white dog, which, perched on the top of the pile, looks at him a in an expectant attitude. At his left a donkey, seen in profile, stands quietly; at his right is a low thatched-roof stable, with <8 3 its door open, and behind him are bushes. At the extreme right a bit of the country is seen. A soft sky of summer is filled with — . a great gray clouds. Signed at bottom toward the left, G. Mortanp, 1792. Has been engraved in mezzotint. \ Re gat | | | ' . “¥~ No. 14 wW + JACOB VAN RUISDAEL “a ’ | Durcu 1628 (29)—1682 A WATERFALL bridge in the middle distance, flows from the right and breaks down between rocks in the foreground. A high bank, on the — left, is thickly covered with oak trees, some of which have | autumn leaves. On the bridge which connects with the lower bank at the right are two men in conversation, and a third man is walking toward the left, accompanied by a dog. Behind the , bridge a single oak tree stands against the sky, with reflections of light on its branches, and farther back is a gray-blue hill. Another single but thinner tree grows at the right of the bridge. ‘The blue sky is almost covered by dark gray clouds 448 with pink borders. Signed in the right foreground, JvRuispart (JvR combined). Ut AL wt (ie — Height, 261 mches; width, 21 inches ‘ Bhai: fi5 a A BROAD stream, which comes out underneath a little wooden - | No. 15 ] : : vf FRANCESCO GUARDI WY | Irauian 1712—1793 WHE GRAND CANAL NEAR THE PIAZZA OF SAN MARCO, VENICE (Panel) Height, 10 inches; cp 14 inches cf Py es A. view from Santa Maria della Mees the left are seen < the Libreria and the column of San Marco, and beyond a part of the Doge’s palace is visible. The canal, with some simple houses, behind which are towers and domes, extends to the right. _ A large galleon is shown in the center of the water, and a — smaller one at the right; another lies near the land to the left. Numerous gondolas, with simple or with richly decorated — baldachinos, appear in the foreground, and in them are seated people in light red and blue costumes. White ripples brighten the blue water, and reflections from the buildings are seen on the water and the boats. The sky is a pace) blue, above a "8 light pink horizon. ; 3 Purchased from M. Knoedler & Co., New York. wr las Des | | Ch- $e Bh men en n 5/94 F406 We 74 te. Vv .& AN 4}. ; : a - . yr * tialiets. Se ot x 4 see ore Rae Ae Frechity $ 4 : - Ba WA Ae oid ¥ : ’ 4 ZA OF SAN 4 iW ‘> . : | § . 1 No. 16 9 FRANCESCO GUARDI Irauian 1712—1793 2 a 9 WHE PIAZZA OF SAN MARCO, VENICE — Height, 91% inches; a 1414, inches. ced ae 4 View on the Piazza from the side of the Church of San Maree a In the left foreground is the lower part of the tower of San ~ . Marco and a part of the Loggetta. The galleries extend on __ right and left of the picture, and across the background, the left side being in shadow. In the foreground are two bronze flag- holders. Ladies and gentlemen, seen mostly in back view, in pink, yellow and white costumes, are saluting as they walk y about the Piazza. The gentlemen wear long mantles, perukes, and three-cornered hats; the ladies wear dresses with long trains. The light blue sky shows lighter yellow rays to the left, where the sun has disappeared. | Purchased from M. Knoedler & Co., New York. Jv | q & aos , @ Ah ee eat ees oH oy F4sso- ee a ~ f Gi, te, Haw Ty tae | oa ae a cere J oem & ae ie a \“ alia No. 17 PHILIP WOUWERMAN Dutcu 1619—1668 LABREUVOIR (Panel) @ Ls / Height, 134% inches; KD, ae A. BROAD river crosses the picture diagonally, and horses are being ridden in and out of the water. At the left a large stone bridge with two arches leads to a town in the distance. Near it is aman whipping a horse to make it enter the stream, and next him are a man and a boy on a white horse which is just leaving the water. At their right another rider lets his horse stand and drink, and nearby are bathers and men undressing. Farther in~ the river are two plunging horses, near a boat. On both banks are washerwomen. ‘To the left, through the front arch of the bridge, is seen a harvest wagon, which is being loaded. Signed with the full monogram at the lower left. Etched by Champollion. Smith’s Catalogue Raisonné, Supplement, London, 1842. No. 170. Mentioned by G. F. Waagen, “Treasures of Art in Great Britain,” Lon- don, 1854, Vol. II, page 291. Collection of the Earl of Ashburnham, 1842. Collection of the Earl of Ashburnham, London, 1850. Exhibited British Institute, London, 1853. Collection of the Earl of Ashburnham, London, 1860. Collection of Miss Bredel, London, 1875. Collection of Francois Niewwenhuys, Paris, 1881. No. 24. Collection of M. de Saint Albin, Paris. Collection of Comte Arthur de Vogiié, Paris. C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most eminent Dutch painters of the Seventeenth Century. London, 1909. No. 112. 8 Purchased from M. Knoedler & Co., New York. WTI 2/90 LX Ch. Lede henee, er V eae Jor Fijoo SSe Qe ero IHL & er f ~/ m . A ; Pe a ee Bens eae No. 18 : é GEORGE ROMNEY EnewisH 1734—1802 (Third Example) LADY HAMILTON AS MADONNA Hive. Ayuuur ya S204 Height, 17% inches; width, 15_inthes | ; THis is a small, life-size portrait, showing little more than the head. The body is turned away from the spectator, and the face, full three-quarters to the right and with the eyes looking upward, is framed in a soft and transparent drapery which covers the head and shoulders. pat (") 7 Tene slightly toward the left is a young gyrl, who ou No. 19 ~ " 4 1 = oy | JEAN BAPTISTE GREUZE Frencuw 1725—1805 INNOCENCE Height, 2114 Cee tf : in her arms a lamb which she holds on a pedestal inscribed “ Pamitié.” She is seen almost at half-length; her raised face i framed in loose ringlets of light hair, and she looks frankly and fearlessly at the spectator. ‘The light dress she wears leaves the arms and neck bare, and a purplish drapery covering her right arm and passing over her back is caught over her left arm. The background shows a solitary tree against a low-toned sky. Tohu ht. Ant hon Sahil ce 7s MA Rreref, - ia wenn" Dias ee 0° ——t ; 5 \x SIR THOMAS LAWRENCE, P.R.A. EneuisH 1769—1830 MISS KENT | Loan Aly bo | Height, 2072 inches; wolff, Q41/, inches pA AL LZ OES AVL a 4 SE i a - Lire-sizE bust portrait of a young lady, seen aroale to the left, against a dark background. Her dark hair with golden- brown lights brings out the brilliant color—the “milk and. roses” —of her face. She wears a white dress with a large V- shape opening at the neck. A golden-yellow drapery is thrown over her right shoulder and arm, while the right hand rests on a light red drapery covering the back of a chair. Collection jee Samuels, London, 1894. From the American Art Association Sale, New York, 1895. Catalogue No. 179.- PSxxxu ¢ | - . abe 4 ALTACE ACC ACE AA AE AR AVE NAAR AA A Res PAUL GLEG CECA SE wy ro a OMAS Gar ee ml ' ae - : - ee 4 . ea ee ee = = : i EY | THOMAS GAINSBOROUGH, R.A. 4 \ Encusn 1727—1788 PORTRAIT OF CAROLINE ANNE HORDE — Height, 28% inches; length, 34 inches Pee 4 ' AN oval, life-size bust portrait of a young lady turned three- quarters to the left and looking at the spectator. Her eyes are blue, her light hair, curled and powdered, is encircled with a blue silk ribbon, and at her neck is a string of amber beads. She wears a close-fitting blue silk dress, with a fichu of trans- parent lawn over the neck and shoulders, and a scarf of light silk material at the waist. A dainty white underbodice shows a little at the neck, and again between the breast and the waist, the blue outer bodice being cut sharply away below the breast \ } in an inverted V shape (A), edged with white silk ribbon, the | blue garment vanishing at the waist within the scarf or sash of light silk. Painted against a brown background. Formerly at Cote House, Lambourne, Berks, England. Mentioned in Armstrong’s “Gainsborough,” page 197. , 4 TQo [Bahibition of Old Masters, M. Knoedler & Co., New York, 1912. hae per: A | Th: Aq row bum Th fas L200 ee. a 7 >) a »% ad ¥ No. 22. SIR JOSHUA REYNOLDS, P. R.A. EncusH 1723—1792 7 . MISS MORRIS (Afterwards Mrs. Lockwood) (Painted in 1758) H Brae 25 inches; length, 0 inches Oh ee endo Lire-si1ZE full bust portrait of a young lady it the spec- tator. Her expression is simple and girlish. Her eyes are dark blue, and her dark brown hair, plainly combed back, is ornamented by an aigrette of red velvet, adorned with a string of small pearls. She is dressed in a gray silk robe with a low, round opening at the neck having a broad band of embroidery edged with lace. In the center of this band is an ornamental clasp, over which passes a rope of large beads, coming from under an outer garment—a cloak of light blue silk, richly embroidered, and lined with ermine. The light falls from the left and the background is a sky treated conventionally. — : Graves & Cronin’s “Reynolds,” Vol. IT, page 670. Collection of Colonel Morris, London.. Collection of Lord Hastings, England. C. R. Leslie's “Life and Times of Sir Joshua ea \ Voree Hees 156. Str Walter Armstrong’s “Sir Joshua Reynolds” Guieiaeen Exhibition of Old Masters, M. Knoedler & Co., New York, 1912. . hea pg} Ch. Sem be eye cA]qay Fr0000 7178S) SSeLeney er 1898 i 2Ga (ro el i ea ee ‘\ ff -. AELBERT CUYP) vg No. 23 Dutcu 1620—1691 THE MUSSEL EATER (Panel) Height, 2014 inches; length, ‘ fe , tA On the right of the canvas a blacksm{th wearing 9 golden- brown jacket is seated in his smithy, beside a cask, eating mussels; a small boy, and a girl who wears a red bodice anda white apron, are watching him. Farther to the right two richly = dressed men are looking in through a window. The smith’s — assistant stands in the left background, in the shadow, hold- ing a hammer in his hand. A small dog lies in front of the cask. On the left are a cock and two hens. Re : This picture is a replica, though in lesser dimensions, of the painting in the Boyman’s Museum in Rotterdam. Signed on the end of the tool bow at the lower left, A. C. — (Casitd Lah /bbo-7o 5) 4 Smith’s Catalogue Raisonné, London, 1829. No. 178. 2 3 Collection of A. Febvre, Paris, 1882. = Hf Ja f2SO 4 7 ~q Collection of Baron de Beurnonville, Paris, 1883. IS eS L003 Collection of F. Zschille, Cologne, 1889. Way 2] * fhe 2IGo ~ — Collection of Van Loon, Amsterdam. Collection of Baron v. d. Heydt, Berlin. C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most eminent Dutch painters of the Seventeenth Century. London, 1909. No. 3667 DO ban Hudson-Fulton Celebration Exhibition, New York, 1909. No. 14. Ootheetiin., Chom ‘aacae siscr fis \ nat an Lhe ' jfroaices'n » of haem ‘ A thx. luibktedr. Wn dhe faint | fie. . " tow a - i © ee ae ee ee Fee a eee ey ee ee eee No. 24. 7 MEINDERT HOBBEMA De Bee DutcH 1638 — 1709 Ws CASTLE KOSTV ERLOREN (Panel) Height, 223/, inches; ee ues ee In the center of the composition a square ‘ones Yrarbae with four step-gables, rises amid crumbling walls from the castle moat. Four men are working on the walls. Near the drawbridge are two large trees in autumn foliage, and beneath them a man in a red coat is walking with a boy along a road. Beyond the trees are seen a cottage and a gate, and behind the castle, on the opposite side of the moat, are some woods. White clouds mount high in the sky. ; Signed in the lower right-hand corner, M. Hoppema. Smith's Catalogue Raisonné, London, 1835. No. 116. Etched by C. T. Deblois, an-impression of which is attached to the back — of the panel. Collection of Frederick Perkins, London, 1835. Hudson-Fulton Celebration Exhibition, New York, 1909. No. 47. Wiha. at [ef W/S. aw bolliclinr “rbeews Luda 1890 7 aa 9 - +7 Bey) x Fai i? oiae Mi me ee re | ey": THE MUSIC PARTY ae Nis No. 25 PIETER DE HOOCH Dutrcu 1632—1681 (Painted about 1665-70) Height, 26 inches; net eae Cr ON a terrace leading at the rear into a park and sheltered by a curtain looped against a pillar, a young lady is seated, singing; she wears a white silk dress and marks time with her right” hand. A cavalier seated at the opposite side of the table ac- companies her on a lute of early form. A young lady, dressed - in blue, stands resting her hand on the table, which is covered with a variegated Asia Minor rug; and another young lady, dressed in red, carrying a small lute of later date in her right hand, advances through a door on the right. Beyond the park a building resembling the Amsterdam ‘Town Hall is esc against the early evening sky. Signed on the lower right hand with the monogram P. H. “ Collection of Mr. Niewwenhuys (Brussels), London, 1838. Smith’s Catalogue Raisonné, Supplement, London, 1842. No. 13. Collection of Count R. de Cornelissen, Brussels, 1857. Collection of Mr. Gilkinet, Paris, 1863. Collection of Vicomte de Buissert, Brussels, 1891. Collection of Baron Konigswarter, Vienna. C. Hofstedt de Groot: A Catalogue Raisonné of the work of the most eminent Dutch painters of the Seventeenth Century. London, 2009: No. 136. Hudson-Fulton Celebration Exhibition, New York, 1909. No. 517. . en CoN 19 — (814 is : i ‘ ; é 4 y | b . ; “9 « ia —_ 5 { = ‘ ' . : ee + Sad : ‘' § : 4 : ya 4,9 Re Ze +. a i pros : : ey | ; . ye are = v = 7 t Y 2 . } ? : fy eee No. 26 gah oes oe ee JACOB VAN RUISDAEL Dutcu 1628(29)—1682 THE CASCADE N | Height, 281 inches tee Gis wie. dn 4A | A LITTLE lake extends from the left of the canvas toward the right, where it forms a cascade which is spanned by a wooden bridge. A man wearing a red jacket, carrying a sack on his back and followed by a dog, is walking over the bridge. Three ‘men are fishing from the left shore of the lake, and on its farther shore three houses stand on hilly ground. To the right is an oak wood, and beyond it rises a chain of distant hills. Dark gray clouds float in a pale blue sky. Signed on the lower left, JvRutspari (JvR combined). Collection of the Duke of Mecklenburg, 1854. —# /7 Sale Péreire, Paris, 1872. -#/50 — Fhitn NX. XKX — = A | Sale Prince Paul Demidoff, San Donato, 1880. A 2s y b trex , BY XH Hudson-Fulton Celebration Exhibition, New York, 1909. No. 116 4 oa ae ~ ( wae es ESAS TRE RY: mae Wit. 7 pani SIR ANTHONY VAN DYCK 7 ‘ Dutcu 1599—1641 7 , WN ¢ PORTRAIT OF A GENTLEMAN wy (Said to be the famous engraver Scheltius a Bolswert) a — Height, 44 inches; width, iy oe inches Pe.) A THREE-QUARTERS vent a ee figure, facing front, the head slightly turned to the right. The gentleman has a mus- tache and a small pointed beard, and his hair is combed back from his forehead. His left arm is flexed at the elbow, the hand then hanging down; the right arm is covered by a mantle which is thrown over his shoulders. He is in a black costume, with a white ruff, and stands against a dark gray background. Painted in the second Antwerp period, about 1630. A copy of the pic- ture is in the Musewm of Dowat, under the name of “Portrait of Hubert Duhot.” | Reproduced in E. Schaffer’s “Van Dyke” (Klassiker der Kunst), 1909, page 243. “ | Me oe +r \ der o> 7 Wautinud. sv Bo. Woaagens th Chcauster ts acaba slate Vok TL Cape ZF Sedilemiupu Oilliey, battle Ol bathe (hgh — 3 Bly be 7 i Nw Son No. 28 | | Dutcu 1606—1669 LUCRETIA STABBING HERSELF Height, 461 inches; width, 39 mches 3 SHE is depicted at more than half length, the figure facing the spectator, her head slightly inclined to her right. A dagger clasped in her right hand is pointed at her breast and her uplifted left hand is extended in the direction of the spec- tator. She wears a rich greenish-gold colored dress, with wide sleeves and a laced bodice. About her throat are a neck- lace of pearls and a cord with a jeweled pendant, and she has pearl earrings. “sho 5 Repeal Ng tigle Signed at the left, RempranvT ¥. 1664. Collection Lapeyriére, Paris, 1825. Collection of M. Zachary, London, 1828. Exhibited in the British Gallery, 1832. Collection of J. H. Munro, Novar. ; . Smith's: Catalogue Raisonné, London, 1836. No. 192. ~~ l, po a Sale Prince Paul Demidoff, San Donato, 1880. ¥° tf U lo fur . (4 ; 2 ; 7 E. Dutuit: “Ciwore Complet de Rembrandt,” Paris, 1883. No. 114. 3 Anonymous Collection, London, 1889. | E. Michel, “Life of Rembrandt,” Paris, 1893. No. 563. : W. Bode (assisted by C. Hofstedt de Groot), “The Complete Works of Rembrandt,” Paris, 1897. No. 595. Biv Hudson-Fulton Celebration Exhibition, New York, 1909. No. 105. W. R. Valentiner: “Rembrandt” (Klassiker der Kunst), 1910, page 64:7. 2 po i Anonymous Collection, London, 1826. : 5 | ; 4x at \. et a ey ey are WIL ; No. 29 vi : b JOSEPH MALLORD WILLIAM TURNER, R.A. EncusH 1775—1851 EAST COWES CASTLE, THE SEAT OF J. NASH, ESQ.—_THE REGATTA BEARING TO WIND- WARD Height, 361, inches; length, 48 inchf¢ | UE a MOAN vVr THE yachts are sailing through a broken sea showing a big _ swell in the foreground, where to the left a buoy is floating. In the center is a group of rowboats filled with men and women, behind which, moored at the foot of the yellow cliff upon which East Cowes Castle stands, is the guardship, and there also are 3} : S S S other vessels, gaily decked with flags. To the right of the row- boats is the foremost yacht, with her yellow sails dark against the light sky. She is luffing to prevent being blanketed by a second yacht, whose upper canvas only, and a bit of her bow, are visible above and below the big head-sails of the first one. To the left of the rowboats the nearest yacht is close hauled; beyond her, in a line extending to the edge of the canvas, the remaining yachts are bearing away with their sheets started. To the extreme right, in the distance, is seen a bit of shore with some buildings, and before it a topsail schooner and other craft under sail, with gala or signal flags. ‘The sunlight flecks the sea and sails. A stiff breeze is blowin as the sails are filled, and the flags stand out in the wind. Exhibited at the Royal Academy, 1828. Algernon Graves’ “The Royal Academy Contributors,” 1828, No. 113. Sir Walter Armstrong’s “J. M. W. Turner,” page 220. Catalogue of E. W. Parker, Esq., No. 100. ~ #A4UMS — Wo Collection of J. Nash, East Cowes Castle, Isle of Wight, for whom it was painted, with a companion picture which is in the Sheepshanks i Collection, South Kensington Museum. £ i (oMms Ang of se Collection of E. W. Parker, J.P., Skirwith Abbey, Cumberland. e3678 Mer [ox AX KK ee S : yy ,¥ 4 : ~ a "he SANs ® " y SIR LAURENZ ALMA-TADEMA, R.A. EneuisH 1836—1912 CONVERSION OF PAULA BY ST. JEROME « (Panel) Height, 21 seu GE 45 inches A MARBLE pergola overlooks a sea of deep, opaque sapphire hue to a distant mountainous coast. Over the arbor grows a profusion of vines and ripening grapes. Against the thickest of the greenery Paula is seen reclining carelessly on jungle pelts thrown over the massive arm of the marble seat, her sandaled feet dangling above the floor to the left, as she leans backward athwart the picture, one hand on the bench behind her supporting her inclined position. Her back is to the ecclesiastic, but she turns her head partly to listen to him, bring- ing her face almost fully toward the spectator. Her expression is half-reluctant yet not unwilling, as she harkens to the hand- some and eloquent man, who is still young. She is of fair complexion, her light hair is bound in jewels, and she wears brilliant rings, and silken apparel of rich hues; and she toys with a jeweled necklet. The Saint, in vestments subdued yet rich, is seated at the right, his figure facing squarely forward but his head turned toward Paula till his fine face is seen almost in profile. He holds a partly unfolded scroll, and with his left hand points with the index finger to the zenith. Signed below the center, on the marble, L. Atma-Tapema, op. CCCL. MGT cae Purchased from M. Knoedler & Co., New York. Jan op- 9&6 mmSXxX 4 Q. Toth ome hoy /qq £3500 . ae No. 31 IR JOHN EVERETT MILLAIS, P.R.A. ENGLISH 1829— 1896 THE PET BIRD ee | Height, 36 inches; width, 25%), ine rie hie Lona nw “GZ Facine toward the left, a little girl, nee life-size, and at 14) three-quarters length, stands with her head turned forward, her eyes looking straight at the spectator. A lace bonnet is placed upon her light-brown hair, which is banged across the forehead and loose and wavy at the back. She holds on the _ forefinger of her right hand a green parakeet, and her left arm hangs at her side. Her rich silk dress is embroidered with a large all-over pattern in delicate colors—light salmon-pink, white, and cool grays blending harmoniously—and has a beautiful lace band edging the opening at the neck, and lace cuffs. The dark background, representing a tapestry with trees and foliage, emphasizes the brillant coloring of the figure. Signed at the lower right corner with bie ana “1883.” thee ee “hee. S honey Soll TY $267, fh ago agl f h Exhibition of Old Masters, M. Knoedler & Co., New York, 1912. 76S5S x No. 82 JOHN HOPPNER, R.A. EncusH 1758—1810 MRS. ARBUTHNOT | Height, 4914 inches; met os is es Pee LIFE-SIZE full length portrait of a young woman, partly sitting — and partly kneeling, and facing the spectator. Her right arm rests upon a rock at her side, and rocks and trees make a dark © background behind her, but to the right the sky shows above a bit of landscape with trees and a distant hill, decoratively treated. Her face is turned three-quarters toward the left and inclined with a pensive expression; her light hair is dressed — with light silk ribbons. She wears a lawn dress with a cambric — fichu at the neck, and a sash at the waist. In her left hand, which rests in her lap, she holds some flowers. Wm. McKay and W. Roberts’ “John Hoppner,” page 5. ai /: s Collection of Sir Henry Hawley, England. : oy 7S - Loum Ce fay £1420 fax ) Height, 19 inches; width, 14% inches A YOUNG girl smiles out at the spectator from the doorway of a barn that shows partly to the left, against the door-post of which she is sitting, on the hay-covered floor. She is holding comfortably in her lap a baby. Her costume is of the peasant order, and she wears a fringed fichu around her neck; her feet are bare—also her arms from the elbow. In her right hand she holds a branch at which a goat is nibbling surreptitiously. Signed at bottom toward the right, H. A. Dirrrensacu. Charles J. Osborn Collection, New York, 1893. — © 7% = § SNXX— No. 39 AUGUST SIEGERT GERMAN 1820—1883 THE OLD GRANDMOTHER | ca "qe Height, 28 inches; ee ee &! (?. VW ny In a bourgeois interior, the grandmother, sitting in a high- backed chair, has fallen asleep at her spinning. Before her is her spinning wheel, behind her a wooden cabinet with a clock and ornaments on the top, and partly showing at her side is a table covered with embroidered stuffs upon which lies an open Bible. Two little children have come in to announce that supper is ready—they have their napkins on, ready for the meal—and stand amused and half hesitating whether to wake her. Signed in the lower right corner, A. SIEGERT. No. 40, o : Bite KARL JOSEPH LITSCHAUER German 1830—1871 : ae THE COUNTERFEITERS ik Ss Height, NY bet iggph 401, inches rt. THE scene represents an Ce od s workshop, » left, two men are looking with alarm at the closed door to ‘ ; the extreme right. The white-haired alchemist, in fur coat, crouches behind and at the left of his powerful-looking peasant helper, who stands holding in arrested movement a sledge- hammer with which he had been ready to strike a die held by the alchemist over a piece of metal. Their fierce watch-dog stands near the door, snarling. The place is paved with irregular stones. The light falling from on high to the left reveals _ bottles and vessels scattered all about, and the writing-shelf of a cupboard, near the door, where a large book stands open. Signed at the lower right, K. J. LirscHaver. Pte AP “ r : } a wb ot lnag fap ce ae No. 41 LUDWIG KNAUS German 1829—1910 +o A BAVARIAN HOLIDAY Height, 40 inch se 5 vo Wed 0 Ue re 2. ATTRACTIVELY atria among t ees an owering shrubs, and with a rustic fence surrounding it, is a terrace in front of a aa Bavarian inn, where a number of people from the city are sitting at tables, eating. In the foreground a little girl in trim and dainty attire, who has just come down the steps of the terrace, is distributing from a basket which she holds under her left arm cakes and delicacies to a group of village children. | The little tots are so delighted at the unexpected treat that they — have quite neglected a baby, who is crying on the ground, his shoes kicked off. In the immediate foreground at the right, with his back turned, stands an older boy, who seems already to have learned to distrust the world, and can hardly believe the reality enacted before his eyes. Beyond him at the end of the terrace is a swing, where several children are collected. At the upper right appear the house-tops and church spire of the village. Signed at the lower left corner, L. Knaus, 1890. STi cae Oe > fms” yor. ) No. 42 A . FRANZ VON DEFREGGER GrerMAan 1835— . AN Pa THE ADVENTURE Height, 4314, inches; re 5434, a GROUPED about an outdoor kitelen built ¢f logs and rough- _ hewn timber, a group of Tyrolean peasants is listening to the tale of a hunter, who with pipe in mouth and hat on the back of his head is seated at one side, and leaning forward gesticu- lates with his left hand to emphasize some. point in his story. His gun, strapped over his shoulder, hangs with the muzzle down. Before him to the right are his listeners, two girls and three men; one girl is standing, the others of the group are seated or reclining. Their poses and expressions show how wholly absorbed they are in the recital. In the center of the composition, but in the shadow inside of the kitchen, an old woman wholly preoccupied with her cooking is stirring some- — thing in a large copper kettle hanging over the fire. Between her and the seated girl a boy attentively watches a little girl stringing beads. Curled up in a corner behind the story-teller is a mountaineer, sound asleep, and above him, hanging from beams, are curiously patterned scythes and rakes. The scene is in the T yrolean Alps. uy Signed in the lower right corner, F. DEFREGGER, 1892. SET OL ETE CONCLUDING EVENING’S SALE OF PAINTINGS FRIDAY, FEBRUARY 14, 1913 IN THE GRAND BALLROOM OF THE PLAZA FirTH AVENUE, 58TH TO 59TH STREETS BEGINNING PROMPTLY AT 8:30 O'CLOCK i ET Te NE I ete No. AG Gia | — - ADOLPHE MONTICELLI Frencu 1824—1886 COURT D'AMOUR Height, 14 inches; wa WE wehe On a hillside, against the edge of a dense wood, with a ary glimpse of sky showing to the left, is a group of poetic figures, all women, eight in number, some of whom are reclining, others sitting or standing; a little Cupid is in their midst. Their poses and costumes express elegance and distinction, and the whole canvas is permeated with the color, gem-like in texture and quality, which is characteristic of this fascinating painter. i } i wesccy eis sp ment os anne ee mane te a Aces ._ ~~ 7 _ No. 44 | ADOLPHE MONTICELLI | FrencH 1824—1886 ROMANTIC SCENE Height 14 inches; ‘idth. Jor inches CLR. We Vr Ina NerEne of eneacd hillside and trees, neue out against a broken sky, is a group of ten women, clothed in garments of rich and rare color. Two are seated, and about them as the central point of the composition the others are rhythmically | placed in expressive and distinguished attitudes. The ees is full of mystery and poetry. _ a SORE SN Ay 2 OE gry SRNR REIT me Signed in the lower left corner, MontIceLit. SESE EAA PRIS SIN Ee NEY YO, eee None ; 3 EUGENE FROMENTIN ~Frencn 1820—1876 ) ‘S:A LA FONTAINE | = a (Panel) * = c Height, 14 inches; width, 1014 inches + a : Aes : wi ee THE scene is in Algeria and the personages a a To <= the right—set in relief against the foliage of a‘clump of trees ag and with the trunk of an olive tree crossing before it—is a _ tall stone fountain where a young man holds a large pitcher | under the jet of water. Before its basin, which extends almost to the extreme left, a man leaning against its low wall, and — holding by the halter a beautiful horse, talks to another man sitting on the ground to his left. The shining gray-white coat. of the horse is brought out conspicuously by a dark-bay horse standing at the back on the other side of the basin. Before a_ tree which is at the extreme left in the middle distance, a man is coming forward, and near him a bit of blue distance shows. The sky, blue with light clouds, is luminous, and the ee is full of sunlight. Signed in the lower Pees corner, Fue. Enos Purchased of M. Knoedler & Co., New York, 1895. Sry oxen - 2 ee cor]9s Faixxx 79-56 Hs Kn UME 34 No. 46 ALEXANDRE GABRIEL ‘DECAMPS | Frencu 1803—1860 LES PETITS NAUTONIERS ee | Height, 13 inches; length, me, In the courtyard of an Italian farm, a low stone haa ic is set against the wall in a corner, is being filled with water from a primitive wooden pump that a little boy is working with — all his might. Standing before it another boy, and a little © - girl who holds a dog under one arm, are intently watching a — toy sailboat floating in the basin. Signed dese up at the left, D.C. ~ Collection of Earl Northbrook, asta a a Purchased of M. Knoedler & Co., New York, 1895. 776 3 fs x x? ina A bs af 2S i ET aT No. 51 ae JEAN LOUIS ERNEST MEISSONIER Faexeh 181521890 | — A CAVALIER Height, 1A inches; ietie 634, ne LEANING against the end of a wall RA the spectator, a French Louis XIII musketeer stands in a careless pose, with his right arm crossed over his chest and his left hand curling his mustache. His costume consists of a light yellowish-brown leather coat having silk sleeves, striped in two shades of yellow, __ which show their blue satin lining at the wrists; gray velvet trousers; high boots of brown leather, the cuffs of which are turned down; a lace collar and fluffy wristbands, and a soft _ felt hat with a feather. The hilt of his sword shows at his side. On the wall to the left hangs a fine tapestry of which little more than the large border is visible. In the remainder of the back- ground, which is dark so as to bring out the figure, is an open oaken door, beyond which a glimpse of a window shows pote heavy draperies. Signed at the bottom toward the left, EK. Metssonier, 1880. AAV AGS a ~ Collection of Charles J. Osborn, New York, 1893. Catalogue No. 7 pé Ex x MK: 3/32. fore ad Gen Cull. Law bdo Fer OB KKK ra Sota a Gb 89 | 0 A RKC S ae ey 2 yo No. 52 ww i 2 JEAN FRANCOIS MILLET | | French 1814—1875 Ss “WSLE GARDEUR DE MOUTONS — (Panel) Height, 14 inches; widt}, 10% inches i cloak, his face turned toward his flock, is eee bot a hands on his staff. To the right his dog, in Petia) shadow, _ keeps watch. The rest of the picture is all sunlight! The sheep m2 3 are massed below in a narrow space, beyond which rises as hill that is topped by a ee of trees silhouetted Bei the summer sky. : Ft Sioned in the lower left corner, J. F. Mune. “s Purchased of M. Knoedler & Co., New York, 1A S2zp. av-! —e “hr allt of. FH6ooo - Pa pup. ‘ ae ie 2 u e ; ; ; ' > Fat. S$ » ‘4 : om wv ve & "8 % ; , wd. a: ee wt Vi * + toe : } rr 1 Ta & ® ~. # AG, we MILIET, Jean Frangois Born 1814 Died 1875 27355 a 9521 * Berger et Trdpeaa * ——— i eneeemamemmmaneaael 15 x 11-3/8 Bought by Mr.Fr.Hartmam of the Rue de Courcelles (same man who made @ public sale in 1851) from the artist who was his friend. Sold by Hartmann to the Scheurer Kestner from whom we bonght ite The Scheurer Kestner is an old Alsatian family who has sent many members of their family as senators and deputies to the Prench Parliament. No. 53 . PIERRE ETIENNE THEODOR ROUSSEAU ee: _ Frencu 1812—1867 \( \> ge LE PLATEAU DE BELLECROIX as (Panel) ~ . Height, 1014 ie length, Q11, inches A FLAT landscape with a clear, radiant sky, and a horizon line which extends with almost severe simplicity straight across the canvas, is enlivened throughout its length by trees standing in clusters and singly. The picture is lighted by the rays of the setting sun, except the foreground, which is enveloped in shadow. Just beyond this shadow a stream moving pic- turesquely through the meadows shows here and there, and near the center a cow is drinking, watched by a peasant; near _their right is a tall tree. A darker tree to the left is a significant note in the balance of the composition. The picture expresses the serenity and beauty of the hour. Signed in the lower right corner, 'TH. RoussEau. $2 \. "hee belay» PAYS AGES Py Daber, Pos : Woo ~ Jus igkis Hy : | er S SS ae te waa ee tg ad ahd me PIERRE ETIENNE THEODORE | VY -- ROUSSEAU ms Frencu 1812—1867 esTHE POOL IN THE FOREST (Panel) Height, 1058 inches; length, 185 inches THE picture: represents a romantic site in the Forest of Fon- tainebleau and is distinguished by the fine design of groups of trees against the afternoon sky. Striking across from the right, where some foliage is illumined, the light shines full upon a mass of trees at the left. In the center is a little valley cast in mysterious shadow, where a pool can be discerned, with here and there the top of huge boulders glistening in the light of the — sun, which also touches the tops of trees at the left. A woman sitting on a rock is fishing. Soft summer clouds sail across the sky. | Signed at lower left corner, Tu. RoussEau. Purchased from M. Knoedler & Co., New York, 1901. Jan 1 Sx XK ~ ir alert S/o 0 F 1000 - ae ¥ oO Soe ady * ri ay ese: Sar Mata ic: USSEAU RO , ty t 5 ie ane No. 55 veg PIERRE BTIENNE rental | ss Faencw 1812—1867_ ed = eae NA \WwLd MARE A PLAT, FORET DE FONTAINE- BLEAU—SOLEIL COUCHANT eae (Panel) Height, 15 inches; length epee ie Ze ee | A*MEADOW and a range 0 Soiare low-lying hills houndine it * i’ are seen under a transparent and luminous evening sky, the light of which is being reflected in a little pool in the center of — the meadow. On the near bank of the pool two men are sitting, — one with his back to the spectator. Low-growing brush covers the foreground, where rocks show here and there. To the — right in the middle distance are two trees beautiful in char- acter and contour. On a further plane at the extreme left are farm buildings, seen among trees. Signed in the lower left corner, Tu. RousskEav. Purchased from M. Knoedler & Co., New York, 1896.~ # QI%* «x ~ . ~~ Collection of Comte de la Panouse, Paris. ae f leo aw 4. tid x ewe ( a ao & A SS a AS RS SERCO a REI ST Ea EI ~ OO gl \ \ » =e ay os ~~ a per ch ener re :4 afer te es No. 56 AW 94 7 PIERRE ETIENNE THEODORE ROUSSEAU Frencu 1812—1867_ | "\ ‘-THE POOL—CLEARING OFF \ | (Panel) Height, 1334 inches ; MA I ge had AN expanse of uncultivated land is enveloped in shadow and — = occupies the whole foreground up to the middle distance. A path leading through stunted vegetation and outcropping rocks — My passes to the left of a little pool, near the center of the com- position, and here a woman is watching some cattle drinking. . | Trees extending from the center to the extreme left stand like Ce q: dark sentinels in a row, their tops only catching the sunlight, . ve Al and beyond them a plain illuminated by brillant shine’ “283 . a\\ 44 stretches out to a far horizon. The sky is suffused wh soft a light, as the clouds of a showery day are dispersing. Signed at bottom to the left, Tu. Rousseau. Purchased from M. Knoedler & Co. pray GS - C.BAE.S. CG3o. A QZe-SXxX- : \A\0K \ — — ye No. 57 LA CUEILLETTE AU BORD DU CHEMIN BY JEAN BAPTISTE CAMILLE COROT VS-LA CUEILLETTE AU BORD DU CHEMIN _ Recorded and illustrated in “L’Ciuore de Corot,” by Alfred Robaut and — No. 57. 0") . JEAN BAPTISTE CAMILLE coROT Z FRENCH 1796—1875 * (Pastore in 1860- -65) +) Sats t « ‘2a . . - ee L i =-kae 3 yoy te Sy anbs oe 0. 58 234 we ~ 4 - — i M - “ rae > - . ed Me j*s fs —_ 0 JEAN BAPTISTE CAMILLE COROT Frencu 1796—1875 msSBOHEMIENNE A LA FONTAINE Height, 22 inches; yaya 16 A arpsy woman stands against a background of eee on one . side and a distant body of water on the other. The figure i is ay three-quarters length and is turned a little toward the right. | She is looking down, her right hand at her bosom, her left hand a holding an empty earthen jar ree on her left knee, which i is oN slightly raised. | e This example is the original work, painted 1865- 1870. Several copies of the AIS exist. inches Signed in the lower left corner, Conor. Recorded and illustrated in.“L’Ciwore de Corot,” by Alfred Robaut and Etienne Moreau-Nélaton, Vol. III, page 60. No. 1423. Collection Perreau, Paris. a Collection Forbes, London, where it was wrongly labeled “Rebecca.” a = a Purchased from M. Knoedler & Co., New York, 1905. jfo2S~ aS Mi qo4q R. Fe Ary/o} PRY.000 Cet derean Tonfox pied Mek 60x 0a he noe 4S x 2 a < : NY * ; 4 ANS mommergermngmesnsoeiate Sees yee te NOM Pe JEAN BAPTISTE CAMILLE COROT Frencu 1796—1875 hin- LE PONT DE MANTES Height, 18 inches; lengt pg inches nvm -»* arent | From under the arches of a massively built stone bridge to the = | left, the river Seine flows down to the right, framed’ between grassy banks. On the near shore in the foreground are two figures, those of a woman and a child, with a dog, and at the extreme left is a pollard willow; at the water’s edge on the opposite shore three women are washing, and above the crest of the high bank, between the trunks and the foliage of poplars a a and other trees, one gets glimpses of the town, which spreads ne yy beyond the bridge, where a church stands as the dominant building. At the back is a hill softly outlined below a tender -and luminous sky. The whole tone of the picture is silvery. | Signed at bottom, to right of center, Coror. Between 1850 and 1860 Corot painted several pictures at Mantes— — Mantes, surnamed La Jolie—many showing the bridge, and between 1868 and 1870 two pictures of this bridge seen from entirely different wews. f Anes PSSA ee oe tn a ee ae No. 60 “JEAN BAPTISTE CAMILLE COROT Frencu 1796—1875 LE BATEAU AU CLAIR DE LUNE (Painted in 1871-1872) a Height, 24%4 inches; lgrgth, 32 inches Gage Le. ‘ ou ee a LARGE body of water, extending from a misty ‘and. obse distance into the foreground, indents the shore here beneath # position.’ To the right is a Beat with three persons, cone « 4) -whom is making ready to hoist the sail. A full moon is s. across the center of the composition, its light reflected ir a a a faintly outlined there. Beneath the nearer trees a nekennt stands, the upper part of his body silhouetted against the sk ing. mT Signed at the bottom to the Be: Conor. . Recorded and illustrated in “L’Ciwore de Corot,” by Alfred Robund and Etienne Moreau-Nélaton, Vol. III, page 346. No. 2263. a Exhibited at the Corot Memorial Exhibition at the Ecole ae Beaue- Arts, 1875 (No. 94 of the Catalogue) ; and at the Paris Exposition " Universelle of 1878 (No. 206 of the Catalogue). a Collection Verdier, Paris. Collection of M. Durand-Ruel, Paris, 1895. JE ey 7 wt eu G IT phe Y's ass ne - | 1 a te NS Se F ES ees No. 61 MANTES LA JOLIE BY CHARLES FRANCOIS DAUBIGNY No. 61 CHARLES FRANCOIS DAUBIG -. Frencn 1817—1878 \ S MANTES LA JOLIE ay J (Panel) Height, 74 CG es (3 5p inches Y FLowine between wooded bankg—that on the right being ae nearest, and its trees rising up to ne top of the canvas—the — : Seine comes out straight toward the foreground, filling it. A little to the right of the center of the picture, in the middle distance, is a stone bridge, with arches, and leading up to it ae at the left are some buildings of the town, dominated by the tall = - twelfth-century collegiate Church of Notre Dame, with its two towers and peaked roof. Beyond the bridge some hills appear in the distance. The sunny serenity of the sky is emphasized by a few thin, pink clouds. The bridge, the village, — = and the masses of foliage on both sides are reflected in the quiet water. | Sth a Te Signed in the lower right corner, Dausicny, 1858. Amold & Tripockare 1808. Purchased from M. Knoedler & Co., New York, 1895. THIS p- tenets Ar ale F ij000 | bye | oer er \' No. 62 | z — i) = N Ry a) nH < 2 N x : Sel pe = = © R i aee CHARLES FRANCOIS DAUBIGNY : No. 62 e 0 CHARLES FRANCOIS DAUBIGNY a _ —~Frencu 1817—1878 a “\ QATHE BANKS OF THE OISE—SUMMER i (Panel) Height, 12/4 inches; len ie Comine out from the left behind the shrubbéry growing — ‘a on a low bank, whose grass and reeds fill half of the fore. 4 ground, the beautiful Oise flows peacefully toward the fore- a ground at the right, its quiet waters reflecting the i fo | shore, where the houses of a little village are scattered amidst _ the greenery, and where a tall poplar rises high against “a : limpid, sunny sky filled with soft, fleecy, pink-tinged clouds. a Signed in the lower left corner, Dausicny, 1866. _ 7824 We GOe hele — . 6 bob avt 0/70 Fite a =e by + ee a sa Oe POPP SPP IN LIE EET I TIN No. 63 THE WILLOWS BY CHARLES FRANCOIS DAUBIGNY No. 638 CHARLES FRANCOIS DAUBIGNY AS: Been on 1817—1878 wn THE WILLOWS (Panel) | Height, 1734 inckbs; length, 3214 mche TA a In the center of a plain bordered by low hills on the horizon, a little stream comes forward, filling the foreground. On its left bank willows are disposed—some of them pollarded—in = clusters extending to the right, where before a distant solitary _ cabin is seen a shepherd with his flock. On a rocky projection oe of the bank at the right, four peasant women in a group are : ae washing linen in the river. ‘a Signed in the lower right corner, Dausieny, 1864. i: Collection of F. A. pu / We Zz NO of Wrehased frie M. Knoedler & Co., New York, 1911. 6 KX K = C-h.RS Seefj0 OS Kx ~ c > + i ‘ ; 3 / ae 8 ‘ ae Al Ht, — d 2 L'l — Kt ; a: x No. 64 JULES DUPRE ~Frencu 1811—1889 $ PASTURAGE NEAR L’ISLE-ADAM (Panel) Height, 11 inches; (Se 1614 inches eee vas om B ) In a fresh green meadow a few ee are grazing and one is lying at rest. A little pool bordered by high grasses and wild | a flowers shows in the foreground to the right. In the middle distance, in the shade of one of a group of shady willows which -are the feature of the composition, a peasant woman sits watch- ing the cattle. By a delicate gradation of values the eye is led — on through different planes to the far distance. The sky is’ aa gray, with lines of light breaking through along the horizon. _ Signed in the lower right corner, JuLtes Dupre. Collection Nourrit, Paris. Purchased from M. Knoedler & Co., New York, 1896. "7G 7) f S xXx AW jane : . iS x" 4 “ < ' ~ % 3 : , BO a v V 7 - (| EF RO RT TSF - A At ge na alleles aly CRI iy \ (SLA NDSCAPE as a blurred mass, with a few trees appearing in the middl - bits of blue here and there amongst the heavy clouds. t So 4 é A) a . No. 65 JULES DUPRE - ae Frencu 1811—1889 tree, whose distorted trunk and beaneiee are full of rag me character. Behind it a dead oak comes out from a pack sae | of other trees. To the right a stretch of low country is seen distance near the edge of the canvas. The stormy sky shov S ery Signed in the lower right corner, J ULES Dupri. A in94q ° een. le il ee mod a ee - = > — Se $35 ae : : - = = DO et tte aa gen ii . = = = —— = ~ : > 4 : SS Cars eNotes. - sce’ = ~*~ 4 Fa ee a S +e Jj i as J No. 66 — JULES DUPRE Frencu 1811—1889 YW LANDSCAPE—HUTS NEAR A POOL” — Height, 12%4 inches; length, 16% is A VIGOROUSLY painted landscape, with an old and scraggly | —rising at the left and bending toward the center of the pi —whose trunk is reflected in the pool occupying the imme foreground, its shores bordered by reeds and grasses . The sky-line is broken at the center by a group of thatched build-_ ings strongly lighted from the left, and at the right the ground rises. The sky is full of movement, with some clouds modeled — in strong light and others presenting broad masses in shadow. Signed at bottom toward the right, Juues Dupre. a Collection Dreyfus, Paris. . - pes Arnold & Tripp, Paris, 1895. (ae i : Purchased of M. Knoedler & Co., New York, 1896. Fe Ox eo Oe XG Fts-00° No. 67 JULES DUPRE Frencu 181 ee at A SUMMER LANDSCAPE Height, 29 neigh 37 ime. iQ In the center of the composition, amidst rocks scattered on its” banks and in its bed, a brook which comes from behind a hill at : the right, skirting the hill’s foot, winds its sparkling and sinuous — way to the foreground. An old woman is walking in a path up | the slope of the hill, between fine trees, toward a house the roof au } of which shows above the crest. On the other side of the brook, meadows with trees in the distance spread out and extend to the mountains of the horizon. ‘The blue summer sky is over-— spread with active white clouds. a : Signed in the lower left corner, JuLES Durrt I ee pe RSS ee ee ne a eee RN 2 PE eee - fags SO RE TE SR RE Lo 2 4 2 Ld . Owed ° cay = _ dress and wearing a white mantilla, and a cavalier in dark No. 68 NARCISSE VIRGILE DIAZ DE LA PENA Frencu 1808—1876 coer 2 Ep LA DISEUSE DE BONNE AVENTURE } 5 a Height, 28 inches; width, Wa bara ¢ In a summer landscape, under a bright sky with cloud cade against a background of trees topped in the distance by a high peaked mountain, is a group composed of five figures Beery before one figure sitting to the right, that of a gipsy woman. In the center of the composition a young woman in a blued : costume back of her, watch the little girl in pale-salmon dress a a whose fortune is being told. Between this child and the gipsy ee is another little girl, who seems absorbed in the event, as does a the young page who accompanies the lady and stands behind — her. The hand of the latter rests on the neck of a white deer- — a | hound, near to which at the extreme left a black dog is lying. Signed in the lower right corner, N. ee 15. Pi te gO, YIry M2 hon ft (G ay /e3 Prato Sou) Ter /e 9 LK o. Yak pes. 1/72 on Sx— 47H. forrh& Ch. So Osborne Ahfes ni Gs © apr ae WZ KP MRK S Foyle hie spare NEAR FONTAINEBLEAU No. 69 | ; Frencu 1808—1876 Height, 304 inches; ‘Ss Lipsy rY at which stand on the horizon is an expanse of wild ie ’ rough grass, low-growing bushes and outcropping rocks, flat monotony of which is relieved in the middle distance by clumps of trees to right and left. The sky, which occupies almost two-thirds of the picture, is very dramatic, with the red and yellow hues of the sunset largely hidden under f antastic clouds. Near the foreground, in the center, pools of water reflect the sunset light, and nearby a hunter, followed ia his a: ae is coming on hurriedly. i OR AC ae | ee No. 70 | he > a CONSTANT TROYON | ES cm " N as - Frencn 1810—1865 ae _ WS L’APPROCHE DE L’ORAGE a = eee 31 inches 5 ers fa: Aue rise to a distant horizon about half-way up ie vic Over it the approaching storm has begun to cast its shadow Coming from the right in the middle distance are some cattle, driven by two peasants, aman and a woman. The little hoe end of a verdant slope, and its leaders are cones forward i in x the middle of the foreground. 7 | | i vee in the lower left-hand corner, ¢. eee 1855. Collection of the Comte Daupias, Pane 1892. Catalogue No. 19%. “a Messrs. Leroy & Co., Paris, 1893. ae Blakeslee & Co. Trustee Sale, New York, 1893.- -#/38 HARMS 4 7 Blakeslee Galleries, New York, 1894. pn rn ne ee “Noo 71 ALEXANDER H. WYANT, N. ates AMERICAN 1836—1892 SS THE APPROACHING STORM Height, 151% inches; len yy 19 et A VERY dramatic ay poetic landscape. — < tempest sk the horizon the ominous density of an approaine Bei whee somber tones bring out by sharp contrast the vivid light of a sunlit distance. A little above the foreground, in the center of — the picture, is a pool set amidst grasses and low-growing a brush, and to the left two trees are being tossed i in the wind, © a The painting is spirited and convincing. iS © Si > roe Signed in the lower left corner, Avgia Wyant. | : %. f ine g) al ' * - F i ; m y ‘ A senor bie 8 E SENET aENE ( Rs a No. 72 GEORGE INNESS, N. a AMERICAN 1825—1894 ka) wu SUNSET (MONTCLAIR) | H aight, 29 inches; ae 3Y inches / To the extreme right is a dense mass of foliage, fron rhich, toward the center, the trunks of two trees stand ‘out « ‘con- | spicuously, the light of the setting sun being seen. beyond - them. | Glowing patches of clouds sail across the sky near the horizon line, which, simple and severe, is broken on the left by some figures, those of a boy sitting on the grass and holding | a man- dolin, and a little girl standing before him carrying some fagots, in the foreground, and in the distance to the left the suggestion | of another figure, walking. In the extreme distance, near the center, a factory chimney is vaguely seen against the sky. In the foreground of stubble and wild flowers is the fallen limb of atree. This is a characteristic canvas of the artist, a poetic impression of the country about his NES J ersey Beet Signed in the lower right corner, G. [ee 1886. Collection of Erwin Davis, New York, 1889. Catalogue No. "1. -m ASK ¢ You Py oy \ \ i eenteepeerwremnetcneecne EXETER ener eye at ie —SO, GEORGE INNESS, N.A. a AMERICAN 1825—1894 SUNSET STANDING out against the glowing evening sky—which near the zenith is full of thickly gathering clouds—two noble elms, —__ beautifully placed at the right of the center of the picture, — stand on the right bank of a tranquil stream which flows for" ward toward the left. A field at the right is bounded by a low stone fence, beyond which a red-gabled building is seen among trees, and in the foreground are some stumps of trees and out-- cropping rocks. In the middle distance the stream is spanned __ by the arch of a bridge, and beyond are seen the roofs of houses — and a church steeple, among trees, masses of which extend across the picture and are silhouetted against the sky, except © at the left, where a distant hill rises in a gentlé slope. The : = picture beautifully expresses the solemnity and mystery of a departing day. Signed in the lower right corner, G. Tie 1865. — ; a a bed et Apes ae — a oe a eee ae SP geyne a s SN A rs ne uy e 12, pee a ‘ se aT a ee : Ny # s, & ‘ 5 % & q ‘ é 7 + Pub . ‘ a st Ry * *» 4 Sore kaart ie 7 hp Ie 4A « - "h “26 7 o~ aie _ 4 (.* oa sie — - oe ‘ J =) Leone ae , Py 7 fe Pe a > r es a i) > *. ° , ¢ . a7 J 4 ms . - = 7 , , ; a me nal 24 q ri y v 7] e- : : ‘e \ i . % ' pS i me: ae 2% i. aS. te “— ier é oi s 3 “ 4 uy ql je i V ba Nie gute: erties temo peeieete isan No. 74 WORTHINGTON WHITTREDGE, N.A. “American 1820—1910 SCENE IN CENTRAL PARK,1874 yy a7 ie _ Height, 16 inches; length, 3934 Ves (3 THE peaceful waters of a little lake or stream in afpark extend along the foreground of the long and narrow canvas. Rising from the opposite bank, large, tall trees set in an irregular line stand in the shadow, their dark tones contrasting with distant groups of sunlit trees forming a parallel line. Between them is a wide avenue or mall, where a concourse of people is assembled. In the shadow to the left, a man standing on a raised platform is addressing the crowd, and back of him other men are seated. On the outskirts of the listening crowd people are walking about or seated on the grass. The figure nearest the spectator is a child dressed in white, who is sailing a toy boat on water that is filled with reflections of the dark forms of the trees. Signed in the lower right corner, W. WuiTTREDGE, 1874. ) ,-ve Height, 23% inches; length, 411 inches fs) ees Tue light of a late afternoon sky No. 75 JERVIS McENTEE, N.A. AMERICAN 1828—1890 AUTUMN LANDSCAPE WITH FIGURES reflected in a widening brook which flows forward toward the left, where a dark mass of trees and their reflections make a fine contrast. To the right © of the center a group of bare trees crosses the sky, rising to the top of the picture. In the extreme distance, beyond low masses of woods, are hills to which by delicate gradations of values the eye is led from the immediate foreground. Figures of children animate the scene. In the center are two young girls, one leaning against a tree, the other sitting on a log. Coming toward them at the right is a young girl with a little child, and here and there boys are playing on the banks of the stream. The foreground shows a growth of stubble and low-growing bushes, with a beach of earth and stones to the left. Signed in the lower right corner, J. McEntEx, 1875. = era+ wu DLE WAGON DE TROISIEME CLASSE looks down upon the sleeping child in her arms. Near her handle of the basket she holds on- her lap, and looks’ directly ; — at the spectator; beside her, in the shadow, a boy with his hands" No.6 ae HONORE DAUMIER Frenco 1808—1879 — eee 25 inche: length, 3414 inches / ~ a ground and two of the winder show on ne left. a t the left on the first bench, and facing the spectator, a m ) older woman, wearing a hood, clasps her hands © over in his pockets sleeps soundly. Every one of the faces seen ins the background is markedly individualized. The handling is vigorous, and the picture has great beauty of tone and color. : Collection Duz, Paris. ee 4 Arséne Alexandre, ““Honoré Daumier,” Paris, 1888. Catalogue, page 375. | a ed 104% Pee + 23 Ib + ra \ Oe ‘ 1 j : f ‘ 1 No. 77 FERDINAND VICTOR EUGENE DELACROIX : FRENCH 1798—1863 Bua COMBAT EN ALGERIE Height, 35%4 wiaipee 2814, “Tat Ow the crest of an folted mountain, rising in the amddlems distance to the left, a walled and turreted town is being ~ attacked by a party of Arabs. The defenders, having come . ee. _ down to the foot of the mountain, are advancing toward and | : firing at the attacking party. At the right the scene is closed — in by a wall of precipitous cliffs, against which, at the very edge of the canvas, is seen a cluster of trees standing on the slope of a hill that comes down diagonally from the right and — fills the foreground. Arabs of the invading party are scattered — -on the path which runs along this hill, and one of them on horseback is descending into the valley, toward the enemy. A a wounded cavalier and his horse are lying in the foreground, and. beyond them a wounded Arab is kneeling. One of the last pictures painted by the artist, and first called by him “La Per. | ception de Impot Arabe.” : | Signed at bottom to left of center, Euc. Drtacrorx, 1863. Collection Edouard André, Paris. Exhibition of the Pavillon de Flore, Paris, 1878. Collection Fop pt Nas ta . '.* ‘ JEAN LEON GEROME Frencn 1824—1904 BONAPARTE EN EGYPTE ene 2414, inches; Me ee Pe eal Hy 7 q ON a barren hill in the forereonm the colossal ruined statue of the Sphinx stands at the right of the center. Napoleon has ridden up from the left foreground and sits his horse looking steadily at the Sphinx, both he and the horse seen in profile. His escort is not seen, but shadows cast on the ground at the extreme left show that it is there. A vast desert plain extends behind and below the Sphinx, toward the left, where, like an army of ants, the serried ranks of Bonaparte’s soldiers are marching. A chain of mountains extends across the extreme distance. ‘The sky is of unbroken blue, with the haze of heat lying above the horizon. The effect is of ewe light and opalescent color. Signed in the right lower corner, J. L. GiROme. Evhibited at the Salon, Paris, 1886 (No. 1042). Purchased of M. Knoedler & Co., New York, 1895. CAIZ[(. pe SAS | BEG? Se ap WK 9222 tee S a gata #6- Rl / Vit93 of Hagemneeah ” he XxX. Ty LTS LS EE AE VT. e 7 SSSA UP 7 "» < No. 79 ALPHONSE DE NEUVILLE FRENCH 1836—1885 TRANSPORT OF PRISONERS (Also orn as “Retour de Reconnaissance’ >) } Height, 461 inches diffe, 31 (ingles TRuDGING along a muddy road which occupies the/foreground, — _ going toward the right, where it turns and leads up to the top) of a hill a few rods away, some German prisoners are being _ escorted by a few French cavalrymen. In the immediate fore- - ground one of the French dragoons, his head bandaged, has — dismounted and leads his horse; another, a non-commissioned officer carrying a number of Prussian pennants, has turned his | \ horse about and is shouting to someone outside the picture. : Before them the four prisoners, of whom two are Uhlans, are walking single file. At the top of the rise the officer command- ing the little escort shakes hands with an infantry officer, whose command is seen to the right at the edge of a wood. Before him two dragoons, carbines in hand, are leading the little RAE Beyond, to the left, are seen some hills. Signed in the right-hand lower corner, A. pp Neuvit1e, 1880. Collection of Charles J. Osborn, New York, 1893. Catalogue No. 89. = Pa. saete ocr eee ee a nage er No. 80 JEAN BAPTISTE EDOUARD DETAILLE FRENCH 1848—1912 PRUSSIAN CUIRASSIERS ATTACKING Ap REN CH CONVOY _ (Episode of the Franco-Prussian War, 1870) — Height, 3114, inches; By 5034. poe PRUSSIAN cuirassiers coming atone the right are charging aa “a toward a road, marked on each side by a row of poplar trees, a ‘ which extends transversely across the picture, above the fore- ground, and where the French infantry protecting aconvoy are making their stand. On the edge of the road, between the —_ poplars, the French soldiers are seen with bayonets fixed; a : few of them are firing, and a mounted officer is giving orders. — Behind them are the wagons, conspicuous among them a field — ambulance flying the Red Cross flag. Farther along, others — . of the soldiers defending the road are firing, and against the | ‘oa smoke from their volleys, horses and cuirassiers are brought out vividly. In the foreground toward the left a horse and his rider are lying on the ground. Signed in lower left corner, Epovarp DetaILyiE, 1882. Goupil & Co., Paris, 1890. M. Knoedler & Co., New York, £894. 3 Collection of Charles J. Osborn, New York, 1893. Catalogue No. 91.> 4 EXK , Mi K-16 y » Amghh Cafust » the 1882 , Fue EXKKKe Akh. - thor} Orborns, df. P22. » BPAOSKX S - Pe NS a 4 * \ \ * Vv ‘ -— fk. 2 ae, TI et re a = > i; - ~ . . . < . ’ s ‘ ‘ . ’ - / ‘ F ‘ + ye - ® U & “e 3 \ 7 - t - i La oof a. ; Pre ie cay af ce pea No. 81 JULES ADOLPHE BRETON | FreNcH 1827—1906 LA FIN DE LA RECOLTE~ Be Height, 341/, inches; rege yp nce Ids og! AT the end of the day, in a flat landscape where fie de a back to the horizon, some peasants are hard at work gathering — Ss their potato crop. In the foreground a man, his head coming ~ in strong relief against the sky, is pushing a spade into the = ground, digging potatoes which a woman, kneeling in front = of him in the center of the composition, is gathering in her a apron. Near her is a high basket, and sacks filled with potatoés are standing at intervals beyond her. In the middle distancea _ man, a woman and a boy are pouring the contents of a basket into a sack, and a little to the right two men and a girl are loading filled sacks into a small farm wagon. Farther on and \aa toward the left a fire is burning, the smoke spreading low across the picture. Farm buildings and a line of trees are seen at the extreme left. The soft radiance of the setting sun, which has disappeared, is reflected in the red haze over the horizon and pervades the whole scene. | Signed at the bottom toward the right, Jutus Breron, 1894. Purchased from M. Knoedler & Co., New York, 1894, who obtained the painting direct from the artist. 7615S" aS.xXxx- aur Sepik [24 Faswe on" & p ase if Me Peder: TRE Sa a $A GIDE ASTI aE INSEE TI ‘ : “ . -. . ast ; a : ¥ A | ¥ ~ ae d Pere “ : : € ae, - ad - , ; ~ 7 . a z . ‘ ; . ‘ a ’ 4 - = J ? : ue " - - f e ' . . “ 4 — 2 » d “4 ~ a 4 . yy bs a = ' ; “4 x No. 82 950 ROBERT F. BLUM, N.A. | AMERICAN Born at Cincinnati, Ohio, 1857; died, 1903. In 1890 he went to Japan, com- missioned by the Scribners to work conjointly with Sir Edwin Arnold. In the mean time his paintings had brought recognition and he was awarded bronze, silver and gold medals, and was elected member of the Academy of Design. Upon his return from Japan in the fall of 1892, after writing and illustrating articles on Japan, and completing several easel pictures, Mr. Blum made an entirely new departure, taking up mural decoration. The “Moods of Music” in Mendelssohn Hall, begun in 1893, is his first serious effort along the new lines and is an initial proof, as later productions bear witness, that the artist was well qualified to exercise his powers in the broad field of mural painting. CEILING DECORATION Circular. Diameter, 11 A nympu of fair hair and ample figure/ partly’ enwound with a diaphanous pale-green drapery, is resting, smilingly, upon a floating couch of roses, among pink-tinged clouds in a pale- blue sky. A joyous nymph enwrapped in filmy rose—this one with darker hair—clacks her fingers over the reclining one as though in time to a merry dancing tune, a tambourine, just visible, lying beside her rounded hip. A little below and to one side, a third nymph of the golden days, a brunette of supple figure, her filmy garment old rose and dove-color, seen from back and side with her head turned away, reclines on one elbow, resting her free hand on a violin and sheets of music, while amorini gambol about, and near by a volume, or bundle of music, bears the title: Spring—Allegretto. AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. 6S SR iS PT EE “4 iv) BIOGRAPHICAL NOTES AND INDEX ALMA-TADEMA (Sir Lavrenz). ENGLISH Born at Dronryp, Friesland, January 8, 1836; died, 1912. Educated at the Gym- nasium of Leeuwarden, where he conceived a passion for Egyptian and Greco- Roman archeology, which became a great influence in his art life. Student of art in Antwerp Academy, 1852; subsequently pupil of Baron Henry Leys. In 1870 he removed from Brussels to London, which was thereafter his home. He won many honors, was a knight of many orders, and a member of the Royal Academies of Amsterdam, Munich, Berlin, London, Stockholm, Vienna, and Madrid. Medal, Paris Salon, 1864. Medal, Second Class, Universal Exhibition, 1867. Legion of Honor, 1873, and Officer, 1878. Grand Gold Medal, Berlin, 1874. An Associate of the Royal Academy, 1876. Elected Royal Academician in 1879. Honorary Professor of the Royal Institute of Fine Arts, Naples; and Corresponding Member of the Academy of the Beaux Arts, France. 4, UNWELCOME CONFIDENCES 30. CONVERSION OF PAULA BY ST. JEROME BONHEUR (Marte Rosa). FRENCH Born at Bordeaux, March 22, 1822; died, 1899. Pupil of her father, Raymond B. Bonheur. Her first two pictures exhibited at Bordeaux, 1841, attracted much attention, and were followed by others which established her world-wide fame. First exhibited at the Salon in 1845. Her painting, “Boeufs Rouges du Cantal,” won her her first award, a gold medal of the third class, 1847. During the Franco-Prussian War, her studio and residence at By, adjoining the Forest of Fontainebleau, were respected by special order of the Crown Prince of Prussia. From 1848 she was Director of the Paris Free School of Design for Young Girls, which she founded. “Exempt” from Jury of Admission by special decree, July 27, 1853. In 1865, Maximilian and Carlotta sent her the Cross of San Carlos. Elected member of the Academy of Fine Arts of Ant- werp, 1867. Medals: 1845, 48, °55, "67 (Haposition Universelle). Legion of Honor, 1865, personally delivered by the Empress Eugenie; Leopold Cross, 1880; Commander’s Cross of Royal Order of Isabella the Catholic, 1880. Officer of the Legion of Honor, 1894. Officer of the Most Noble Order of Santo Jacobo, 1894. 50. HIGHLAND CATTLE AND SHEEP ON A MOUNTAIN PASTURE BRETON (Jutes ApoLPHE). FRENCH Born at Courriéres, in France, in 1827; died, 1906. He studied under Dréolling and Devigne, and made his first success in Paris as early as 1849. Within a very few years he established his reputation as a painter of peasant subjects, 81. and when his picture “Blessing the Harvest” was bought by the French Goy- ernment he took his place at once in the front rank of French artists. Many — of his best pictures are now in the United States, and he is represented in most of the notable collections of modern art the world over. No artist has. been more popular, and no one has had a greater number of medals and other distinctions. He received, among others, medals at Paris in 1855, *57, 59, ’61, *67, and the Medal of Honor in 1872. He was made Chevalier of the Legion of Honor in 1861, Officer in 1867 and Commander in 1889. He was a correspond- ing member of the Academies of Vienna, Stockholm, Madrid and London, and a ae Member of the Institute of France. LA FIN DE LA RECOLTE ¢f CONSTABLE (Jou), k.a. ENGLISH 3. Born in 1776, at East Bergholt, Sussex, fourteen miles from the birthplace of Gainsborough. Son of a well-to-do miller, he was destined for the Church, but preferred the occupation of his father. Finally deciding to be a painter, he entered the Academy schools at the age of twenty-four, and exhibited his first picture two years later. He studied the works of Ruisdael in the National Gallery, from which he came to the conclusion that London could help him little in his art, and that it was nature which he must study, and particularly nature along the banks of his native Stour, which in after years he averred had made him desire to be a painter. Especially did he advance the study of light and air, and in his pictures for the first time the atmosphere moves and has its being in painted landscape. He was ahead of his time, anticipating the triumphs of the painters of Barbizon, on whom his influence was undeniable. He was elected to the Royal Academy in 1837. THE SLUICE COROT (Jean Barrisre CamiLie). FRENCH Born in Paris, July 20, 1796; died there, February 23, 1875. Pupil of Michallon and of Victor Bertin. Went to Italy in 1826, and in studying nature, as he continued to do on returning to France, in ‘Provence, Normandy, and Fon- tainebleau, learned to couple breadth of treatment with careful though not obtrusive detail. An eminently suggestive and refined painter, gifted with highly poetical and tender feeling, he has, from his peculiar excellence in treating still water, the sleeping woods, the broad, pale horizon and the veiled sky, been called the Theocritus of landscape painting. He is well characterized, in a sonnet by an American poet, as “Thou painter of the essences of things.” Medals: Second class, 1833; first class, 1848 and 1855. Legion of Honor, 1846; Officer, 1867. ; To Corot life was one unbroken harmony. “Rien ne trouble sa fin, c’est le soir dun beau jour.” His sister, with whom the old bachelor lived, died in the October of 1874. On February 23d of the following year, when he had just completed his seventy-ninth year, he was heard to say as he lay in bed, drawing 57. 58. 59. 60. in the air with his fingers: “Mon Dieu, how beautiful that is—the most beautiful landscape I have ever seen!” On his deathbed his friends brought him the medal struck to commemorate his jubilee, and he said: “It makes me happy to know that one is so loved; I have had good relatives and dear friends. I am thankful to God.” With these words he passed away—the sweetest poet painter and the “tenderest soul of the nineteenth century.” LA CUEILLETTE AU BORD DU CHEMIN BOHEMIENNE A LA FONTAINE LE PONT DE MANTES LE BATEAU AU CLAIR DE LUNE CROME (Joun), (“Orp Cromr’’). ENGLISH 33. Born at Norwich, 1769. The son of a journeyman weaver, he was in due course apprenticed to a coach painter. His spare time was spent in drawing the scenery around his native city, and after the expiration of his apprenticeship he determined to be a painter. He eked out his scanty resources by giving lessons in drawing and painting. In 1805 he founded the Norwich School of Art, of which Vincent, Stark, and Cotman were the other leading representatives. In later life he visited-Paris and studied with eagerness the Dutch landscapes in the Louvre. Hobbema was his idol, and his own work is a direct and exact realism, pictorially arranged in a harmony of brown tones under the influence of the Dutch. He died in the city where he had spent his whole life, in 1821. THE WILLOW TREE Asp S a (ArLBERT). DUTCH 23. Born at Dordrecht, 1620; died there, 1691. Landscape, animal and marine painter. This highly gifted artist was from early infancy associated with, and attracted by, the beauties of graphic imitation. His father, Jacob Gerritz Cuyp, an artist of no inconsiderable talent, both in portraiture and landscape, was one of the founders of the Academy of Painting at Dort, and it was from him that Aelbert received ‘his first instructions, and in his early works may be traced the style of his father. England appreciated and purchased his works long before his own countrymen recognized his ability, and some 200 out of 336 canvases painted by him were owned in England as late as the close of the nineteenth century. “THE MUSSEL EATER DAUBIGNY (Cuartes FRraAn¢co!s). FRENCH Born at Paris, 1817; died there, 1878. Son and pupil of the distinguished miniature painter of the French Restoration, Edme Frangois Daubigny, 1789- 1843. He visited Italy, and returning in 1836, studied under Paul Delaroche. Daubigny was, with Rousseau, Corot, and Jules Dupré, a lover of the banks of the Oise. On a boat arranged with all necessary equipments for a house and studio combined, he made long excursions on the Oise and the Seine. A dweller in the open air, he rendered with all the freshness of springtime the tender — accuracy of color which contact with nature alone made possible, and brought to landscape painting an unusual grace. Medals: 1848, 53, °55, ’57, *59, ’67. Legion of Honor, 1859. Officer of the Legion of Honor, 1874. Diploma to the Memory of Deceased Artists, Haposition Universelle, 1878. It is quite probable that other men of the Barbizon School at times were greater artists than he, but none of them possessed Daubigny’s absorbing love of what was beautiful in nature for its own sake, or the exquisite sensibility and frankness a with which he painted those familiar scenes which have so long delighted the lovers of the beautiful in nature, and filled their hearts with a sincere affection. 61. MANTES LA JOLIE > 62. THE BANKS OF THE OISE—SUMMER 63. THE WILLOWS DAUMIER (Honoré). 3 FRENCH Born in Marseilles in 1808. Painter and caricaturist. During the bourgeois régime of Louis Philippe, Daumier was the great caricaturist of politics, and later by his studies of misfortune and vice and of the street life of Paris he achieved a wonderfully comprehensive record of his time. It has the value of historical data and is at the same time great art by reason of the largeness, and — simplicity of line, the form of characterization, and the avoidance of all triviality. His “Robert Macaire” series, published in “Charivari,” was highly celebrated. In 1877 he became blind, and he died at Valmandois in 1879, in a house given him by Corot. 76. LE WAGON DE TROISIEME CLASSE DECAMPS (ALexanpre GaBsRIEL). FRENCH Born at Paris, March 3, 1803; died at Fontainebleau, August 22, 1860. Pupil of Abel de Pujol, of David, and also of Ingres. He freed himself early from classical principles of style and imitation of the antique, and formed himself through the study of nature. His name was soon counted with those of Ingres, Delacroix, and Delaroche, as a leader of the modern romantic French school. Decamps’ restless spirit sent him on many wanderings, and from a visit to Asia Minor he brought back the inspiration and material for the Oriental subjects, bathed in sunlight and glowing with slumberous color, which gave him a dis- tinctive place among the masters of the day. In his greatest success his life was not happy. He had his studio and hunting lodge in Fontainebleau, and he divided his life between painting and hunting to dissipate his brooding on his disappointment in life. He had few friends, though with Millet and other artists of his circle he was on amicable terms. Medals and honors only deep- ened his disgust at his inability to create monumental masterpieces. Only his great mind preserved him from total misanthropy. One day in 1860 he rode into the forest with his favorite hounds to hunt. The baying of the dogs attracted the attention of a forester, and he found one of the greatest artists of the world thrown from his horse and helpless from an injury which proved mortal. 46. LES PETITS NAUTONIERS DEFREGGER (Franz von). AUSTRIAN Born at Stronach, Tyrol (Austria), 1835. Pupil of Munich Academy under Piloty, 1860. Gold Medals: Munich, Vienna, Berlin, Paris. Professor of Munich Academy. Order of St. Michael; of Francis Joseph; of Isabella the Catholic. Honorary Member of the Berlin, Vienna, and Amsterdam Academies. En- nobled in 1880. His work “Arriving at the Ball” was sold in the George I. Seney Sale, New York, 1885, for $10,500. 42. THE ADVENTURE _DELACROIX (Ferprnanp Vicror Evcéne). FRENCH Born at Charenton St. Maurice, near Paris, 1798; died at Paris, 1863. Pupil of Guérin. Exhibited in 1822 his “Dante and Virgil,” which won him reputation, and he might have received high academic honors if he had not diverged from the prevalent classicism of the school of David and joined the romantic school, of which he became one of the leaders. He traveled in Spain and North Africa in 1831, and between that and 1855 executed important public commis- sions, decorating the Chamber of Deputies, the Library of the Luxembourg, the Church of St. Sulpice, and galleries in the Louvre and the Hotel de Ville. Shortly after the conception of these last he died; and, being dead, began straightway to live in the popular imagination. While during his lifetime he seldom got more than four hundred dollars for his largest paintings, the sale of the pictures he had left behind him netted the sum of one million eight hundred thousand francs. For the principles of art to which he clung, let himself speak: “This famous thing, the Beautiful,” he once wrote, “must be—every one says so—the final aim of art. But if it be the only aim, what then are we to make of men like Rubens, Rembrandt, and, in general, all the artistic natures of the North, who preferred other qualities belonging to their art? In any case, there is no recipe by means of which one can attain to what is called the ideally beautiful. Style depends absolutely and solely upon the free and original expression of each master’s peculiar qualities.” Legion of Honor, 1831; Officer, 1846; Commander, 1855. Member of the Institute, 1857. “7”, COMBAT EN ALGERIE (First called by the artist: LA PERCEPTION DE L7IMPOT ARABE) DETAILLE (Jean Baptiste Epovarp). FRENCH Born at Paris, 1848; died there, Dec. 24, 1912. Favorite pupil of Meissonier. Exhibited at the Salon, in 1868, his “Halt of Infantry,” which received much praise, and in 1869 the “Rest During the Drill at Camp St. Maur,” which won’ ~ for him a medal, and which established his reputation as one of the most popular military painters of the day. Member of the Institute, 1892. He- served upon the Staff in the Tunisian Campaign, 1881. Visited and painted — in England and Austria, and in Russia he executed many important works for the personal collection of the Czar. President of the Society of French Artists, 1895 (Champs Elysées). Medals, Paris, 1869, ’70, 772. Medal of Honor, 1888. Legion of Honor, 1873; Officer, 1881; Commander, 1897. Grand Medal of Honor, 1897. Grand Cordon of the Order of St. Stanislas of Russia, a 1897; Military Medal of England (Queen’s Jubilee), 1897; Colonial Medal — (Tunisian Expedition). g0. PRUSSIAN CUIRASSIERS ATTACKING A FRENCH CONVOY DIAZ DE LA PENA ( NarcissEe Vircine). FRENCH Born at Bordeaux, of Spanish parents, 1809; died at Mentone, 1860. Diaz was one of those who gave celebrity to the village of Barbizon, in the forest of Fontainebleau. Anything served him as a pretext for bringing to light his- marvelous aptitude as a colorist. He rendered with equal facility the enchant- ments of the landscape flooded with sunshine and the deep forest in luminous twilight, or nymphs with flesh of exquisite tone; and dazzled the eye with all the seductions of a grand colorist. He lives by his Fontainebleau landscapes. He is the third man in the great triad, and, though different in sentiment, mood and individuality from Rousseau or Dupré, he is to be named with them as one of the great landscape ys of the last century. Diaz was more successful in a worldly way than either of his companions. His pictures sold readily and he received many honors. But he never forgot his less fortunate comrades. He bought their pictures, loaned them money, kept their heads above water, while ever proclaiming their merit. This was particularly true of Rousseau and Millet. He never let slip an opportunity for testifying to their excellences. In 1851 he was made Chevalier of the Legion of Honor, but Rousseau was overlooked. At a dinner given to the new officers, Diaz made a great commotion by rising on his wooden leg and loudly proclaiming the health of “Théodore Rousseau, our master, who has been forgotten.” Medals: third class, 1844; second class, 1846; first class, 1848. Legion of Honor, 1851. - 68. LA DISKEUSE DE BONNE AVENTURE 69. SUNSET NEAR FONTAINEBLEAU DIEFFENBACH (H. A.). | GERMAN Born at Wiesbaden, Feb. 4, 1831. Genre painter, pupil in Diisseldorf of Jordan; returned in 1858 to Wiesbaden, lived in 1863-70 in Paris, then for one year in Switzerland, and in 1871 settled in Berlin. His favorite sphere is children’s and peasant life. ; 38. THE FOSTER MOTHER DUPRE (JULEs). FRENCH 64. 65. 66. 67. Born at Nantes, 1811; died at L’Isle-Adam, 1889. One of the most original and powerful painters of the modern French School. At twelve years of age he was the principal_decorator in his father’s porcelain factory on the banks of the Oise. It was in the contemplation of nature, in his isolation amidst her influences, that the mind of the lad was opened to her beauty, and that her mystery was sounded by his thought. In his hours of freedom the boy used to wander over the fields with sketch-book and pencil. No professor inter- posed himself between this talent in its birth and what it portrayed. What he was ignorant of he asked but of her; what he learned was from her teaching. At eighteen the little china painter had become a young master. At sixty, he was the illustrious, respected veteran of the School of 1830—Delacroix, Rous- seau, Diaz, Corot, Barye, Millet, Decamps, and Troyon. Fortune favored Dupré with a more even disposition than his companion Rous- seau. He got along with the world better, was more successful financially, and had less bitterness in his life. He outlived all the early tempests that gath- ered about the heads of the band, and saw the ideas they had struggled for at last acknowledged. His quiet bearing under success was as admirable as his fortitude under early failure. He was not easily turned aside or beaten down or over-exalted. The belief of his youth he carried with him into old age, firmly convinced that some day it would triumph. Medals: second class, 1833 and 1867. Legion of Honor, 1849; Officer, 1870. PASTURAGE NEAR L’ISLE-ADAM LANDSCAPE LANDSCAPE—“HUTS NEAR A POOL” A SUMMER LANDSCAPE FROMENTIN (Evekne). FRENCH 45. Born at La Rochelle in 1820. He was the son of a successful lawyer and intended to follow his father’s profession. But after receiving his diploma in Paris, at the age of twenty-three, he was taken ill, and as a pastime took up the study of drawing. He soon discovered that his tastes were stronger in the direction of art than toward the practice of law, and he became a pupil of Cabat and Rémond. He had visited Algeria as a youth, and, attracted by Maril- hat’s paintings of the Orient, now made up his mind to return to that country. He accordingly spent three years there—1846 and 1848 and 1852. In 1847 he first exhibited at the Salon, and in a few years was recognized as a most sympathetic and poetical painter of Oriental subjects, and became, indeed, the leader of a school. In this delightful artist the painter’s talent was enhanced by a very decided literary aptitude, and thus in his works he not only paints Africa, he narrates it. He received medals at the Paris Salon in 1849, 1857 and 1859, and at the Exposition in 1867. He was made Chevalier of the Legion of Honor in 1859 and Officer in 1869. Died in 1876. A LA FONTAINE GAINSBOROUGH (Tuomas), R.A. ENGLISH Born at Sudbury, in Suffolk, 1727. He attended the local grammar school, but making small progress in learning, was placed with a goldsmith in London, who introduced him to Gravelot, an engraver. The latter instructed him in drawing, and obtained for him admission to the St. Martin’s Lane Academy. After studying for three years, he hired rooms in Hatton Gardens, and, while waiting for customers, executed a few small landscapes which he sold to the dealers. Meeting with no success in London, he returned to Sudbury in 1745, and mar- ried Mary Burr, who had an annuity of two hundred pounds. After living fifteen years in Ipswich, he moved to Bath, where his success as a portrait painter was pronounced. During the fourteen years of his stay in that city he contributed regularly to the Royal Academy exhibitions, so that when he migrated in 1784 to London and rented part of Schomburg House, Pall Mall, he was welcomed as the rival of Reynolds in portraiture and of Wilson in land- scape. He was devoted to music and the simple delights of domestic life. In 1788, upon his deathbed, he sent for Sir Joshua. “We are all going to heaven,” he whispered, “and Van Dyck is of the party.” By his request he was buried in the churchyard at Kew. 91. PORTRAIT OF CAROLINE ANNE HORDE GERICAULT (Jean Louis Anpr& THEODORE). _ ‘FRENCH Born at Rouen, Sept. 26, 1791; died in Paris, Jan. 18, 1824. History and animal painter, pupil of Carle Vernet and of Guérin. In 1817, after serving in the army three years, he went to Italy and studied in Rome and Florence... His “Raft of the Medusa” (1819, Louvre) was loudly denounced by the critics on account of its bold realism; but its exhibition in London brought the painter 20,000 _ francs and on his return to Paris a gold medal. He executed afterwards many studies in crayon and watercolor, and many lithographs; also he modeled for sculpture. 49. THE WHITE HORSE GEROME (Jean Lion). FRENCH Born at Vesoul, 1824. Died, suddenly, at Paris, Jan. 10, 1904. Pupil of Paul Delaroche, whom he accompanied to Rome, and of Gleyre after his return from Italy. Géréme was one of the best-known of modern French painters, and he also executed several sculptured groups. His subjects are chiefly characteristic of life in the East. Medals: third class, 1847; second class, 1848, 1855; of Honor, 1867, 1874-1878; for Sculpture, 1878. Legion of Honor, 1855; Officer, 1867 ; Commander, 1878. Member of Institute, 1865. Professor in the Ecole des Beaux-Arts, 1863. 7g. BONAPARTE EN EGYPTE GREUZE (Jean-Baptiste). FRENCH Born at Tournus, near MaAcon, Aug. 21, 1725; died at the Louvre, in Paris, Mar. 21, 1805. Genre and portrait painter. Pupil at Lyons of Gromdon; he studied afterwards in the Academy at Paris and at Rome. His first picture, “A Father Explaining the Bible to His Children,” seemed to exceed anything that was expected of Greuze. He was elected an agréé or Associate of the French Academy of Painting in 1755, when his picture, “L’Aveugle trompé,” was exhibited, and in the same year he went to Italy with the Abbé Gougenot. In (1761 his “L’Accordée de Village” (Louvre) excited the greatest enthusiasm. Angry at.being received into the Academy (1769) as a genre and not as a history painter, Greuze retired for a time to Anjou, whence he returned to exhibit pictures which attracted all Paris. Exhibited at the Salons of 1755, ’57, 59, 61, 63, °65, °69, 1800, ’01, °04. He amassed a large fortune, but lost it during the Revolution. Neglected by the public, which then admired only the new school of David, Greuze passed his last years in misery and regret. His wife, who was Mlle. Barbuty, whose charming face appears in so many of his pictures, was an extravagant and worthless woman, from whom he was separated long before his death. 19. INNOCENCE GUARDI (Francesco). ITALIAN _ Born at Venice in 1712; died there in 1793. He was a pupil and follower of Canaletto. Worked mostly at Venice. Painter of architectural and landscape perspective views. He painted many pictures of Venice and its buildings and monuments, all charming in style though less exact in detail than those of Canaletto. — 15. THE GRAND CANAL NEAR THE PIAZZA OF SAN MARCO, VENICE 16. THE PIAZZA OF SAN MARCO, VENICE HALS (Frays). DUTCH Born at Antwerp, in 1584; died at Haarlem, 1666. He was a descendant of an old patrician family. Pupil of Karel Van Mander. One of the merriest and brightest-witted of all the Dutch portrait painters. He was the founder of a National style and a portrait painter who ranks with the greatest masters; his unusual talent excited the admiration of Van Dyck. His flesh coloring is vital; his handling broad, masterly and vigorous. His facility and intemperate habits led him to be careless, and for a couple of years before his death he was supported by the municipality of Haarlem and pensioned, though meagerly. For a century after he died his talent and genius were so far forgotten that many of his paintings sold for a few pounds. “As a master of brilliant brush-work, and in the consummate power of his handling, he stands second, if second, to Velasquez alone.” Seven of his large paintings hang in the Haarlem Museum. 10. THE REVEREND CASPAR SIBELIUS HENNER (JeEan Jacauss). _ PRENCH Born at Bernwiller, Alsace, in 1829. His father was a peasant and without means, but the municipality, after the young student had shown promising talent in the studio of Gabriel Guérin at Strasbourg, sent him to Paris, where he entered the Ecole des Beaux-Arts and gained the Prix de Rome in 1858, — while a pupil of Drdlling and of Picot. He spent five years in Italy, and after- wards traveled in various countries in Europe. Attention was first called to the : great qualities of his work during his scholarship in Rome, and his “Susannah,” exhibited in 1865, established his reputation once for all. He has been a con- sistent idealist all his life, and his work combines the great charm of purity with a virile strength of effect. He received medals at the Paris Salon in 1863, 1865 — and 1866, and at the Exposition in 1878. He was made Chevalier of the Legion of Honor in 1873 and Officer in 1878. Medal at the Exposition in 1878; Member of the Institute in 1889. 47, PENSEROSA HOBBEMA (MeEtnpert). s DUTCH Born at Amsterdam, 1638; died at same place, 1709. Pupil of Jacob Van — Ruisdael. Landscape painter. The figures and animals in his pictures were painted by Berghem, Van de Velde, Lingelbach, Wouwerman and others. Most of his paintings were bought by Englishmen. He was much neglected in his lifetime and little esteemed. He now ranks as one of the greatest Dutch masters of landscape art, thanks to the initiative of England. Less poetic than Ruisdael, he had greater truth in atmospheric effect and brilliancy of color. . 24. CASTLE KOSTVERLOREN HOPPNER (Jouy), z.a. ENGLISH Born in Whitechapel, London, 1759, of German descent. At first a chorister in the Chapel Royal, he studied art at the Academy schools. He became an Associ- ate of the Royal Academy in 1793, and a full member a few years later. Under the patronage of the Prince of Wales he rose rapidly as a fashionable portrait painter, and found a rival only in Lawrence. Basing his style upon that of Sir Joshua Reynolds, he maintained, notwithstanding, an originality of his own, and was particularly happy in his rendering of women and children. In 1803 he published “A Series of Portraits of Ladies of Rank and Fashion,” engraved from his own paintings. His death occurred in 1810. 32. MRS. ARBUTHNOT DE HOOCH (Prerer). DUTCH Born at Rotterdam in 1632. Died at Amsterdam in 1681. Genre painter. Said to be a pupil of Nicolaes Berchem, but formed himself under the influence of Karel Fabritius and Rembrandt. His early works show clearly the influence of the soldier painters of the Frans Hals school and of the pupils of Rem- brandt, especially Karel Fabritius. He first worked mostly at Delft, later at Amsterdam (from about 1665). One of the most original artists of the Dutch School, and notable as a painter of sunlight and for his portrayal of ‘domestic scenes. 25. THE MUSIC PARTY -INNESS (Georce). AMERICAN Born at Newburgh, N. Y., 1825; died, 1894. Pupil of Regis Gignoux, 1868. In Italy, 1871-75. His pictures resemble the works of other artists in nothing. He was erratic, but possessed with a deep love of and devotion to nature. The ideal and poetic sentiment was ever uppermost in his mind, and no creation of his was without the stamp of his remarkable individuality. In his later works he attained an excellence which placed him in the front rank of the best landscape painters of the world. Member of the National Academy of Design. His works adorn some of the most distinguished collections of the land. 72, SUNSET (MONTCLAIR) 73. SUNSET KNAUS (Lupwic). GERMAN Born at Wiesbaden, 1829. Pupil of Diisseldorf Academy under Sohn and Schadow in 1846-52, then studied in Paris until 1860; visited Italy in 1857-58; lived in Berlin, 1861-66, and at Diisseldorf from 1866 to 1874. Professor at the Berlin Academy from 1874 to 1884. He is the foremost genre painter in Ger- many. Member of the Vienna, Berlin, Munich, Amsterdam, Antwerp, and Christiania Academies. Medals: Paris, second class, 1853; first class, 1855, °57, 59. Legion of Honor, 1859; Officer, 1867. Grand Medal of Honor, 1867; Knight of Prussian Order of Merit, etc., and many medals. 41. A BAVARIAN HOLIDAY LAWRENCE (Sir Tuomas), p.z.a. ENGLISH Born at Bristol, 1769. Died at London, 1830. He early distinguished himself for his ability in drawing. His father was landlord of the Black Bear Inn, Devizes, and the first efforts of the young painter which attracted notice were some portraits in chalk of his father’s customers. At the early age of ten years he set up as a portrait painter in crayons, at Oxford; but he soon afterwards ventured to take a house at Bath, where he immediately met with much employ- ment and extraordinary success. In his seventeenth year he commenced oil painting; in 1787, twelve months afterwards, he settled in London, and entered himself as a student in the Royal Academy. His success in London was as great as it had been in the Provinces. In 1791, though under the age required by the laws (twenty-four), he was elected an associate of the Academy, and after the death of Sir Joshua Reynolds, in the following year, he succeeded him as painter to the King. He painted at this time, in his twenty-third year, the portraits of a the King and Queen which were presented by Lord Macartney to the Emperor — of China. In 1794 he was elected a Royal Accademician; he was knighted by the — Prince Regent in 1815; and at the death of Benjamin West, in 1820, he was” unanimously elected president of the Academy. From the time of his election —_ as a member of the Academy to his death, Sir Thomas’s career as a portrait painter was unrivaled; he contributed, from 1787 to 1830 inclusive, 311 pictures to the exhibitions of the Royal Academy. He died in London, at his house in Russell Square, Jan. 7, 1830. He was never married. Shortly after his death,a _ selection of ninety-one of his works was exhibited at the British Institution. He beats was a member of St. Luke at Rome, and of many other foreign academies; and ; in 1825 he was created a Chevalier of the Legion of Honor. 20. MISS KENT. a LITSCHAUER (Kart Jossrn). | GERMAN Born in Vienna, Mar. 1, 1830; died in Diisseldorf, Aug. 8, 1871. Genre painter, pupil of Vienna Academy and of Robert Waldmiiller, then of Diisseldorf Acad- emy, and of Tidemand; settled in Diisseldorf. Great Gold Medal and sage member of Amsterdam Academy in 1864. 40. THE COUNTERFEITERS a MAUVE (Anton). DUTCH “It was truly said when Anton Mauve died that Holland had sustained a national — loss. Though comparatively a young man, he had made a powerful impression on the art of his country, and did more than any of his contemporaries to infuse _ into the minds of his fellow-artists higher aims and to lead them toward that close sympathy with nature which was his own inspiration. He loved the Dutch farms, dykes and heaths, and he painted them lovingly and tenderly in a direct, simple way. To him his country was not always dull, gray and damp, as other artists would have us believe. He saw and felt, and shows us, its light and sunshine, too. Through his pictures we may know Holland as it is, with its peaceful peasant life in both field and cottage—not that life of hard and hopeless ~ y toil that Millet so often painted, but the life of peaceful and contented Aor which, happily, is, after all, the peasant’s more frequent lot. “Mauve was born at Zaandam, Sept. 18, 1838, and died at the house of his brother, in Arnheim, Feb. 5, 1888. . “Though he was for a short time in the school of P. F. Van Os, he was mainly a self-taught artist."—W. Macseru. J 37. WINTER LANDSCAPE McENTEE (JERvis), n.A. - AMERICAN He was born at Rondout, N. Y., in 1828, and began the study of art in the city of New York in 1850 under Frederick E. Church, N.A. A few years later he opened a studio of his own, and in 1861 he was elected a National Academician. > * i His work represents various characteristic phases of the American scenery and climate. His pictures at the Centennial Exhibition, Philadelphia, in 1876, were commended by the judges, and a picture exhibited at the Royal Academy in 1872 was received with great favor in London. He died in 1891. 75. AUTUMN LANDSCAPE WITH FIGURES MEISSONIER (Jean Louis Ernesr). FRENCH Born in Lyons, Feb. 21, 1815; died, Jan. 31, 1891. Went to Paris in 1830, where he was for four months the pupil of Léon Cogniet. But he formed himself simply by studying the works of old masters, especially the Dutch School. He first became known as an illustrator of books. His first exhibited picture was “The Visitors,” 1834. Medals: Third class, 1830; second class, 1841; first class, 1843, °48; of Honor, 1855, ’67, °78. Legion of Honor, 1846; Officer, 1856; Commander, 1867; Grand Officer, 1878; Grand Commander, 1889. Member of Institute, 1861; Munich Academy, 1867. Honorary Member Royal Academy, London, and other academies. Grand Medal of Honor, 1855, Universal Exhi- bition; Medal of Honor, 1867, Universal Exhibition. 51. A CAVALIER MILLAIS (Sir Joun Everett, Bart.). ENGLISH Born in Southampton, June 8, 1829. Died, 1896. Genre, landscape, and portrait painter. Pupil in drawing at Mr. Sass’s Academy, and won in 1838 a silver medal of the Society of Arts with a drawing from the antique; became in 1840 a _ student in the Royal Academy, where he won in 1843 the silver medal. He ex- hibited, in 1846, “Pizarro Seizing the Inca of Peru,” and in 1847 was awarded _the gold medal for his “Benjamites Seizing the Daughters of Shiloh.” In 1847 he competed for a commission to paint in the Houses of Parliament, sending to Westminster Hall “The Widow Bestowing Her Mite,” and in the same year his “Elgiva Seized by Odo” was in the Academy. In the years 1847-49, in con- nection with D. G. Rossetti, Holman Hunt, Woolner, and others, seven in all, he founded an association, afterwards called the Pre-Raphaelite Brotherhood, whose motto was Truth. Nothing was to be generalized in their art which could and should be expressed in detail. Their theory was that what is common in Nature is good enough for art. In 1854 Mr. Millais was elected an A.R.A., being, with the exception of Lawrence, the youngest artist who had attained that distinction; he became an R.A. in 1863 and was created a baronet in 1885. He was awarded a 2d class medal at Paris in 1855, a medal of honor in 1878, in which year he was made an Officer of the Legion of Honor, and was chosen a Member of the Institute of France in 1883. He was a member also of the Academies of Edinburgh, Antwerp, Madrid and Rome. 31. THE PET BIRD MILLET (Jean Francois). FRENCH Born at Gréville, Oct. 4, 1814; died at Barbizon, Jan. 20, 1875. Pupil of ay Mouchel, Langlois, and Delaroche. A peasant himself in origin, his representa- — “@ tions of peasant life were painted with simple, earnest feeling, a comprehension _ of its pathos such as no other painter has reached. His best work began in 1849 with contributions to the Salon, which were continued up to 1870. His early work treated generally of the nude, but later he dropped that entirely. Medals: __ Second class, 1853 and 1864; first class, 1867. Legion of Honor, 1868. ae “While the artistic atmosphere was torn with the cries of partisans, Millet had (og Ee ears only for the cry of the soil. The peasant of Gruchy is the epic painter of the nineteenth century’s newly discovered conception of the dignity of work. — Nor does he blink the inherent curse of it—the sweat and pain of labor; the distortion of body, and premature age; the strait conditions and unhonored death © —but out of the completeness with which the life conforms to its environments he discovers its dignity.” 52. LE GARDEUR DE MOUTONS MONTICELLI (ApotpuHe). | FRENCH | Born at Marseilles, of Italian parentage, in 1824; died there in 1886. His pictures are noted for the richness of their color and the beautiful tones which they display. They are somewhat suggestive of the figure pieces of Diaz. Monticelli received his early training in the Art School of Marseilles and settled in Paris during the °40’s, where the friendship of Diaz opened the way for him to the circles of the artists. He won praise from some of the most noted of these and had attained fame for his wonderful color compositions both — in England and America, as well as in France, when the collapse of Napoleon — III’s Empire sent him back to his native city, which he never left again. 43. COURT D’AMOUR 44. ROMANTIC SCENE MORLAND (GerorGE). FRENCH Born in London in 1763. The son of a portrait-painter, he received instruction from his father, studied at the Academy schools, and assiduously copied the Dutch and Flemish pictures. As early as 1779 his sketches were exhibited at the Academy. At nineteen he threw off all home ties and began a career of reck- lessness. For a time he was the slave of a picture-dealer, from whom he escaped to France. Later he lived with his friend William Ward, the mezzotint engraver, _ whose daughter he married. His pictures, distinguished by truthfulness of repre- sentation, skilful technique, and qualities of color and light, were prized during his own life and are still sought by connoisseurs. Died, Oct. 29, 1804. 13. RUSTIC SCENE NASMYTH (Parricx). SCOTCH Born in Edinburgh, 1787; died at Lambeth, 1831. Son and pupil of Alexander Nasmyth, a landscape painter; went to London in 1807, and two years later exhibited his first picture in the Royal Academy. Painted simple landscapes, with much detail in execution, in imitation of the Dutch School, but with great force. 1. EDINBURGH FROM GOGAR NEUHUYS (Atserr). DUTCH Born at Utrecht, June 10, 1844. Resides at Laren, Holland. Pupil of the Academy at Antwerp. Officer of the Order of St. Michael of Bavaria. Gold medal, Vienna, and two medals of the first class, World’s Columbian Exposition, Chicago, 1893. Honorary Member of the Academy of Sciences and Fine Arts of Rotterdam, and of the Society of Aquarellists of Brussels. 36. MOTHER AND CHILDREN DE NEUVILLE (Atpuonse Marie). FRENCH Born at Saint Omer, France, in 1836. His parents, who were rich and influen- tial, intended him for an official career, but from the first his tastes inclined to the army, and finally he was sent to the military school at Lorient. During his brief stay there and also in the law school in Paris, which he attended to please his parents, he spent most of his time sketching, and finally determined to become a painter, notwithstanding the remonstrances of his family and friends. He studied with Delacroix and Picot, more as a friend than as a student, but his first pictures were not successful. The Franco-Prussian War gave him, however, the necessary stimulus and opportunity, and his pictures of that epoch are among the most remarkable war pictures ever painted. He re- ceived medals at Paris in 1859 and 1861; was made Chevalier of the Legion of Honor in 1873 and Officer in 1881. Died in 1885. 79. TRANSPORT OF PRISONERS REMBRANDT VAN RIJN (Rempranpt Harmense Van Risyn). DUTCH Born at Leyden, July 15, 1606. Buried in the Westerkerk (Church of the West) at Amsterdam, Oct. 8, 1669. He was the son of a prosperous miller of Leyden whose ambition was to see him in one of the learned professions. But the boy’s love for art overcame all difficulties and oppositions, and he entered the studio of Van Swanenburg as a pupil, and later that of Pieter Lastman. The bold, strong features of old age had a fascination for Rembrandt; the bold markings, broad planes, and vigorous lines easily gave him that clue to a mastery of expression which is so characteristic of all his works. In 1631 he opened a studio in Amsterdam, and resided there until his death. In 1634 he married Saskia Van Uylenborch, whose fair face and form are seen in many of his ‘S portraits, biblical and historical pictures. For eight years fortune smiled upon him; his studio was crowded with pupils and he had patronage far beyond his needs. But Saskia died in 1642 and a gloom was cast over the life of the young painter. In 1650 Hendrikje Stoffels, a beautiful young girl from the country, _ came to live in his home as housekeeper, and cared for him tenderly during his last days of poverty and misfortune until the end came. Unfortunately, Rem- brandt had been too lavish in his expenditures, fashion changed and under the — influence of French tastes for the lighter, smoother, and more elegant and decorative pictures, Rembrandt was neglected and his more robust art found — little favor; debts accumulated, commissions were few, and at last he was declared a bankrupt and his whole effects were sold by auction. 28. LUCRETIA STABBING HERSELF woot oy o< te CR ee oN ee ET a Se REYNOLDS (Sir Josuwa), p.R.a. ENGLISH | Born at Plympton, Devonshire, July 16, 1723; died in London, Feb. 23, 1792. Son of the Rev. Samuel Reynolds, master of the Grammar School at Plympton, St. Mary’s, Plymouth. Went to London in 1741 as a pupil of Thomas Hudson, and after less than two years’ study returned home and painted many portraits at a low price. In 1746 he began to practice in London, and in 1749 accom- panied Commodore, afterwards Lord Keppel, in the ship Centurion, to the Med- iterranean. At Rome he caught a cold while working in the Sistine Chapel, which made him deaf for the rest of his life. He returned to England in October, 1752, and settled in London, first in St. Martin’s Lane. In 1768, on the establishment of the Royal Academy, he was chosen its first president and was knighted by.George III. Upon the death of Allan Ramsay, 1784, he became principal painter in ordinary to the king. He died unmarried, and was buried in St. Paul’s Cathedral near Sir Christopher Wren. 22. MISS MORRIS (AFTERWARDS MRS. LOCKWOOD) ROMNEY (GeorceE). ENGLISH | Born at Dalton-le-Furness, Lancashire, England, Dec. 15, 1734; died ‘at Kendal, Nov. 15, 1802. After acquiring a little knowledge of painting from Steele, a painter at Kendal, he supported himself by painting portraits in the north of England at two guineas a head until 1762, when he went to London. In that year and in 1763 he gained premiums from the Society of Arts for his pictures of “The Death of Wolfe” and “The Death of King Edward.” In 1773 he visited Italy, and after a two years’ absence established himself in London, where until 1797, when he removed to Hampstead, he divided public patronage with Reynolds and Gainsborough. His famous model was the notorious but beautiful Lady Hamilton, whose face he reproduced in various guise. 18. LADY HAMILTON AS MADONNA 34. THE WILLETT CHILDREN 35. COUNTESS OF GLENCAIRN ROUSSEAU (Pierre Ertenne Tutopore). FRENCH 53. 54. 55. 56. Born at Paris, April 15, 1812; died at Barbizon, near Fontainebleau, Dec. 22, 1867. Landscape painter; pupil of Rémond (1826) and of Lethiére. Showed himself a true “naturalist” in his first picture (1826), and up to 1848—when his works, after being for thirteen years excluded from the Salon by the Aca- demical Jury, then abolished, were readmitted—fought the battle of naturalism with varying success, and founded the modern French school of landscape painting, of which he was one of the chief glories. Albert Wolfe said of Rousseau: “He occupied the highest place, because he was the most perfect master. The grand aspect of landscape and its tenderness are equally familiar to him. He renders with the same mastery the smile of creation and its terrors, the broad open plain and the mysterious forest; the limpid, sunbright sky or the heaping of the clouds put to flight by storms; the terrible aspects of land- scape or those replete with grace. He has understood all, rendered all, with equal genius. The great contemporary painters have each a particular stamp, Corot painting -the grace, Millet the hidden voice, Jules Dupré the majestic strength. Théodore Rousseau has been by turns as much a poet as Corot, as melancholy as Millet, as°awful as Dupré; he is the most complete, for he em- braces landscape art absolutely. “Tt is useless to repeat the story of his life. It is common knowledge nowadays that he battled against odds, endured neglect and disappointment, and died practically unappreciated. It is small credit to human intelligence that pictures which were rejected at the Salon and declined by the amateurs now sell for enormous prices or are treasured in the art museums of every land. No land- scape painter before him ever equaled him, no landscape painter since his time has excelled him; yet it took the race many years to find that out. He went to the shades unsung. ‘Rousseau, c’est un aigle.’ Honor to you, Pére Corot, for uttering that truth so early!” Medals: third class, 1834; first class, 1849, °55; Medal of Honor, 1867. Legion of Honor, 1852. LE PLATEAU DE BELLECROIX THE POOL IN THE FOREST LA MARE A PIAT, FORET DE FONTAINEBLEAU—SOLEIL COU- CHANT THE POOL—CLEARING OFF SIEGERT (Aueusr). GERMAN 39. Born at Neu-Wied, 1820; died in Diisseldorf, 1883. Pupil of Diisseldorf Acad- emy under Hildebrandt and Schadow in 1835-46. Professor of that Academy in 1872. Member of Amsterdam Academy. Medal at Vienna. THE OLD GRANDMOTHER 5. WOMAN SMOKING IN AN INN 9. LADY POURING WINE TENIERS (Davin, THE YouncER).— . . FLEMISH — Painter and engraver. Born at Antwerp, 1610; baptized in the Church of ‘St. Jaques, December 15; died at Perck, near Brussels, April 25, 1690. Pupil of his | father. Worked at Antwerp (member of the Guild from 1632). Was made court painter to Archduke Leopold Wilhelm, Governor of the Netherlands, and settled between 1648 and 1652 in Brussels, where he was received into the Guild in 1675. He was the prime mover in the foundation of the Antwerp > Academy in 1663. Equally favored by Leopold Wilhelm’s successor, Don Juan of Austria, who is said to have studied under him. He received important com- missions from Philip IV. of Spain, and marks of esteem from Queen Christina of Sweden, and the great people in England and other countries. Influenced by Rubens and especially by Brouwer. ~ om TR NOR. ORO REALTIME ST AE ATEN AOS ih, oa ee TERBORCH (Gerarp). ) DOr eHas Born at Zwolle, between 1613 and 1617; died at Deventer, Dec. 8, 1681. Pupil — of his father. Painted in Amsterdam, and also in Haarlem, where he entered — the Guild in 1635, under the influence of Frans Hals. Traveled through Ger- many, Italy, Spain, England, and France, and painted everywhere portraits € and genre pieces. In 1646-48, at Miinster, he became, through the favor of the © Spanish envoy to Madrid, the painter of the Diplomatic Circle. He followed the Spanish envoy to Madrid, where he painted the king and many courtiers and ladies. He returned via England and France to his native country, and . settled at Deventer, where he obtained a citizenship in 1655. He afterwards became burgomaster. He first put forward the satin gown, so much used by | Mieris and Metsu. TROYON (Constant). FRENCH ; 7am Born at Sévres, 1810; died in Paris, 1865. Pupil of Riocreux and Poupart, and — - influenced by Roqueplan to study nature, for which he showed an individual feeling in his first exhibited works, 1832. A visit to Holland in 1847 revealed to Troyon his true mission, that of an animal painter. His great technical skill and — inexhaustible resources as a colorist, and other rare endowments, enabled him to grapple with all the varying moods and effects of nature, and as a cattle and landscape painter he soon became illustrious. Member of the Amsterdam Academy. Diploma to the Memory of Deceased Artists, Exposition Universelle, 1878. : Long before he began to paint animals he had won distinction as a landscape painter. His first picture was exhibited at the Salon in 1832, when he was twenty-two years of age; three years later he received his first honor—a medal of the third class; in 1839 the Museum of Amiens purchased his Salon picture; in 1840 he obtained a medal of the second class; in 1846 a medal of the first class, besides having a picture bought for the museum at Lille; finally, in 1849, he received his greatest public preferment—the Cross of the Legion of Honor. All these honors were awarded him before he had publicly exhibited an important picture of animal life, and were bestowed upon him for his excellence as a landscape painter alone. Troyon saw his landscape and his cattle as a pictorial whole, just as we ourselves behold them in nature. 70. L’APPROCHE DE L’ORAGE TURNER (JoserpH Matitorp Witiiam). ENGLISH Born in Maiden Lane, Covent Garden, London, 1775; died, 1851. He was the son of a barber, and his father intended him for his own profession. Of his earlier sketches, made in pencil and India ink when he was a boy, a large pro- portion consists of careful studies of stranded boats, and different parts of old Dutch shipping. He hired himself out every evening to wash in skies in India ink in other people’s drawings, at half a crown a night, getting his supper into the bargain. It was in water color that Turner first painted. By 1789 he began to paint in oils, and this great genius, who now holds the first place in _ English landscape art, entered the Royal Academy as a student at the age of thirteen, and under the prevailing influence of the day studied the works of Claude Lorrain, the Poussins, Salvator Rosa, and other classical painters. Ruskin says: “The great distinctive passion of Turner’s nature—that which separates him from all other modern landscape painters—is his sympathy with sorrow, deepened by his continual sense of the power of death. Colossal in power, he was also-tender and delicate in harmony of tint and subtlety of drawing. He had a perfect grasp of English scenery, and shrank from no labor in expressing details. His Yorkshire drawings are peculiarly rich and varied in composition, the rock and hill forms being marvelously accurate, while his skies and effects of mist are exquisitely rendered. Glorious in con- ception—unfathomable in knowledge—solitary in power—with the elements wait- ing upon his will, and the night and morning obedient to his call, sent as a prophet of God to reveal to men the mysteries of a universe; standing like the great angel of the Apocalypse, clothed with a cloud, and with a rainbow upon his head, and with the sun and stars given into his hand.” ”, THE CLIFFS AT DOVER 99. EAST COWES CASTLE, THE SEAT OF J. NASH, ESQ.—THE REGATTA BEARING TO WINDWARD VAN DE VELDE (Witte, THE YOUNGER). DUTCH Born in Amsterdam in 1633; died at Greenwich, April 6, 1707; buried in St. James’ Church, Piccadilly. Son and pupil of Willem Van de Velde the Elder. After he had gained a reputation in Holland he went with his father to England, and in 1674 Charles II granted him a salary of £100 for painting sea fights, for which the elder painter made the drawings. This salary, with an equal pension granted the father, was continued by James II. He was the best known marine painter of the Dutch School. Smith’s Catalogue records 329 paintings by him. Most of them are in English private collections, 2, CALM SEA <5 | VAN DYCK (Sir AntrHony). . FLEMISH i Born in Antwerp, March 22, 1599; died in London, December 9, 1641. At ten a years of age he was apprenticed by his father, Francis Van Dyck, linen draper, to Hendrik Van Balen, and at sixteen he entered the studio of Rubens as his — pupil and assistant, employed by this great master to prepare black and white drawings for his pictures for the use of the engravers who worked under his — eye, and to make cartoons from his sketches. Wan Dyck’s talent developed with © i astonishing rapidity. He obtained access to James I through the Countess of . Arundel. He painted the king’s portrait at Windsor. In the autumn of 1621 the king gave him a horse and sent him on a journey to Italy, where Van — Dyck took up his residence. Jealousy of his great success made Rome intol- erable, and he proceeded to Genoa in January, 1624, and remained there until the next year, when he returned home. Rubens was very fond of him, and ~ bought several of his pictures, which set the tide running in his favor. After _ an unsuccessful visit to England in 1627, where he failed to obtain presentation at Court for want of favor with the Duke of Buckingham, Van Dyck lived > for three years at Antwerp and Brussels, painting and etching a number of ~ pictures which have become famous. In 1630 Charles I, who had seen some of his work, invited him to England. In April, 1632, Van Dyck obeyed the sum- mons, and after he had been presented to the king by Sir Kenelm Digby, painted his portrait, that of the queen, and the great picture of the royal family now at Windsor. In July he was knighted and appointed court painter, and in October, 1633, had a pension of £200 a year assigned to him. During the next nine years he painted nineteen portraits of the king, seventeen of the queen, as well as many of their children, at a fixed price of £50 for half and £100 for full sength figures. Living in a style of splendor far beyond his means, Van Dyck became more and more embarrassed as the troubles of Charles’s reign thickened, until in 1638 he presented his unpaid claims to the king, including his pension for the past five years, payment for many portraits and for four car- toons for tapestries at Whitehall, which he valued at the large sum of £80,000. These claims were but partially satisfied when he went to France in 1641. Dis- appointed and in broken health, he returned to England via Antwerp, and on the first of December, the birthday of his daughter Giustiniana, he made his will, and on the ninth he expired. He was buried in St. Paul’s Cathedral. 27. PORTRAIT OF A GENTLEMAN (SCHELTIUS A BOLSWERT, THE FAMOUS ENGRAVER) . ; One Amn Be Bete ck. & peo SS PA ORE AAT ORR VAN OSTADE (Apnriaen). Born in Haarlem; baptized, December 10, 1610; died in Haarlem, April 27, 1685. Pupil of Frans Hals, and after 1640 developed under Rembrandt’s influence. His family took the name of Ostade from a village now called Ostedt, in the environs of Eindhoven, whence his father, a weaver, removed to Haarlem, 1605. Adriaen at a very early age became the favorite pupil of Frans Hals. He married twice, and died a widower. He had many pupils, one of whom was the famous Jan Steen. He was not only an inimitable painter of rustic scenes, but also an excellent etcher. 11, BACKGAMMON PLAYERS AT AN INN VAN OSTADE (Izacx). DUTCH Born in Haarlem; baptized, June 2, 1621; died there; buried Oct. 16, 1649. Genre and landscape painter. Brother and pupil of Adriaen. His pictures which are of most value are his landscapes with figures, in which his individual- ity found scope. 6. PEASANTS BEFORE AN INN VAN RUISDAEL (Rvyspaetr) (Jacop Isaacksz). DUTCH Born at Haarlem, about 1625 (?); died there, 1682. Son and pupil of Izack Van Ruisdael; probably also pupil of his uncle Solomon Van Ruisdael. He became the greatest landscape painter of the Dutch School. Yet he was so little appreciated by his contemporaries that his co-religionists among the Mennonites petitioned for his admission to the public hospital. In 1648 he joined the Guild of St. Luke, at Haarlem, and in 1659 obtained the rights of citizenship at Amsterdam. He gained but a scant maintenance, how- ever, by his art. The figures introduced in his landscapes are by Berchem, Adriaen Van de Velde, Wouwerman, Lingelbach, Vermeer and Eglin Van der Neer. Ruisdael was also an admirable etcher. 14. A WATERFALL 26. THE CASCADE VIBERT (JeHAN GeorcEs). FRENCH Born in Paris, September 30, 1840; died, 1902. Pupil of Picot and Barrias. Medals: 1864, ’67, 68, °78. Legion of Honor, 1870; Officer, Legion of Honor, 1882. 4s. A THEOLOGICAL DISPUTE WHITTREDGE (Worrninecron), N.A. AMERICAN Worthington Whittredge was long a veteran of the American School, but his later work preserved the vitality of his earlier period. He was born in Ohio in 1820 and entered commercial life in Cincinnati, studying art in his hours of recreation. He finally took up the profession in earnest and became a local portrait painter of note. In 1850 he visited Europe, studying the masters in the galleries of London and Paris, and later entered the studio of Andreas Achenbach in Diisseldorf. He remained there three years, when he went to paint in Belgium and Holland and in Rome. In 1859 he returned to the United States and settled in New York. In 1861 he was elected a National Academician, | = even becoming president of the institution in 1874 and holding office for three success- ive terms. In 1866 he made a sketching trip to the Far West. He received an honorable mention from the art judges at the Paris Exposition of 1889. Died, — New York, 1911. | ; 74, SCENE IN CENTRAL PARK, 1874 WOUWERMAN (Putt). DUTCH] am Born in Haarlem, baptized May 24, 1619; died May 19, 1668. Landscape, genre va a and animal painter. He introduced horses, hunts and soldiers in his compositions, 7 : with great variety. He painted nearly 800 pictures, repeating some of the motives often. Instructed by his father, also by Jan Wynants. His first style a is in the brown tone—his horses are heavy; his second style is distinguished by the pure golden tone and the slender build of his horses; and his third by the prevalence of a dull silvery tone. 8. THE SUTLER’S BOOTH 17. LLABREUVOIR WYANT (Axexanper H.), w.a. AMERICAN “Inness and Wyant! We constantly hear these two great names coupled when- — ever American landscape painting is discussed, and by common consent they are placed at the top. How different their work is; how different in conception, first of all, and how different it is in carrying out the conception, all those understand who know the pictures of both. Less of a synthesist than Inness, but yet painting very broadly and comprehensively while retaining detail, Wyant, in his landscapes, almost hesitates to make nature meet his purpose, and generally makes his means provide the way to hold on to her truth, and at the same time translate her mood into his. own expression. A very strong — = colorist, he never indulges in unctuous richness, but paints soberly and with © great reserve force the strongest and most brilliant of his effects. He loved ~ the gray skies and somber tints of November, the subtle mystery of twilight, and the fading glory of the sunset. But when the mood was on him he depicted with cheerful, buoyant color the pleasant atmosphere of midday, or the fresh, clear tints of the foliage with its bath of dew drying in the morning sun. One of his greatest pictures is ‘In the Adirondacks,’ a forest effect with a stream in the foreground, painted with the midday light illuminating the recesses of the forest and bringing out the hundred tints of green and gray of the leaves and trunks of the trees and the carpet of grass and moss. In every effect he painted he was veracious, and in every canvas he signed he put his deepest feeling. “Alexander H. Wyant was born in Ohio in 1836, and at the age of twenty was painting with considerable skill. He spent some years in Diisseldorf in academic study, and all the rest of his art he taught himself with nature for his guide. He went to the Adirondacks early in his career, and many of his best works were painted from motives found in that region. He was elected 71. a National Academician in 1869, and was a founder member of the American Water Color Society. He died in 1892. His pictures are in numerous private collections and in several public galleries. ‘View in County Kerry’ is in the permanent collection of the Metropolitan Museum, New York.” THE APPROACHING STORM WYNANTS (Jay). DUTCH 12. Born in Haarlem about 1615; died about 1680. Landscape painter whose pic- tures are characterized by a certain prosaic truthfulness, fine aerial perspective, silvery-toned background, and careful execution of detail. His foreground figures were supplied by Adriaen Van de Velde, Lingelbach, Wouwerman, Barent Earl, Helt-Stockade and Schellinks. His canvases are in many European museums. and private collections. 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