ON FREE PUBLIC VIEW
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
i
BEGINNING THURSDAY, MARCH 13, 1913
AND CONTINUING UNTIL THE MORNING OF THE DATE
OF SALE, INCLUSIVE
_ THE PRIVATE COLLECTION
OF
MR. GEORGE G. BENJAMIN
UNRESTRICTED PUBLIC SALE
IN THE
GRAND BALLROOM OF THE PLAZA
FIFTH AVENUE, 58th TO 59th STREETS
ON TUESDAY EVENING, MARCH 18, 1913
BEGINNING AT 8.15 O’CLOCK
os ¥ -
MI es eR RR ae Se
ILLUSTRATED CATALOGUE
OIL PAINTINGS
AMERICAN AND Paeicn ARTISTS
THE PRIVATE COLLECTION
OF
MR. GEORGE G. BENJAMIN
| PRESIDENT OF
THE AMERICAN ART .ANNUAL, INCORPORATED
TO BE SOLD
AT UNRESTRICTED PUBLIC SALE
IN THE GRAND BALLROOM —
OF
THE PLAZA
ON THE DATE HEREIN STATED
THE SALE WILL BE CONDUCTED BY
MR. THOMAS E. KIRBY, OF
THE AMERICAN ART ASSOCIATION, MANAGERS
NEW YORK
1913
, CONDITIONS OF SALE
1. The highest Bidder to be the Buyer, and if any dispute
arise between two or more Bidders, the Lot so in dispute shall be
immediately put up again and re-sold.
2. The 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
otherwise 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; in default of which the
undersigned will not hold themselves 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 authen-
ticity of, or any fault or defect in, any Lot, and make no War-
ranty 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 represented to be, use
every effort on their part to furnish proof to the contrary; fail-
ing in which, the object or objects in question will be sold sub-
ject 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 re-
moved 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 defaulter at this Sale, together with all charges
attending the same. This Condition is without prejudice to the
right of the Auctioneer to enforce the contract made at this Sale,
without such re-sale, if he thinks fit.
8. The Undersigned are in no manner connected with the
business of the cartage or packing and shipping of purchases,
and although they will afford to purchasers every facility for em-
ploying careful carriers and packers, they will not hold themselves
responsible for the acts and charges of the parties engaged for
such services.
Tue AMERICAN ART ASSOCIATION, Manacens.
THOMAS E. KIRBY, Avcrionerr.
he
a way
re ‘
EVENING SALE
TUESDAY, MARCH 18, 1913
IN THE
GRAND BALLROOM OF THE PLAZA
Firth AveEeNvuE, 58TH To 59TH STREETS
BEGINNING AT 8.15 o’CLOCK
No. 1
WILLIAM A. BOUGUEREAU
FRENCH
ASLEEP
(Drawing)
Br. Height, 6 inches; length, 9 inches (sight). /)
Ve : ho D- Aken
Two bare-limbed children are asleep upon a bed, the
one whose back is toward us having its right arm ./
laid over the breast of the other. A draped curtain
and a window through which the light enters form
the background. This little drawing shows the artist’s
mastery of line; the delicacy of handling, the round-
ness and baby quality of the flesh, are as success-
fully conveyed as in his large oil paintings.
Signed at the lower left: William Bouguereau.
From the collection of F. O. Matthiessen, New York, 1902.
Wiritiam AporpHe BovGuvereAu was born at La _ Rochelle,
France, November 30, 1825, and died there during the night of
August 19-20, 1905. The pupil of Picot, and from 1843 of the
Ecole des Beaux-Arts, he won the Grand Prix de Rome in 1850
and among his “envoye” was “Le Triomphe des Martyrs,” now in
the Luxembourg. He was intrusted with important decorative
works in public buildings. He received every honor from his
first Salon medal in 1855 to the order of the Grand Officer of
the Legion of Honor in 1903,
No. 2
MARIANO FORTUNY
SPANISH
STUDY
(Pencil drawing on brownish-gray paper touched up with Chinese
white)
Height, 11 inches; widths 9 inches.
oe
Tue seated figure of an elderly woman posed in Greek
drapery; her right arm is extended and rests on a
pedestal. 7
Signed at lower left with Fortuny Estate red seal.
Marrano Fortuny was born at Rens in Catalonia, Spain, in
1838. He was a pupil of Palan, of Claudio Lorenzales, and of the
Barcelona Academy, where he won the Prix de Rome in 1856.
After his three years’ stay in Rome, during which he studied
Raphael and made sketches of Roman life, he was sent to Morocco
by the government to paint the incidents of General Prim’s cam-
paign. In 1866 he went to Paris and was introduced to Zamacois
and Goupil, and the following year he visited Madrid and married
the daughter of Madrazo, director of the Madrid Museum. With
the exception of a year in Paris (1869-1870) and the three years
in Spain, he spent the rest of his life in Rome, where he died in
1874,
y, trade “Lhe thenaning
o~
No. 8
ee GEORGE H. BOUGHTON, R.A., N.A.
BRITISH-A MERICAN
WOMAN IN GRAY
(Oil on gray paper)
ee at Height, 19% inches; width, 131, inches. ra
y Yd nites
ee a Wid ;
AD eg WE aA
Tue figure of a young woman walking uphill toward
the left; she wears a black hat and black dress with
a long gray cape and gray fur muff.
Initialed at lower left: G. H. B.
Grorce Henry Boueuron was born near Norwich, England, in
1834, and was brought to the United States when a child. He
settled in London in 1861 and spent ail his working life in that
city, where he died in 1905. His subjects were chiefly adventures
of the Puritans and the anecdotes in “Knickerbocker’s History
of New York.” He is represented in the Metropolitan Museum
of Art and other public and private galleries.
No. 4
NICOLAAS BASTERT
DutcH
A WINTER EVENING
(Water Color)
Height, 1614 inches; length, 24 inches sight).
7
( jes SNOW-COVERED road with low coteeae to right and
left; a two-wheeled cart is going away from the spec-
tator and in the distance rises a church spire. The
sky is pale yellow with cold gray clouds.
Signed at lower left: N. Bastert.
From the Boussod, Valadon Sale, New York, 1902. LG Koo- FF:
Nicoiaas Bastert was born at Nieuwensluis, near Amsterdam,
January 7, 1854. He studied at the Academy of Amsterdam and
at Antwerp and traveled in France and Italy. He showed four
paintings at the Chicago Exposition in 1903 and has exhibited in
Paris, Munich, Amsterdam and The Hague, receiving a medal
in each city. His home is in Amsterdam.
No. 5
GEORGE MORLAND
BritisH
SHEPHERDS AND SHEEP
(On wood)
e oe Height, 41/4, inches; length, aay seg oo
as TE SEs Te
A rarer oak tree at the left spreads iG Eliade across we
fo}
the top of the picture; on the bank beneath it re- UY
clines a shepherd ‘in white smock-frock with a crook
in his hand and his dog at his side; beyond, a man
in a red coat is seated on the turf, leaning forward.
On the right are two sheep; two others appear in
the distance, which is vaguely blue. The little study
is rich in color.
Initialed at lower right: G. M.
From the collection of J. D. Ichenhaiiser, New York, 1903.
Grorce Morianp, born in London in 1763, was the son of Henry
Robert and grandson of George Henry Morland, both of whom
were painters. He was a pupil of his father, who bound him to
an apprenticeship and kept him closely applied copying Dutch
pictures for the dealers. When he gained his independence he set
up for himself, but fell a prey to an unscrupulous dealer. Escap-
ing from him, he painted miniatures and thrice visited France.
Returning to England, he married the sister of William Ward,
who shortly afterward married Morland’s sister. As long as they
all lived together Morland steadied down to regular work; but
when the two families separated he once more found himself in
trouble, and the rest of his life was a medley of hard work,
debauches and debt. The popularity of his work was extraor-
dinary and led to wholesale fraudulence on the part of dealers.
He died in a sponging-house, October 29, 1804.
No. 6
HENRY BACON |
AMERICAN
THE MESSENGER
(On cardboard)
ee, fy ut Height, 91, inches; width, 742-4 a
Tue half-length figure of an old man with a “Hert
dated high black hat held before him in an apologetic
way; a letter is in his left hand.
Frencu
LANDSCAPE
(On wood)
3f- Phares Height, 1114 inches; geepeK ao tote ay , a
A quiet stream, with lily ees, reflects the shrub-
bery on the irregular farther shore. There is a pale
greenish-blue sky swept with pinkish clouds. A rest-
ful, livable picture. ;
Signed at lower right: H. C. Delpy, 89.
CamiLtE Hirrotyte Detpy, a French landscape painter, was
born in 1841, at Joigny, and died in 1910. He received an honor-
able mention at the Paris Salon in 1881 and medals at the Exposi-
tions of 1889 and 1900. He is at his best when painting quiet
water.
No. 81
LOUIS ROBBE
BEitc1an
SHEEP AND DONKEY
(On wood)
; Height, 12 inches; length, 18-inches /’
Ef] ae V/ "1 TAL a
——— ‘ (
A LEVEL green field with two sheep and a lamb lying
down; a goat and donkey stand beyond, and in the
immediate foreground there are two ducks at the edge
of a pool. In the distance a village church nestles
at the foot of a line of hills of which there are sev-
eral tiers, each one more faint and blue, until they
finally blend into the clouds at the horizon; at the
_genith the sky is deep blue.
Signed at lower left: Robbe. Inscribed on the back in
the writing of the artist: “Je déclare que le ta-
bleaw ci contre a été peint par mot et quwil est
parfaitement original. Bruxelles le 30 Avril 1861.
L. Robbe.”
Purchased from the artist.
-Lovis Marie DominiaveE Romain Rosse was born at Courtrai
in Belgium, November 17, 1807, and died in Brussels in 1887. He
was a lawyer at first, but after 1830 devoted his time to art. He
received a medal at the Paris Salon in 1841, the Legion of Honor
in 1845, a medal at the Paris Exposition in 1855, and a gold
medal at Brussels. He was made Chevalier of the Legion of
Honor of the Order of Leopold, and of that of Charles III of
Spain. His pictures were always of animals, usually of sheep.
No. 82
GEORGE MORLAND
BrirtisH
SMUGGLERS IN THE ISLE
OF WIGHT SS a
(On canvas)
, Height, 12 inches; length, 144%, “i ;
joa tee
A rowsoaT has been drawn up on the beach and - a
barrel is being rolled toward a canvas-covered wagon
at the left. The horses have been unharnessed and |
stand in the foreground, the driver at the head of the
brown horse, the white one in front. Steep gray cliffs : a
curve from the left around the shore of the bay on 4
whose greenish water, in the middle distance, are two
sailboats. Dark rocks are in the immediate foreground
at the right. There are heavy clouds turning pink,
with light blue sky above and gulls flying low. This.
painting, which has been engraved by W. Ward, has
the more refined touch which often signalizes Morland’s
brush work. It is beautiful in color and tonality.
i
rs
tel 4
From Martin H. Colnaghi, London.
For biography see No. 5.
No. 33
A. D. PEPPERCORN
BrirtisH
A GRAY DAY
(On canvas)
Height, 12 inches; length, 18 in ohes
jee ov - . VVVL . AR MAM AAL Ane tir4—
A MEADOW with three white ee and a brown one ]
grouped near a gate at the left. Beyond is a belt ©
of wood which skirts the pasture to the middle dis-
tance where the view is bounded by a hedge. The
trees are in various tones of olive black, blurred by the
_ gathering darkness in which the wood has the appear-
ance of loose and penetrable density. The whole
scene is saturated with cool, moist atmosphere.
Signed at lower right: PEPPrERcoRN.
From the collection of J. D. Ichenhaiiser, New York, 1903.
Artuur D. Prerrercorn is a contemporary British painter who
exhibits regularly at the Royal Academy.
No. 84
RICHARD PARKES BONINGTON |
BritisH
MARINE
(On canvas)
ip 7 eo Height, 1414 inches; length, inches
A FISHING-BOAT is drawn up on the beach in the for
ground and at the right nets are drying; there are
several figures on the beach, which curves at the left
with sail-boats anchored near shore. Cloudy gray sky.
Beyond is the city of Naples with Vesuvius in the ©
background. The picture shows that beauty and
charm of nature and play of light on the water which
are characteristic of this young painter.
From the collection of Thomas Kirkpatrick, New York, 1901. ~
RicHarp Parkes Bonineton, an Englishman by birth and
parentage, was born at Arnold, near Nottingham, October 25, 1801.
_ When a youth the family settled in France and he was trained
as a painter in Paris. He was the connecting link between the
English classic masters and the French landscape painters of the
school of 1830. He entered Gros’s studio but made frequent trips
to London and was strongly influenced by Constable. In Nor-
mandy and Picardy he painted his first landscapes, then came
a trip to Italy and a series of Venetian scenes. He was attacked
by consumption and died September 23, 1828, in London, where
he had gone to consult a specialist.
No. 35
J. BEAUFAIN IRVING, N.A.
AMERICAN
AT THE CONFESSIONAL
(On millboard)
9 8 2° _ Height, 161% inches; width, 12 inches. eee oe
StTanpine near a mahogany confessional, her clenched
right hand resting on the base of a column and her
beads held in the other, is a lady in a black dress
with a brilliant red shawl over her left arm and a
white and red knitted scarf around her head and neck.
The face of a priest is dimly seen through a small lat-
ticed opening in the side of the confessional. High
up on the gray wall behind the figure is a gas jet with
a glass globe.
. Signed at lower right: J. B. Irving, Jr., 1866.
From the collection of Frederick S. Gibbs, New York, 1904.
J. Beaurain Irvine was born in Charleston, S. C., in 1826; and
died in 1877. He was a pupil of Leutzé in Diisseldorf and on
his return to America painted many years in Charleston and in
New York, making his first success in portraiture. His genre
pictures soon secured recognition and in 1872 he was elected a
member of the National Academy of Design.
No. 36
WILLIAM M. CHASE, N.A.
AMERICAN
THE EAST RIVER
(On wood) —
33 A aps ‘Height, 10 inches; length, 155 inches —
Tx wide expanse of the river fills the foreground where
there is a single rowboat with one man at the oars.
On the far side and extending to the distance are the ~
docks and shipping of the Brooklyn waterfront with
two black funnels cutting against the sky and reflected
in the quiet water. A gray day is suggested. |
Signed at lower right: W. M. ‘Chase.
From the collection of Wm. T. Evans, New York, 1900.
Witr1am Merritr Cuase, the dean of American painters, was
born at Franklin, Indiana, November 1, 1849. He studied in Indi-
anapolis and in New York and then went to Munich and Paris.
His great versatility makes it doubtful whether his reputation
will finally rest upon his portraits, his wonderful painting of still-
life, particularly of fish, or his landscapes. But perhaps his
greatest fame is as a teacher, and it is in Mr. Chase’s classes in
New York in the winter or in Europe in the summer that
innumerable young painters have learned their art. He was
elected a member of the National Academy of Design in 1890,
is one of the Ten American Painters and a member of the
American Academy of Arts and Letters, He received the gold
medal of honor at the Pennsylvania Academy of the Fine Arts
in 1895; a gold medal at the Paris Exposition of 1900 and many
other awards. He is represented in all the important museums
in the United States.
| No. 37
CHARLES MELVILLE DEWEY, N.A.
AMERICAN
TWILIGHT
(On wood)
ws - Height, 11% inches; length, 1654 inches fj-— jf .
Se Reina ff,
In the foreground is a marshy pool “which reflects a
group of trees and a hut on the far shore where the point
of land juts out toward the right. The autumn foliage
is silhouetted against a cloudy sky streaked with pink-
ish sunset glow. In the far distance at the right there
is a lighthouse
Signed at lower left: Charles Melville Dewey.
From the collection of David C. Pryor.
Cuaries Metvitte Dewey was born in Louisville, N. Y., July 16,
1849, and lives in New York. He was a pupil of Carolus Duran
in Paris. In 1907 he was elected a member of the National
Academy of Design, and received medals at the Buffalo and St.
Louis Expositions. He is represented in several museums, includ-
ing the Corcoran Gallery in Washington and the Pennsylvania
Academy of the Fine Arts.
No. 38
ABBOTT H. THAYER, N.A.
AMERICAN’
A PRIZE. BULL
(On canvas)
uh f y be Height, 12 oD cae Be AS a
A stupy of a brown and white bull standing in his stall
with halter on head and ring in nose. The light from
an opening in the wall behind strikes sharply along the ©
back of the bull, and a secondary light, presumably
from an open door at the right, further accents the
vigorous anatomy of the animal. ‘
Signed at lower right: A. H. Thayer.
From the collection of Frederick S. Gibbs, New York, 1904.
Axspott Hanpberson THayeR was born in Boston, August 12,
1849, and studied art in that city, in Brooklyn, and at the Acad-
emy of Design in New York; then went to Paris in 1875, and
worked at the Ecole des Beaux-Arts under Lehmann and Géréme.
His early predilections were for landscape and cattle painting,
but with the progress of time he became distinctly a painter of
the figure. His portraits, his subject and ideal pictures are, in
conception, in manner, and in color schemes, among the most
individual work in the American school of painting. He has a
noble ideal, his draftsmanship is strong, the color pure, the
composition well-balanced and the handling large. His “Caritas”
in the Boston Museum and “Young Woman” at the Metropolitan
Museum are among his best known works. Mr. Thayer was elected
a member of the National Academy of Design in 1901. He lives
at Monadnock, N. H.
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No. 89
F. BALLARD WILLIAMS, N.A.
AMERICAN
THE ENCAMPMENT—VALLEY OF
THE PASSAIC
(On canvas)
A uzveL plain with a clump of trees at the left in
front of which a tent has been erected; two horses have
been unhitched from a traveling wagon and are brows-
ing nearby. A village is seen in the distance at the
right. The tender green of early summer foliage is
tempered by a haze; a few of the trees rise above the
others against a mellow blue sky with clouds near the
horizon. This picture was exhibited at the Pan-Amer-
ican Exposition at Buffalo in 1901 when Mr. Williams
received a medal.
Signed at lower lefi: F. Ballard Williams, 1900.
Purchased from the artist.
Freperick Battarp WIittiaMs was born in Brooklyn, New York,
October 21, 1871, and received his art education at the schools of
Cooper Union and the National Academy of Design. Besides
painting landscapes, he has made a reputation for his decorative
figure compositions, wherein the jewel-like color of the women’s
gowns are shown against the rich green landscape. He is repre-
sented in the Metropolitan Museum by one of these compositions,
“T’Allegro,” and has pictures in the National Gallery, Washing-
ton, the Albright Gallery, Buffalo, and the Brooklyn Museum.
Mr. Williams was elected a member of the National Academy of
Design in 1909. He was awarded the Inness prize at the Salma-
gundi Club in 1907, and the Isidor gold medal at the National
Academy of Design in 1909. His studio is in New York.
QL SY ‘£- Height, 13 inches; length, 17 inches 2 Vey
No. 40
ROBERT C. MINOR, N.A:
AMERICAN |
NEAR THE WIGWAMS, WATER-
FORD, CONNECTICUT ~—
(On canvas)
Height, 16 inches; length mien
ate OAs is
In the foreground at éhe right is a narrow winding
stream on whose gently rising banks are groups of
trees; between the masses of shrubbery the eye is
carried to the far horizon where a few trees are silhou-
etted against the last glow of a sunset sky; above, the
soft floating clouds are already dark against a deep
blue sky.
Signed at lower right: MINOR.
From the Robert C. Minor sale, 1905.
Rosert C. Minor was born in New York City in 1840. He was .
a pupil of Diaz and Boulanger in Paris and of Van Luppen in
Antwerp. He was elected an Associate of the National Academy
of Design in 1888 and a full Academician in 1897. He had a
studio in New York but much of his work was done at his coun-
try home at Waterford, Conn., where he died August 3, 1904.
His work is founded on the traditions of the Barbizon school but
there is a distinct personal note in his pictures. Poetic senti-
ment, simplicity of subject, harmony of composition with fine
resonant color effects, are their characteristics.
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No. 41
GEORGE H. SMILLIE, N.A.
AMERICAN
NEAR THE BEACH, EAST
GLOUCESTER
Height, 9 inches; length, 18 inches.
; ee g 3 Tats ay
ot i : Bm. Cnartale
A rocky beach with sparse aan in the back-
ground at the left a woman stands near a stone wall
and a cottage is beyond; round topped rocks stretch
away at the mght. Dark moving clouds revealing
blue sky at the left; a flock of birds is silhouetted
against the sky. |
cr Signed at lower left: Geo. H. Smillie.
From the collection of Edward Runge, New York, 1902.
Grorce Henry Smiiie was born in New York City, December
29, 1840, and is a son of the engraver, James Smillie, N.A., and
younger brother of James D. Smillie, N.A. He entered the studio
of James M. Hart at an early age, and his artistic career is
confined to this country. He paints landscapes chiefly and the
special note in his work is that of brightness and gaiety. He was
elected an associate of the National Academy of Design in 1864,
and a full Academician in 1882; he is a member of the American
Water Color Society, and the Century and Lotos Clubs. He
received the $2,000 prize at the American Art Association in 1885,
and a medal at the St. Louis Exposition in 1904. He is repre-
sented by “Autumn Afternoon” in the Metropolitan Museum of
Art, and by two landscapes in the Corcoran Gallery at Washing-
ton. His home is in Bronxville, N. Y., and he also has a studio in
New York City.
No. 42
MOSTAERT (Attributed to)
DurcH
ADORATION OF THE KINGS
(On wood)
Height, 151% inches; width, 1134, inches.
= eee wearing a brown robe, i is seated at the left
and holds the nude Infant on her lap. In her left han
is a gold vessel, a present from the old King Jasper
of Tarsus, who kneels in the immediate foreground,
wearing a dark cloak with an ermine collar. Balthasar,
King of Saba, in a red cloak, stands with his black
velvet cap doffed in adoration, and offers an elaborate
censer; while Melchior, King of Ethiopia, stands
further to the right and raises the cover of the jeweled
beaker containing his gift of myrrh. Back of the
Virgin stands St. Joseph and beyond is the manger
with the heads of the ox and the ass at the extreme
left. A procession of attendants on horseback and on
foot, carrying banners with crescent, star and cross,
winds through a hilly landscape. An excellent example
of the period. The composition is very similar to a
well-known painting by Martin Schoen (1420?-1488).
MosraErt: Several Dutch painters of this name lived and worked
in the first half of the sixteenth century. Jan, born in 1474 and
died about 1555, had twin sons, Frans (1534-1560) and Gillis
(1534-1598). Gillis, a pupil of Jan Mandyn, was the one who
painted chiefly religious subjects, while his brother was noted for
his landscapes, the two at times working on the same picture.
Fhe a
4) ee
No. 48
PEETER NEEEFS, the Elder
FLEMISH
INTERIOR OF CATHEDRAL
| (On copper)
Height, 18 inches; length, Bi fake
Yo.
rg
triforium gallery extends between the clerestory win-
dows and the arches; the vaulting is ribbed. The aisles
show on each side with paintings above the altars in
several of the archways. In the foreground at the
right a woman stands back of a beggar and two chil-
dren, while a man leans upon the masonry, gazing at a
tomb. Several figures are in the nave, a monk in the
foreground is in conversation with two peasants, while
further back another monk in a white habit is talking
to a lady who leans upon the arm of a gentleman; a boy
is at her side. 3
On the back is the memorandum: “Lot 275. P. NEEFS.
Bought at Alton Towers for I. M. Threlfall, Esq.,
by Thos. Agnew & Sons.”
From the collection of the Earl of Shrewsbury.
From the collection of J. D. Ichenhatiser, New York, 1903.
Prerrer Neers, the Elder, was born at Antwerp between 1578
and 1582. He was the best pupil of Hendrik van Steenwyck, the
Elder, and entered the Antwerp Guild in 1609. He was famous
in the Flemish school for his paintings of church interiors, in
which the figures were usually inserted by Frans Franken III,
Teniers, Brueghel or Van Thulden. He died about 1656.
Wotedgle
A Lone vista of nave, reaching back to the altar; a
W. MIERIS
Doce:
A LADY AT HER TOILET — on
(On wood) :
3 pe ee, Pee 14% ogee aa uy oe
- YOUNG ee dressed 1 in a low-necked white “st
“shes is”
stands on a covered table at the dane
paring to oh ei in her blond hair. On the = ie
and a ote of pearls. ‘Beyond: an older woman in AC
dark, low-necked dress leans over the table Ree a
with both hands a covered glass. A mantel forms the |
background at the left and near it is a white and brown i |
dog; a brown curtain is draped across the top at the
right. | a
Signed on the back of the chair: W. nae
WILLEM vAN Mieris was born in 1662 at Leyden and died
there in 1747. He was a pupil of his father, Frans van Mieris,
the Elder, whose work he frequently copied. His favorite sub-
jects were domestic scenes and his execution shows the detail and
ability to convey texture which is characteristic of the Dutch
painters of the seventeenth century.
No. 45
DUTCH SCHOOL
A WOMAN CUTTING CABBAGES
(On canvas)
ve Height, 17 inches; length, 21 inches: soe
SEVERAL figures are grouped about a woman who is
seated and cutting cabbages into a pail. A man at
the left offers her a glass, and another, who is going
away toward the right, turns and looks at her over his
shoulder. Through an archway at the left there is a
view of trees and sky. The general color scheme is of
rich warm browns with touches of bright color in the
dresses.
No. 46
GEORGES MICHEL
FreNcH
MARINE
(On canvas)
Height, 18%, inches; length, 25%, B pecs .
(EU = We. SAMA AY
THE water is at the right and at the left a brown
barren beach which curves towards the distance where
a line of gray buildings is seen against the horizon. In
the foreground a man in a sailboat is drawing in the
anchor and two men stand nearby on the shore. Sails
dot the horizon, where a line of light breaks the masses
of inky clouds; yellowish sky shows at the upper
left. A strong picture, showing this artist’s favorite
stormy sky, but somewhat unusual in subject.
From Boussod, Valadon & Co.
GrorcEs MicHEL was born at Paris in 1763. He had a strange
and checkered career, for he ran away with a laundress in his.
’teens, restored pictures and earned money in various other ways
to support a large family, and sketched and painted whenever he
could buy, beg or borrow materials. Through all this he had a
distinct and individual purpose in his art, an intention doubtless
founded on his study of the old Dutch landscapists, which he
carried out so thoroughly that, although unrecognized during his
life, he is now esteemed as the forerunner of Rousseau and his
school. His pictures, which are seldom signed, are easily dis-
tinguishable for their great breadth of effect and solidity of
treatment. He died in 1843.
No. 47
HENRI LEROLLE
FreNcH
REST FOR THE WEARY
(On canvas)
-e. Height, 27 inches; width, 24 inches.
BN sof ead S why
A FIELD with a haystack at the
NY AMAA.
right near which, in
the foreground, a woman, wearing a long black cloak,
is seated; a package wrapped in a blue handkerchief is
on the ground at her feet. A hedge is in the middle
distance and beyond are low hills. The masses of
cumulus clouds are dark at the horizon and pink above
where they break and show a bit of clear blue sky. The
brushwork is masterly.
Signed at lower right: H. Lerolle.
From the Julius Oehme sale, New York, 1908.
Henri Lerorre was born in 1851 (?) in Paris, where he now
lives, and was a pupil of Lamothe. He is represented in the
collection of the Metropolitan Museum of Art by a large canvas:
“In the Organ Loft.”
No. 48
CHARLES EMILE J ACQUE
FreNcH
THE CLOSE OF DAY
(On canvas)
- Height, 26 inches; width, 22 inches.
In the foreground fave horses—a sorrel, a white an
dapple gray, with a man riding the last—are stepping |
out of a pond and moving toward a stone stable at
the right. In the middle distance at the left, a meadow
and some farm houses shimmer in the sunlight. The
sky beyond is almost covered with luminous clouds
tinged by the glowing haze of the setting sun, its
golden light giving the whole composition a tone both
rich and harmonious. The effect is at once realistic
and powerful, and the influence of Jacque’s neighbor
at Barbizon, Jean Francois Millet, is strongly felt.
“Chevaux a |’Abreuvoir, Clair de Lune,” a study sold
in 1894 in a collection of this artist’s drawings, shows
the same place as this painting with the horses drink-
ing and facing the spectator instead of moving away.
Signed at lower left: Ch. Jacque.
Cuaries Emre Jacque was born in Paris in 1813. In early life
he was apprenticed to a map engraver, and during his term of
army service he practised wood engraving and etching, and after
leaving the army devoted himself to these branches. It was
through these mediums that he first gained public attention, but
it was not until 1861, after he had been painting sixteen years, that
he was accepted as a painter. He had a great fondness for
animals, particularly for sheep and pigs, and not only bred
poultry but wrote a book on it. He was the last survivor of the
Barbizon group, and, unlike most of his friends, ended his life in
comparative affluence. He received medals at the Paris Salons in
1861, 1863 and 1864, and at the Expositions in 1867 and 1889,
and was made Chevalier of the Legion of Honor in 1867. He
died in 1894,
La ee a ox “hh au bei man hts ee ye
_ No. 49 7
CHARLES EMILE JACQUE
FrencH .
EVENTIDE
(On canvas)
se Mery we Height, 244, ine oe eras oe
At the left is a group of/farm ee partly hidden
by willow trees and dominated by a tall slender tree
which rises out of the picture at the top. Under one of —
the willows stands a woman who is feeding chickens. In
the immediate foreground at the left is a pool in which
ducks are swimming, and at the right a muddy road
leads away across the plain, beyond which in the
distance is a sunlit field, while low hills in shadow are
seen at the horizon. The sky is completely covered by
masses of luminous clouds. A bit of French country
life of the type which appealed strongly to the artist.
Signed at lower left: Ch. Jacque "70.
From the collection of Edward M. Knox, New York, 1906. .
CuHarrtEs Emite Jacque, one of the prominent painters of the
middle of the last century, was born at Paris May 13, 1813. He
began as an engraver and his plates hold a high rank. Subse-
quently he took up painting and selected genre subjects as well
as the sheep pictures by which he is most popularly known. He
had a home at Barbizon, where he was a neighbor of Jean Fran-
¢ois Millet. He was awarded the Grand Prix at the Paris Uni-
versal Exposition in 1889. He died in Paris May 7, 1894.
‘No. 50
BERNARDUS J. BLOMMERS
Deutrcu
RETURNING HOME
(See Frontispiece )
(On canvas)
¥/ Vie ee Height, 19 inches; width, 15% ain es fe
WV 4177
Tue picture represents a simple bit ee every-day life/
among the peasants of Holland. In the fast- tad
light, along a road winding among the dunes, a horse
is dragging a cart and a man is walking slowly beside
it. Nearer to us a young woman, with a child wrapped
in a blue cover held closely in her arms, shows in her
face the tenderness of the mother mingled with the
blank look of the tired peasant. A chubby little girl in
a white dress and red cap trots by her side.
Signed at the right: B. J. Blommers.
From the collection of George N. Tyner, New York, 1901.
BERNaRDUs JOHANNES BLoMMERS was born at The Hague, Janu-
ary 30, 1845, and lives in his native city. He was a pupil of
Bisschop and of The Hague Academy, but his work has nothing
in common with his master and little of Israels or of Jacob Maris,
whom he admires above all others. These artists are all inter-
ested in the home life of the Dutch people, but Blommers sees
the fisher-folk from the glad and robust side. He has received
many honors, including a gold medal at the Paris Exposition,
1900. Mr. Blommers was in New York in 1912 to paint a
portrait of Andrew Carnegie for the Peace Palace at The Hague.
The commisison was originality given to Jozef Israels, but after
that artist’s death was transferred to the dean of Dutch painters.
No. 51 ee
JOHN OPIE, R.A.
BririsuH
HEAD OF A GIRL
(On canvas)
Height, 17% inches ; width, 14 inches
i ODL.
oe i sd q
ES figure seen almost to acc waist ; Treaty 4
in profile toward the left and the head faces three-
quarters front. She wears a high-crowned poke bonnet
beneath which show wisps of brown hair. The face
with its rosy cheeks and brown eyes has a bright happy
expression. So much of the costume as is visible shows
a gray-green coat with a high-waisted belt and large
roll-over collar above which is a soft white muffler. A
landscape, with a line of trees at the horizon, forms the
background. The color scheme of the whole picture is
in tones of dull green relieved by the flesh-tints and
the white muffler.
From the collection of the late A. W. Bennett.
From the collection of J. D. Ichenhatiser, New York, 1903.
Joun Orie was born at St. Agnes, near Truro, Cornwall, Eng-
land, in 1761. He began to paint at the age of ten and sold
portraits at sixteen. In 1780 he was introduced to Sir Joshua
Reynolds by Peter Pindar as the Cornish genius. He painted
some historical subjects, but excelled in portraits, which are
distinguished by fidelity and directness. He was elected a mem-
ber of the Royal Academy in 1805 and was chosen a professor
of painting in the Academy in the same year. He died in 1807,
in London, and was buried in St. Paul’s Cathedral.
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No. 52
JOHN CROME (OLD CROME)
British
LANDSCAPE
(On canvas)
2 Height, 241/, inches; width, 19Y inches. —
Foot
AN opening in the autumn woods w
/
an almost bare
oak in the immediate foreground at the right and a
group of oaks on a knoll in the middle distance. In
the open space lie trunks of trees that have been
cut down, and a kneeling figure is binding fagots. The
sunlight strikes the ground back of the figure and also
lights a mass of clouds outlining them against the
grayish sky. There is rich golden color throughout.
_Jouwn Crome, called “Old Crome,” was born in Norwich, Eng-
land, December 22, 1768, and died there April 22, 1821. He was
the son of a weaver in poor circumstances. John apprenticed
himself to a sign-painter when he was twelve years old and
stayed with him seven years. He was forced to teach to earn
a livelihood and took a position in a London school. He
exhibited at the Royal Academy in 1806, and after that became
well known and his paintings found rapid sale. He was the
founder of the Norwich School of Artists. He was also a water-~
colorist and an etcher. ‘“Mousehold Heath,” in the Wallace
Gallery in London, is perhaps his best known work.
iyi aS ry,
No. 58
MAX WEYL
AMERICAN
LANDSCAPE
(On canvas)
Say Height, 19 inches; length, 26 ie
Turovex level green fields a narrow stream flows
diagonally across the picture toward the left into the
immediate foreground. In the middle distance, at the
right, are several pollard willows with gray-green spring
foliage and on the bank one bare tree trunk rises out of
the picture. In the distance there are clumps of trees
at might and left, and in the open space between, two
feathery trees at the horizon are silhouetted against the
lumimous gray sky.
Signed at lower right: MAX WEYL.
Max Wey. was born at Muhlen, Wurtemberg, Germany, De-
cember 1, 1837, and came to America in 1853. He was by trade
a watchmaker and established himself in the jewelry business in
Washington, D. C., where he still resides. His fondness for
painting led him to devote more and more time to art until
1877, when he gave up business. It was some years before he
received any recognition, but in 1901 he received the first Cor-
coran prize and in 1904 the Parsons prize at the Society of
Washington Artists Exhibitions. Exhibitions of his work have
been held in New York, Chicago and other cities.
| No. 54 aa
GEORGE H. BOUGHTON, RA, N,
‘Barrisu-Amenican
WINTER
Height, 23 inch
a
A stretcu of undulating sand
tation. A figure is moving across the plain. . In |
middle distance is a dull green hillock. The ‘cloudy:
sky is tinged with a cold yellow light which is most
brilliant at the horizon. The general color i is greenish
with a feeling of snow in the air. | |
For biography see No. 3.
fo ey
No. 55
LEON GERMAIN PELOUSE
Frencu
LANDSCAPE
i So ei ec _ Height, 288, inches; width, 2114 inches..
0 f
A MoIsT green field with a gnarled tree Gh is et
beginning to leaf, in the foreground. A stream is at
the left with shrubbery on the far bank; brownish low
hills are at the horizon against a luminous gray sky.
Signed at lower left: L. G. Pelouse.
From the collection of Henry Mosler, New York.
Lton Germain Perouse was born at Pierrelaye, France, in 1838.
He received medals at the Salon in 1873 and 1876, and at the
Exposition of 1878, in which year he was made Chevalier of the
Legion of Honor. A gold medal was awarded him at the Paris
Exposition of 1889. He died in 1891.
No. 56
JEAN FRANCOIS DE TROV
FrencH
NICOLAS DE CATINAT, Maréchal de
France
(On canvas)
me ews es Oval: Height, 281, i “( ae |
He wears a full dark brown wig, the curls fal n oe over
a Mechlin lace neck ruffle and across the breastplate. |
The full brown eyes and other features are strongly
modeled. |
Inscribed at upper ale Mr LE Mat DE CATINAT.
From the collection of the Marcus de Biencoure
JEAN Francois pe Troy was born in 1697 in Paris and died in’
1752 at Rome. He was a pupil of his father, Francois De Troy,
who sent him to Italy at his own cost when he had unsuccessfully
competed for the Prix de Rome. He then was given a royal
pension. On his return to France in 1708 he became a member
of the Academy. He executed a number of tapestries for Louis
XV, representing the history of Esther, and in 1738 was appointed
Director of the French Academy at Rome, but resigned on
account of some-fancied grievance against the Court.
No. 57
G. TERBORCH
DutcH
PORTRAIT OF A SCHOLAR
(On canvas) i
a mae Height, 36 inches; width, 281, i $. (3
Tue full-length figure of a man seated, resting his
right elbow on a red-covered table, on/ which are
an open book, a compass and a square. His long brown
hair is parted in the middle and falls over a square
white linen collar; his garments are black. In his right
hand is a rolled paper; the left is bent against his knee.
A distinctive and charming note is a little girl who.
stands at the extreme right, wearing a white apron
over a brown dress “trimmed with: transparent white
lawn and lace, while on her brown hair is a close-fitting
white lace cap with red rosettes. A dark green curtain
is draped at the left, revealing an archway beyond
which are trees and a sunset sky.
Monogramed on the base of a column at the right:
G. T., entwined.
From the collection of Mortimer Green, New York, 1904.
Gerarp Tersorcu (or Tersurc) was born in Zwolle, Holland, in
1617 and died in Deventer in 1681. He was a pupil of his father
and of P. Molyn at Haarlem. In 1635 he visited England and
Italy. In 1641 he returned to Amsterdam; for a time he was
Burgomaster of Zwolle. His work shows the influence of Frans
Hals, Rembrandt and Velasquez. He is represented in many of
the European art galleries and ranks high among the Little
Masters of Holland.
KAREL FABRITIUS
THE ADVOCATE
(On canvas)
Height, 333, inches; wid é
2 Aan
Tue figure of a young man seen to the waist, standing _
in front of a table resting his clasped hands on a closed
book. He faces the spectator but the body is turned -
a little to the right. The costume is simple and con-
sists of a wide-sleeved olive-green coat over a dark wine-
colored jacket with soft white linen collar. A dull red f
cloak with short cords and tassels hangs over the shoul-
ders. ‘The head, which is framed in a mass of light ee
brown wavy hair, is strongly illuminated from the
upper left; the other side of the face is in shadow. __
The background is dark green, almost blue. The tone
throughout is rich and mellow. eae 4
From the collection of Humphry Ward (Art Critic of London on
Times). ue
From the T. J. Blakeslee sale, New York, 1904. ~ # 32 “Bf cin
~
KareL Fasritius was born in 1624; died in 1654. He was the
pupil of Rembrandt and the master of Jan Vermeer of Delft.
He is represented by a Portrait of a Man in the Museum at
Rotterdam, and in the galleries at Amsterdam, Munich and
Frankfort.
No. 59
FRANCIS COTES, R.A.
Baris
MISS SOPHIA TEMPLE a8
(On canvas) — Pe. ae cheese
i te ee 304%, inches; wi th, 2 Yt
eS | are
lies on her lap. She wears an old-rose gown vay pea
at the neck where a heart-shaped locket hangs from as
narrow black ribbon; the sleeves are short and edged — me
with three ruffles of white lace below the silk ruffles. i a
Her dark brown hair is dressed in a high Pompadour; _ ; a
a long gold earring shows in the right ear. The ~—
2 The
expression of the brown eyes and bow-shaped lips is
charming and the whole picture is pleasing and deco-
rative in its pose and quiet color scheme. The back-—
ground is a dark grayish-green. eco
From the T. J. Blakeslee sale, New York, 1902.
Francis Cotes was born in London in 1726 and died in 1770.
He studied with Lord Knapton and was an admirable crayon
artist as well as a painter in oil. He was one of the popular
portrait painters of the day; was one of the founders of the
Royal Academy and a member of the Incorporated Society of
Artists.
No. 60
- RICHARD WILSON, R.A.
Britis
ITALY
(On canvas)
, Height, 255% inches; length, 36 inches:
2. ig Ban TS
A creat hill rising from the far side of a lake is su
mounted by a castle that catches the glow of the late
afternoon sun. Upon the shore, in the immediate fore-
ground, some peasants are fishing and to the left is a
group of trees. At the water’s edge is seen a ruined
building. The picture has a mellow quality of tone, the
briliant and luminous sky accentuating the shadow
on the water and the dark foreground.
From the T. J. Blakeslee sale, New York, 1902.
Ricwargp Witson was born in Montgomeryshire, England, Au-
gust 1, 1713. In 1729 he went to London and became a pupil
of a portrait painter, Thomas Wright. When thirty-five years
of age he went to Italy, where he met Zuccarelli and Vernet and
turned from portrait to landscape painting. After some years
he returned to London, and though favorably received he was
never more than moderately successful; landscapes were not in
demand, and notwithstanding that he was one of the original
members of the Royal Academy, his pictures did not sell. In
his later years all that kept him from starvation was a pittance
that he received as librarian of the Royal Academy. He died in
May, 1782. Wilson was one of the pioneers who opened up the
way to present-day appreciation of the beauties of nature. His
compositions were reminiscent of Italy, but what is individual
is his treatment of light and air which permeate the whole and
his treatment of color.
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No. 61
MAX WEYL
AMERICAN
APPLE BLOSSOMS
(On canvas)
oe 5 Uti Height, 20 inches; length,-30 inches.
SrveRAL apple trees in full bloom are scattered across /
the middle distance of the picture; there are pollard V
willows at the right near a rustic fence beyond which
is a field in bright sunlight. A low hill rises at the left.
Signed at lower right: MAX WEYL.
For biography see No. 53.
LA We gt
No. 62
WALTER SHIRLAW, NAL
Avcenrcaw .
THE WATER LILIES:
(On canvas) —
er 7 Dea ae 201, inches; Lege sj 4 i
An idyllic subject with a group of three nude female as
figures on the grassy banks of a river, the surface of — Is
which is partly covered with lily pads and blossoms.
On the opposite shore is an expanse of green turf, and
beyond, the silver streak of the river reappears wind-- af
ing through the meadows and disappearing amid the ioe
trees which frame the middle distance and appear in —
silhouette against a gold and rose evening sky. These
figures, all seen from the back, are finely drawn and.
ably painted. The picture is poetic in feeling and dis-
tinguished in color. A sheet of drawings owned by the
Metropolitan Museum shows pencil studies for some of
these figures. : | |
Signed at lower ete; W. Shirlaw.
From the collection of Willliam T. Evans, New York, 1900.
Wa ter SuHiriaw was born in Paisley, Scotland, August 6, 1838,
and died in Madrid, Spain, December 26, 1909. When he was
three years old, the family came to New York; at the age of
twelve he left the public schools and apprenticed himself to a
bank-note engraving company. In 1870, having earned sufficient
means, he started for Paris. On his arrival he found Paris under
pte, gehen diaia
_ siege by the German Army, so went to Munich, where he studied
under Wagner, Romburg and Kaulbach. Upon returning to
America he settled in New York. He was also an illustrator
and designer, and his works show him to have been an artist of
great versatility. He is represented in the Albright Gallery of
Buffalo, the Herron Art Gallery of Indianapolis, the City Art
Museum of St. Louis, The Art Institute of Chicago, the Lotos,
_ Century and Salmagundi Clubs in New York, and by a series of
mural decorations in the Congressional Library at Washington,
D. C. Medals came to him from Munich, Philadelphia (Centen-
nial), Atlanta, St. Louis, Chicago, and Honorable Mention from
the Paris Salon. In 1888 he was elected a member of the Na-
tional Academy of Design, was one of the founders and the
first President of the Society of American Artists, a member
of the American Water Color Society, the Etching Club, the
Mural Painters, and many clubs of New York.
7
Height, 471, inchés; width, 33 inches. re
A marpEen, draped below the bust in an ample mantle __ ae
No. 68
BENJAMIN WEST, PRA,
AMERICAN-BrITIsSH
INNOCENCE
(On canvas)
of thin white material, is seated on a grassy bank under
low-growing boughs. She clasps to her bosom a
fluttering white dove and inclines her head as though to
quiet it, turning her large brown eyes toward the spec-
tator. A blue and white scarf falls over her back and
across her arms; her dark brown hair is confined by
a double fillet of narrow red ribbon. A rich flood of
light from the right strikes the figure, bringing it in
strong contrast against the red and brown foliage
behind it and the deep-toned sky and distant landscape
at the left. There are traces of a second figure at the
left which was doubtless painted out by the artist.
This is one of the most attractive examples of the
master. |
From the T. J. Blakeslee sale, New York, 1904.
BensamMIn West was born at Springfield in Chester County,
Pennsylvania, October 10, 1738. He had a natural gift for
drawing, and in his eighteenth year moved to Philadelphia and
thence to New York, executing portraits. He visited Italy in
1760, remaining about three years, and thence he went to Lon-
don, where his reception was so encouraging that he sent for
F
by Ge Cs tate | es ..& ; <
the lady to whom he was engaged, and settled down to spend
nearly sixty years of his life there. In 1768 he was one of the
four commissioned to draw up the plan for the Royal Academy,
and in 1792, on the death of Sir Joshua Reynolds, he was elected
president. In 1772 he was appointed historical painter to the
King; he declined the honor of knighthood. He died in London,
March 11, 1820, and was buried in St. Paul’s Cathedral. The
large compositions of West are theatrical, but he knew the human
form and painted it with academic skill and splendor of color.
His great success in his day was due partly to his personality;
his strongest influence came through his sympathy for the younger
artists. West’s studio was the meeting place for all the American
painters of the day.
No. 64
SIR HENRY RAEBURN
BritisH (Scorcr)
PORTRAIT OF NEIL GOW :
| (On canvas) : eR ogee a
| - Height, 36 inches; idth, 30% or) * pee a
: aoe Gow, a Scottish eagle! we born — : -
in 1727 and died in 1807. He is shown life-size, seated “g
and drawing the bow over his beloved violin. The head
is inclined and there is a dreamy look in the eyes. His
dark brown hair, touched with gray, is parted in the
middle; he has hazel eyes, dark eyebrows, a shaven
face, sensitive mouth and double chin. He wears a dull
blue coat and vest with gray buttons. The background
is yellowed brown. There is splendid feeling for form
in the modeling of the musician’s head, and rich color
throughout.
The nearly full-length portrait of Neil Gow in the Scottish -
National Portrait Gallery at Edinburgh is the original from
which Raeburn painted several replicas. One of these replicas
Raeburn gave to Gow and, according to Armstrong, this par-
ticular picture belonged in 1904 to Sir A. C. Mackensie of Edin-
burgh, who exhibited it at the Loan Exhivition of Scottish
National Portraits in 1884. The picture in the present sale comes
_ from the Mackensie collection, but has been cut down; the
trousers, which were originally plaid, have been painted brown
and the whole relined.
From the Ehrich Galleries, New York, 1908.
Henry Ragespurn was born near Edinburgh, Scotland, in 1756,
and at six years of age was left an orphan in charge of an elder
brother. He spent the greater part of his life in Edinburgh, and
id
died there July 8, 1823. He was virtually self-taught but acquired
a wonderful technique, and had the power of showing the char-
acter of his subjects. He was the best painter in a technical
sense of the British school. In the “square touch” of Raeburn
one is frequently reminded of Velasquez and of Hals. The great
genius of Raeburn has only been adequately appreciated in
recent years, and his works are constantly rising in value. The
two examples in the Morgan collection are considered the gems
of the exhibition now at the Metropolitan Museum of Art.
No. 65
LOUIS GALLAIT |
Betcian
THE MENDICANTS ——
(On canvas) | i
tc Height, 52 inches; wi [th, 40% inches.
AFG a
A LIFE-sIZED composition of an aged mendicant mtsi- _
cian with his dying boy companion. Seated on a
boulder, the old man holds across his lap the emaciated —
form of the boy, who rests his head against his pro- —
_tector’s shoulder. A dog laps the nerveless hand of the —
child, who still holds the bow. The right hand of the
mendicant, held out for alms, rests on the dog’s Ss back. ie
The figures are seen to below the knees, the heads sil-
houetted against luminous clouds; a wild landscape i ig: oe
suggested in the background. |
_ This picture is illustrated in Edward Strahan’s “Art Treasures 5 ‘as i
of America,” 1880, Volume II, page 71, as being in the collection
of H. Victor Newcom of TL cuiaville: Ky.; Mr. Newcomb lent
the canvas to the Metropolitan Museum of Art in New York, ©
where it was exhibited in 1882-83. The Wolfe Collection at the
Metropolitan Museum contains a small canvas of a similar sub-
ject,\ with slight variations, “The Minstrel Boy,” which is Sten
and dated 1867.
Signed on the rock at the right: Teves Gallait.
From the collection of the Marquis of Salamanca.
From the collection of H. Victor Newcomb, New York, 1903.
Louis Gattarr was born at Tournay, Belgium, in 1810, and
studied at the Academy in his native city under Hennequin; he
continued his studies at the Antwerp Academy. One of his
sere
earliest works, “Christ Healing the Blind,” was bought by the
city of Tournay and placed in the Cathedral where it now hangs.
With the money obtained from this picture he was able to go to
’ Paris, where he became a warm friend of Paul Delaroche. He
soon became known as an historical painter and settled in
Brussels, where he had a long and eminently successful career.
His most important work, “The Abdication of Charles V,” is in
the Brussels Museum. :
No. 66
MATHIEU LE NAIN
FRENCH | Na
A GROUP OF PEASANTS —
(On canvas)
Height, 44 inches; width, 3714 inches.
aod ae Tn. “Gln darrainr
Aw old man, holding a staff in both hands and with a —
pilgrim’s water-bottle hanging from a cord about his
waist, stands in the center of the picture. At the right
is a young woman wearing a red dress, white kerchief
and brown straw hat who has both hands on the old
man’s shoulder, while a little boy, with dark brown hair
and brown coat, clings to the pilgrim’s hand and
clasps his staff. At the left an old woman in a red
dress, with a basket on her arm, looks longingly at the
principal figure, while this appealing look is repeated
in the head of a dog which appears at the left in the
immmediate foreground. The frame is hand carved.
From the Eugene Fischhoff sale, New York, 1906.
Maruiev LE Narn was the youngest of three brothers, who
painted together. All were born at Laon, Aisne, France. An-
toine, the second brother, became master in St. Germain-des-
Prés and his brothers were his apprentices. Mathieu went to
Paris in 1633 and Louis, the eldest, as well as Antoine soon
followed, and the three brothers lived and worked together until
1648, the year in which two died, Mathieu surviving them nearly
thirty years. He was born in 1607 and died in 1677, and is best
known as an historical and portrait painter.
No. 67
BARTHELEMY DE KARLOVSKY
AT BAY
re (On canvas)
vi oe be Height, 22%, inches; width, 25% inches. A
wie ¥ Ml fs
In a sandy valley a man, in Oriental costume of blue
and white, stands beside his dead horse, pistol in hand,
and faces mounted officers who are seen galloping in
the distance. His blanket and hat are on the road in
the foreground.
Signed at lower right hand: B. DE KARLOVSKY,
PARIS.
From the collection of Henry Kirkpatrick, New York, 1901.
No. 68
T. P. ROSSITER
‘AMERICAN
PORTRAIT OF A LADY
(On canvas)
Ap ee t« Oval: Height, 30 inches; Ne oS bee
A apy in the costume of about 1850 Gage a
dress with white sleeves and a red velvet bodice ie
green skirt. She holds a fan and rests her right arm
on a book that lies on a ledge in the immediate fore-
ground. —
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