oe - : , ts See ee oe: Rohife r E.Carison F.H Relssell J.C. Reyne Rohife H.Eunihan, agt. J.F. Mam J. Thompson C.JBillwiller Holland Galleries. &.Carlson Folland Galleries. i J.0.Willover H.Schultheis Kreushecr Rehife " Arlington Galleries. ’ a) Dr. Reifstahl T.E. Finger LeRoy Ireland . Rehife Ward H. Coundileu, agt F.8.vyff (order) J.C.Willover Arlingten Galles. Goldblatt A.J.De VYinne d.Reid €.Cartelloe J.C. Sharp J.M. Thomas Wel.Grant, agt. J.M. Themes T.J.Martin ® a Fred Jenkins LeM. Thompson Jes.Corter W.M.Grant , agt. Two din Statues. Ae eee ies. 75, = 6,500. | AsLewinsohn Wel.Grant, agt. | AeBlakelock Lee . J.NeRosenberg Resenback Co. ° L860. AsLewisohn Rosenberg ~ €.u.Kreushaar Rosenberg pea E. Nedelman = Rosenberg — E.F.Chaper Rosenberg ~Resenhach Ce. J.W.Lynde Li. Thompson Rosenbers A.Levisehn B.1,. Herriot A, Nadelmen | Rosenberg (order) H.Connileu, agte Rosenback Se. &.N.Kreushaer J.¥ Drake Rosenback Co. " : a. 0) Eo. As SALE NUMBER 145'7 | ON PUBLIC EXHIBITION FROM THURSDAY, JANUARY TWENTY-NINTH PewstkRATED CATALOGUE OF NWALUABLE PAINTINGS INCLUDING TWO WHISTLER OILS, THREE PRESENTATION SARGENT WATER COLORS, TWO MARBLE - STATUES BY RODIN, AND THIRTY- | THREE OIL SKETCHES BY RENOIR FROM THE COLLECTIONS OF THE LATE MRS. JOHN F. CARROLL— THE LATE MATILDA STIEFEL | ig ine pms Pyne Le, 0. ULMANN SR a TRA RE LOE AND OTHER OWNERS AND ESTATES TO BE SOLD THURSDAY AND FRIDAY EVENINGS, FEBRUARY FIFTH AND SIXTH ane LOPS I, — AT 8.15 O'CLOCK THE ANDERSON GALLERIES {MITCHELL KENNERLEY, Presipenr] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1920 > naenearengenceypecems [VAS Ade SG CONDITIONS OF SALE All bids to be PER Lot as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased to be immediately resold. Purchases to be taken away at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible if the lot or lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. To prevent inaccuracy in delivery, and inconvenience in the settle- ment of purchases, no lot will be delivered during the sale. All lots will be exposed for public exhibition in The Anderson Gal- leries before the date of sale, for examination by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving before the date of sale expert opinion in writing that any lot is not as represented, The Anderson Galleries, Incorporated, will use every effort to furnish proof to the contrary, and in default of such proof the lot 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 by such declaration. TERMS CAsH. Upon failure to comply with the above conditions any sum deposited as part payment shall be forfeited, and all such lots as remain uncleared after twenty-four hours from the conclusion of the sale will be resold by either private or public sale at such time as The Anderson Galleries, Incorporated, shall determine, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter at this sale together with all the expenses incurred thereby. This condition shall be without prejudice to the right of The Anderson 1 Galleries, Incorporated, to enforce the contract with the buyer, without such resale. Bips. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by other bids. The Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. Priced Copy of this Catalogue may be secured for one dollar for each session of the sale. THE ANDERSON GALLERIES INCORPORATED PARK AVENUE AND -FIFTY-NINTH STREET | NEW YORK TELEPHONE PLAZA 9356 CATALOGUES ON REQUEST SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 7 n= ee SALE THURSDAY EVENING February Fifth, 1920 BEGINNING AT 8:15 O’CLOCK [Lors 1-89] Poe eZ VVERMANN MUNICH SCHOOL Meme FIRS! SHAVE Bursting into the barn, the two young sisters surprise their brother just preparing to shave his upper lip, having arranged a convenient corner at the window. Poodle dog, vegetables and utensils at the right. (Matilda Stiefel collection.) Canvas. Signed at lower left. Height, 20 inches; width, 27 inches. R, L. ZIMMERMANN MUNICH SCHOOL . THE RETURN HOME Seated at table with clenched fists and head turned away, the father refuses to yield to the pleadings of his wife, while the daugh- ter, standing nearby in an attitude of humility, appears asking per- mission to return to the parental roof with her child, which is seated on the table. A couple of children look on, cat and kittens about. (Matilda Stiefel collection. ) Canvas, Signed at lower left. Height, 19 inches; width, 26 inches. CARL HERPFER MUNICH SCHOOL mero wD REPOSE A young Miss has fallen asleep while pouring over the family Bible, oblivious to the presence of a ram which has entered the open door and finds a leaf of ancient scripture to its taste, while a ewe is waiting to have its turn. At the right the kitten plays with the knitting which was cast aside. Quaint interior with characteristic furnishings. (Matilda Stiefel collection.) Panel. Signed at lower left. Height, 22 inches; width, 18 inches. Pe Bi UME SIEBERT MUNICH SCHOOL fet SNOW SWEEP Charming portrayal of a little girl amusing herself with mother’s big broom sweeping the snow from the doorstep. She has paused to blow on her chubby hands and looks at the spectator while the broom rests against her arm. (Matilda Stiefel collection.) Canvas. Signed at lower right. Height, 18% inches; width, 13%2 inches, 3 BP Ne le MUNICH SCHOOL . MONKS PLAYING CARDS An amusing scene in the wine cellar of a monastery, where three monks are at cards and a fourth is seen at the left assuaging his thirst from a bottle. The superior brother is at a loss for choice of play ; meanwhile a lay brother in the foreground passes the ace of hearts to his accomplice. (Matilda Stiefel collection.) Canvas. Signed at lower left. Height, 21 inches; width, 17% mches. AUGUST MULLER MUNICH SCHOOL Roel eo iS ica Grandmother stops at her knitting, leans over to correct the spelling of the smiling, blonde, little girl who is seated at a rough deal table doing her lessons. (Matilda Stiefel collection.) Canvas. Signed at lower left. Height, 10% wmches; width, 9 inches. A. STANIGES MUNICH SCHOOL . MONK -WITH CANDEE His countenance beaming, the lay brother is obviously passing to the wine cellar, as the pewter tankard and his anticipatory expres- sion show. He shields the candle light with his hand. (Matilda Stiefel collection. ) Panel. Signed at upper right. Height, 12 inches; width 9 inches. A. WEBER MUNICH SCHOOL . JOVIAL COMPANIONS The one seated looks smilingly at the dregs in his stein, wearing a delightful expression, while the other, standing and holding a long pipe, looks somewhat reprovingly at his friend. (Matilda Stiefel collection. ) ) Panel. Signed at lower left. Height, 17% inches; width, 12% inches. G. LAEV ERG MUNICH SCHOOL /-THE SCHOOUTEESSe In a quaint old world room, grandfather sits at the table finish- ing his wine to the accompaniment of his pipe, while the little girl has put one end of the tablecloth aside and is engaged at a slate, leaving her bun before her untouched. The kitten laps its milk in the foreground. (Matilda Stiefel collection. ) Panel. Signed at lower left. Height, 18% inches; width, 13% inches. R. L. ZIMMERMANN MUNICH SCHOOL . JOVIAL COMPANIONS A convivial gathering around the table, discussing the merits of Rhine wine; one of the elder men is holding forth about the two dif- ferent vintages, to the amusement of the soldier at his right. A maid brings in fresh glasses and apparently two bottles seen at the right are also to be sampled. Characteristic types well rendered. (Ma- tilda Stiefel collection.) Panel. Signed at upper left. Hetght, 11 inches; width, 16 inches. JAMES HENRY MOSER AMERICAN SCHOOL 1854—1913 . ADMIRATION Seated at a dining table, an elderly negro in shirt sleeves holds up a pewter sugar bowl with both hands, regarding it lovingly, while a little pickaninny, her right elbow on the table, her hair in curls, looks on with an expression of regret. Half a loaf and a scanty supply of syrup in the jug seems to indicate a lack of victuals. Flowers in pots at the window to the left. Canvas. Signed and dated, 1888, at lower left. Height, 8 mches; width, ro inches. ALFRED SIEBERT MUNICH SCHOOL » EVENING HARVEST SCENE Six buxom girls carrying their rakes and sickles, four of them chatting merrily. Two at the left, one carrying an empty jug and luncheon basket, seem more serious. They head the procession of harvesters who precede the heavily laden hay cart drawn by oxen and decorated with a huge wreath. A motley crowd, old and young, bring up the sides of the road, some singing and chanting. Ripe field at the distant left, orchard on the right, after sunset sky. (Matilda Stiefel Collection. ) : Canvas. Signed at lower right. Height, 40 inches; width, 62 inches. This picture was awarded first prize at the Munich Exhibition, 1883, where it was bought by the present owner. MLL CARLSEWN, INVA. CONTEMPORARY AMERICAN fee ILL: LIFE On a plain table several pigeons, one white, a black one and two of gray plumage, are grouped about a large metal vessel, flanked by a copper coffee pot and several onions on the right. Characteristic tonal study and nicely adjusted values. Canvas. Signed and dated at the lower right. Height, 22 inches; width, 32 inches. 5 14. WILLIAM* Ee CHASE AMERICAN SCHOOL 1849—1916 GREY, “DAY AT THE (BEACH A wide expanse of sandy shore, a number of ae pleasure boats — and craft at an inlet on the left and the silhouette of hotels and pavilions indicated in nice perspective in the distance, while the sea WA — rolls in on the right. Bleak, gray sky. A convincing production. f feta ibe ‘es 16 Ayo fe 3s 17s b salt Signed at the lower left. Height, 10 inches; width, ro inches. JAMES D. SMILLIE, N.A. AMERICAN SCHOOL 1833—1909 EDGE OF THE WOOD Glimpses of the countryside near Montrose, Pa. A thicket in autumnal coloring on an elevation at the right, and on the left the meadowy foreground, enlivened by a few sheep, is broken by small mounds and stone hedges, hilly distance and gray, fleeting sky. Canvas. Signed at lower left. Height, 12 inches; width, 22 inches. ELIZABETH RR. COu as CONTEMPORARY AMERICAN SPOR ERAL ass DUNG Strongly painted head and bust of an old lady, the face, silvery hair and cream neckwear in fine relief from the dark drapery and background. Canvas. Signed and dated at lower left. Height, 20 inches; width, 16 wches. JOHN J. ENNEKING AMERICAN SCHOOL 1841—1919 TWILIGHT WITH CATTEE Appealing tonal production of a frosty November evening, the sky warmed by a few touches of orange, the last glimmer of the setting sun, while the cows quench their thirst at a pool in the foreground. Enneking was known as the Boston Inness. Canvas. Signed at lower left. Height, 10 inches; width 16 inches. JERVIS McENTEE, N.A. AMERICAN SCHOOL 1828—1891 LANDSCAPE Autumn view of rolling country dotted here and there with cot- tages among green and brown fields, clumps of trees and stone hedges, low range mountains in the distance. Canvas. Dated on the right, stamped on back, “Sale McEntee, 1892.” Height, 12 inches; width, 20 inches. 6 \/00 - ~ & ve a i ee zi. ne. CHARLES WARREN’ EATON CONTEMPORARY AMERICAN fee NOVEMBER DAY Marshy expanse of brown and green grasses, with clumps of trees on the left, a haystack whose pyramidal shape adds a graceful line in the middle ground, a light cream and silvery sky, all rendered in just values. Canvas. Signed and dated at the lower left. idth, 18 inches. Peewee. OL EPLEY CONTEMPORARY AMERICAN EVERY THURSDAY Seated at a table, the kitchen-maid is polishing some silver spread out before her; a samovar and creamer are also to receive attention. Canvas. Signed at lower right. Height, 13 inches; width, 17 inches. feet eR LOOMIS, A:N.A. CONTEMPORARY AMERICAN STUDY OF HYDRANGEAS A group of beautiful pink hydrangeas on the left in nice value against the side of a thatched cottage, the door and window of which are partly covered with vines. Cabbage plant and various flowers bloom on right and left of the path in the center. Canvas. Signed and dated at lower left. Height, 17 inches; width, 22 iches. Height, 12 inches; JERVIS McENTEE, N.A. AMERICAN SCHOOL 1828—1891 WOODY INTERIOR A stream of water in a forest with rocky foreground, straying timber and a glimpse of sky at the upper right. Canvas. Dated on the right and stamped on the back, “Sale McEn- tee, 1892.” Height, to inches; width, 16 inches. A. HUMBORG MODERN MUNICH SCHOOL Poe RARE VINTAGE A jovial monk, wearing an expression of gleeful anticipation, is decanting a glass of white wine from a pewter tankard; garbed in white habit, wearing a blue apron and skull cap, he stands beside a huge cask. Panel. Signed at upper right. Peo: MILLER, NA. CONTEMPORARY AMERICAN Height, rr inches; width, 8 inches. Pata DSCAPE A threatening sky overhangs a lowland stretch, a pool in the foreground, cows on the right and a cottage looming up in the middle plane. Charming bit, recalling Dupré. Canvas. Signed at lower left. Height, to inches; width, 16 inches. 7 Zo 20: po oa: pete eae 28. ae - DA eae IN’ THE -MANNER: OF PELDC= Zin DUTCH SCHOOL SUNSET IN VENICE One of those colorful Venetian scenes which are the delight a all artists. The sky and water are of that azure blue known only to Italy, while the golden glow of the sunset illuminates the horizon line. In the distance are visible the Campanile and Santa Maria della Salute, and in the bay rides a ship under full sail, : Panel. Height, 11% imches; width, 20 inches. UNKNOWN MODERN FRENCH SWEEPING THE GARDEN PATH A French peasant girl is sweeping a narrow stone nae which borders a garden with trees and flower bushes. The simplicity of the composition and the dignity in the interpretation of the figure of the girl is reminiscent of Millet’s treatment of similar subjects. Canvas. Height, 18 inches; width, 11 inches. GERAERD. :PIETERSZ Wey oe [CALLED GERARDS VANES ei 1606—1667 ORPHEUS Seen at half length, a nude youth with nee hair, holding a violin beneath his arm, bends his head attentively over a sheet of music held in his hand. An intimate friend of Van Dyck, Zyl worked as his assistant in London and became a successful imitator of his style. In Holland he was called “The Little Van Dyck.” Panel. Signed with initials. Height, 2514 inches; width, 21V% inches. This picture was bought by the present owner at the sale of the col- lection of Colonel Henry Thomas Chapman, 1913. The above de- scription was taken from the Chapman catalogue. SIR: ANTON Y# WAN = Di 1599—1641 MARGUERITE, DUCHESS .OF- CLEVELDAA The young woman is seen at bust length, her body in profile, her head turned toward the spectator; her hair falls in curls about her shoulders and she wears a single strand of large pearls about her neck, with double pendants in her ears. Her silk gown falls low on her neck and is ornamented with a jeweled chain which is held at the shoulder by a cluster cross. The lady was a favorite of the or of Charles Il. The carved wood frame shows floral Mar- /guerites in the four corners. Panel. Height, 15 inches; width, 12 inches. ; This picture was bought by the present owner at the sale of the col- lection of Colonel Henry Thomas Chapman, 1913. The above de- scription and attribution are taken from the Chapman catalogue, in which tt was also stated that it was purchased in 1888 from the col- lection of S. Moreau-Chaslon, and was previously in the collection of his father, a well-known collector of France. [SEE ILLUSTRATION | 8 EIGHT | [NUMBER TWENTY- ABRAHAM VAN STRIJ DUTCH SCHOOL 1753—1826 29: ANIMALS BY THE RIVER@EAN A placid river flowing through the low country, with cows, sheep and a goat resting on the near bank in the shade of majestic trees and two cows standing in the shallow water near the shore. Across the river one sees trees and the outlines of spires and house tops. Although after the great period of Dutch painting, one still finds the essentials of the great tradition of Dutch landscape and animal ,~painting carried on in such pictures as this. W Canvas. Height, 38 inches; width, 48 inches. is 10 i ‘ ie 30. - coloring of the Rubens tradition. ie wie 32. COPY AFTER RUBENS BeeeerGiLiA AT THE ORGAN St. Cecilia is seated before the organ, while the strains of her music brings as listeners the angels from heaven, who hover in the air and stand about her. A painting on a large scale, with the rich The. dréss“of- Sti. Cécilia. is in warm tones of green and yellow and the background shows rich draperies and Corinthian columns. Canvas. Height, 69 inches; width, 56 inches. CONSTANT TROYON FRENCH SCHOOL 1810—1865 PANDSCAPE WITH CATTLE A white cow in the foreground and several sheep and cows about on the rich, grassy meadow. A maid in blue waist and white cap is at the right. Grove of trees to the left, and at the horizon, gray and creamy sky. (E. S. Ullman collection.) Canvas. Signed at lower left. Height, 15 inches; width, 18 imches. Pe CALDWELL CONTEMPORARY AMERICAN EVENING GLOW Flat foreground with grove of trees on the left, a lake in the middle ground with wooded banks, and warm, after-sundown sky. (E. S. Ullman collection. ) Canvas. Signed at lower left. Height, 12 inches; width, 20 inches. fc THOM CONTEMPORARY AMERICAN Stat HERING THE COW The cow is just being fastened for the day and looks somewhat disconcerted as the farmer secures the lead, while a little boy and girl look on. Meadow with high grasses, scrubby trees and early morning sky. (FE. S. Ullman collection.) Water color. Signed at lower right. Height, 13 inches; width, 25 mches. Pee bee Ds LMNs AINA; CONTEMPORARY AMERICAN SANTA EUFEMIA, VENICE A long vista of white monastic buildings in the middle ground, * limpid water of the lagoon on which gondolas and other craft ply back and forth in the foreground. Warm, late afternoon sky. (E. S. Ullman collection. ) Canvas. Signed at lower right Height, 15 inches; width, 30 inches. i ‘J SAMUEL COLMAN; NA. CONTEMPORARY AMERICAN 35, ARABS AT -THE TOMBIOFP SIDI CONS The tomb rises in fine Moorish design in the foreground, with open archways on the side. A little spring emerges from under the foundation on the right, at which a negro is about to seek a supply of water. A camel afoot and one squatting on all fours and many groups of Arabs, hooded and gowned, are seen about. Other tombs at the left and in the right distance flanked by tree groups; evening EC dO- sky. (E. S. Ullman collection.) Canvas. Signed and inscribed, “Sidi. Bon Hac, 1877.’ Height, 15 inches; width, 24 inches. D. WERTHEIM | CONTEMPORARY AMERICAN 36. LA PREMIERE DANSEUSE Holding a bunch of roses, the pretty, dark-eyed blonde has prob- ably just acknowledged the plaudits of an admiring audience. In white, fan-shaped, ballet costume, with a girdlet of red fastened by a jeweled pin, a brooch at the corsage, and an ornament in the hair. (E. S. Ullman collection.) eo _ Pastel. Signed at lower right. Height, 40 inches; width, 24 mches. = ' R. DE MADRAZ® CONTEMPORARY SPANISH SCHOOL 372 Ad LAE BA ib MAO A vivacious Parisian, in a silk dress and a fur-trimmed pink evening wrap, stands with head coquettishly on one side as she holds the mask which she has just removed. The charm and technical es finish of such paintings as this have done so much to create the 790 | artist’s popularity in America, (Mrs. John F. Carroll collection. ) Ar Panel. Signed at upper left. Height, 32 inches; width, 144% inches. 2 ye ANGELO 2s CONTEMPORARY FRENCH SCHOOL oo.) IDEAS EAD A. fine example of the charming feminine heads in profile which have brought Asti into such wide popularity. The present example shows a dark-haired girl with faintly tinted olive skin and finely modeled features. (Mrs. John F. Carroll collection.) /? O Y €anvas, Signed to the left. Height, 17% inches; width, 13 yehee ff att LPM py. yl? M. ROUZEE 4 Vp. | CONTEMPORARY FRENCH SCHOOL 39. THE. FISHERMAN’S (Sie Eee On a sea wall in Normandy a fisher girl is seated mending a ‘eo > net, while by her side sits her lover, a sturdy fisherman. Background ' of gray sky and sea. (Mrs. John F. Carroll collection.) Canvas. Signed at the left. Height, 17% inches; width, 23% inches. 1Z 40. AL, 42. FREDERICK A. BRIDGMAN, N.A: CONTEMPORARY AMERICAN MOONLIGHT AT DINARD A number of pleasure craft bobbing up and down on the tidal water and silhouetted from the silvery reflection of the moonlight on the bay, the slender trees rising in lacelike quality on the right and left of the picture, with the resort and its evening lights showing on the opposite bank. (E. S. Ullman collection.) Canvas. Signed and inscribed at lower right, “Dinard, 1889.” Height, 15 inches; width, 18 inches, JULES DUPRE FRENCH SCHOOL 1811—1899 BREASTING THE STORM A stormy, gray sea, with a ship in the middle distance tossed upon the billows. The cloudy sky merges with the gray of the sea. A characteristic Dupré marine. (Mrs. John F. Carroll collection.) Panel. Signed at the left. Height, 8% inches; width, 1234 inches. PERCY MORAN CONTEMPORARY AMERICAN SCHOOL Pees on “LRA Three young ladies in the quaint full costumes of the eighties, two of them with picturesque poke bonnets, are gathered about a tea-table set on the lawn. (Mrs. John F. Carroll collection.) Canvas. Signed at the right. Height, 18% inches; width, 24 inches. Cake KAHLER CONTEMPORARY AUSTRIAN SCHOOL my ANGORA CATS Excellent study of two beautiful Angora cats, against a rich background of draped blue and purple velvet. (Mrs. J. F. Carroll collection.) — Canvas. Signed to the right. Height, 27 inches; width, 22 inches. A OANOMA - MODERN ITALIAN SCHOOL fein ON THE SLY A Franciscan monk, with a round, worldly-wise face, lifts to his lips a glass of wine poured from a bottle which he holds dis- creetly by his side, while a more devout brother at the left is bent piously over his breviary. A typical Casanova study, revealing the artist’s humorous enjoyment of the sly pleasures of the devout. (Mrs. John F. Carroll collection.) Canvas, Height, 12 inches; width, 7V% inches. 13 f t { \ } + a a - Ge BROWN Ne CONTEM PORARY: AMERICAN BUY A DOG | A little boot-black holds a tan and white dog in his arms, hoping that he may find a purchaser in some passerby. At his side lies his blacking outfit. A sympathetic interpretation of the artist’s favorite subject. (Mrs. John F. Carroll collection.) , Canvas. Signed at the left. Height, 24 inches; width, 16 inches. 14 PIERRE JEAN CLAYS BELGIAN SCHOOL 1819— 46. A CALM SUMMER MORNING NEAR ROTTERDAM A group of sailing ships are at anchor in a sea broken only by the movement of two rowboats over the water. A few seagulls hover over the surface of the waves. Here, as in all of Clays’ , marines, one finds a marvelously exact painting of the sea,and a Jo — close study of its movement and limpidity. (Mrs. John F. Carroll ; collection. ) anel. Signed at the right. Height, 1634 inches; width, 24 inches. yl ie LOUIS EUGENE LAMBERT FRENCH SCHOOL 1827—1890 470 TELE CORTE NS ee 7 A sedate mother cat calmly watches her three Kittens playing ae two balls of red worsted which have fallen from the work-box nearby. Other pictures of cats by this well-known French artist ss — have been exhibited at the Salon. (Mrs. John F. Carroll collection.) Canvas. Signed at the right. Height, 18 inches; width, 22% mches. LEON: Y¥ BSCostine. MODERN SPANISH SCHOOL 48. REVERIE A young lady in a rich 17th Century costume sits by a table. an open box of love letters before her. One hand rests upon her fore- head while she dreams over one of the letters. The manner in which the luster of the white silk is treated is reminiscent of the interest = Terburg took in the painting of such rich fabrics. (Mrs. John F. vA ty Carroll collection.) | | Panel. Height, ro inches; width, 8 inches. Bought at the Frederick S. Gibbs sale. - A VacP AS ae MODERN ITALIAN SCHOOL 49° N TRANCE TO VT HE Pie A traveler who has just arrived with his servant and two horses stands before the open door of a Moorish palace, which is opened the to him by an old man. The facade of the palace door, with its A 4 is — touches of turquoise blue, is particularly rich. A fine piece of color % ainting, showing Pasini in his favorite interpretation of the Orient. (Mrs. John F. Carroll collection. ) aT) Canvas. Signed at the left. Height, a inches; width, 14 inches. . cee at the Frederick. S. Gibbs sale. 9 ip Yau our eo go it.> “Sob heat 0G “THILLKER MODERN MUNICH SCHOOL SUs CHE SRE WE hei Extensive Alpine scene, with a valley in the foreground showing a 4 a7 number of cows and shepherds at the border of a lake. Canvas. Signed at lower right. Height, 28 inches; width, 39 inches. LUDWIG? VOLT MODERN MUNICH SCHOOL 51. LANDSCAPE WITH CATTLE IN THUR mi A number of cows are standing listlessly at the edge of a lake, [7 the shores of which are well timbered; a peasant girl is at the left. Canvas. Signed at lower. right. Height, to inches; width, 19 inches. ES MACTIES 52. BARNYARD STUDY : A rooster, with brightly colored feathers, and three hens among ~ . Je the straw of the barnyard. (Mrs. John F. Carroll collection.) AAS Panel. Signed to the left. Height, 6 inches; width, 844 inches. 7 16 c 53. GEORGE INNESS AMERICAN SCHOOL 1825—1894 fe NT ERIOR OF A WOOD, KEENE VALLEY The silent depths of a large wood, scarcely penetrated by sun- light. Against the prevailing green background the few tree trunks in the foreground stand forth with peculiar majesty. The figures of a few wood-cutters blend almost imperceptibly with the forest. In- ness, with his deep feeling for nature in all her moods, has com- municated here the somber mystery of forests and the feeling of vast spaces. A beautiful and powerful picture. (Mrs. John F. arroll collection. ) nvas. Signed at the right. Height, 18 inches; width, 24 inches. Bought at the Frederick S. Gibbs sale. LZ 54, 26. J 3S : [wf A” Iss, bf ~~ $ 7 E. BOUDIN FRENCH SCHOOL 1824—1898 THE HARBOR OF se NAW ER A gently undulating shore line, bordered by trees and red-roofed white houses, with the Cathedral of Antwerp seen in the distance. The gray waters of the bay are enlivened by sailing and fishing vessels. Here we find Boudin at his best in the painting of marines — with a background of one of his favorite picturesque towns. (Mrs. John F. Carroll collection.) , Canvas. Signed and dated ’71 at the left. Height, 15% inches; width, 25% inches. JOHN C. WIGGINS AMERICAN SCHOOL PA begUUE SOLE ING asel Three cows in the foreground. One, white and brown spotted, looks at the spectator, while a brown and a black one are seen nearby. Wooded background, clearing on the left, with cottage. Canvas. Signed at lower left. Height, 26 inches; width, 38 inches. ARTHUR PARTON CONTEMPORARY AMERICAN SUMMER LANDSCAPE A placid landscape, with a small stream reflecting the trees which grow on its grassy banks. The sky is filled with lazy white clouds. (Mrs. John F. Carroll collection.) . Canvas. Signed at the right. Height, 17% imches; width, 27% inches. H. D. KRUSEMAN VAN ELTEN, NAY AMERICAN SCHOOL 1829—1904 BERRY: PICKING IN ULSTER COURS Broad fields on the right, with berry pickers at work. Massive tree groups on the left, surrounding a little lake. Cloudy sky. Canvas. Signed at lower right. Height, 26 inches; width, 40 inches. for pot CAESARE DETTI MODERN ITALIAN SCHOOL A WOMAN. WITH: A BASKET. OF FLOWERS A voluptuous French type, with reddish-gold hair and fair skin, dressed in rich silks and carrying on one arm a basket of all kinds of vividly colored flowers. A necklace of pearls accentuates the beauty of the neck and bosom. (Mrs. John F. Carroll collection.) Panel. Signed at the left. Height, 15% inches; width, 11 inches. 18 eh VAN | 59, 61. VAN 62. Sr Lol COC EOOL EARLY 17TH CENTURY THE NATIVITY In the background Mary, in a high poster bed, is attended by servants, while in the foreground the infant Jesus, upon the lap of a nurse, is surrounded by numerous women attendants, eager to assist in His care. One woman pours water into a metal basin, while the nurse feels the temperature of the water. Another woman bears linen for swaddling clothes. All details of the picture, such as the costumes and metal basins, are executed with extreme realism. Canvas. Height, 66 inches; width, 47 inches. fee etON GEROME FERRIS CONTEMPORARY AMERICAN THe TRI-COLOR--TOKEN In the setting of a charming French garden, with hollyhocks growing by the window, a lady in the costume of the Revolutionary period, gives the tri-color emblem to her lover, who, with drum strapped on his back, is departing for the war. An alert dog sits by his mistress’ side. The costumes are executed with Ferris’s usual historical accuracy. (Mrs. John F. Carroll collection.) a aye Signed at the left. Height, 18 inches; width, 24 inches. ug eertbU TED TO<-JAN VAN GOYEN DUTCH SCHOOL 1596— 1666 SHAS CAPE A sailing vessel, running before the wind toward the left. ECTION ’ —_ x » t N, W ’ ‘ > 7 SOLL -LONDO ? ° v ~ “OF -y, i. { > a7 bas ese y | . ‘ ind aa) ; * AY = Tae ISTLER PAINTED. F at a JAMES MeNEILL | piileboen Set 1834—1903 a By C. Lewis HIND Whistler has been dead but seventeen years, and already he ranks with the Old Masters. In appreciation, and in price, he has risen to a height that no other modern artist has attained. The approaching open- ing of the Freer Collection of Whistlers at Washington will add, if it were possible, to his fame. So rare are his works now, so hard to ob- tain, that the sale of two Whistlers at auction is an event: The two sea-- scapes here presented are of exquisite quality. They bear the closest examination. To look closely at them is a delight. Their subtleties stand out. How was it done? No one with any connoisseurship can fail to be impressed by the magical character of these renderings of the mystery and loveliness of the sea. These two seascapes belong to the famous Pourville series, of which Mr. Pennell writes thus in his “Life of Whistler” : “When he did not care to work from the shore, there were boatmen who would take him out beyond the breakers, where he could get the effect he wished at the height above the water that suited him. He used to be seen calmly painting away in a dancing row-boat, the boatman holding it as steadily as he could. There is as much of the bigness of the ocean in these little paintings, which show usually only the gray or blue or green, but ever recurring swell of the wave, or a quiet sea with two or three sails on the horizon, as in any big marines that ever were painted. He explained his method to his apprentice, Mrs. Addams. When the wave broke and the surf made a beautiful line of white, he painted. He explained his method to his apprentice, Mrs. Addams: _wave, then the boat passing, and then, having got the movement and the beauty that goes almost as soon as it comes, he put in the shore or the horizon.” ptbg 8 115. THE SEA, .POURVILLE, I Oil Painting on Panel. From the collection of Mr. Arnold Hannay of London, whose portrait Whistler painted. Illustrated m Pennell’s “Life of Whistler,’ Vol. II, facing page 214. Signed at lower, right-hand corner with the Butterfly. Height, 7 mches; iL 9° aA ee 10) inches. Me SS Mysolth Linduserd Af ark 7/14 116. THE SEA, POURVILDE a Oil Painting on Panel. From the collection of Mr. Arnold Sy09 “Hannay of London. Signed at the lower, left-hand corner with \pthe Butterfly. Height, 5% inches; width, 0% inches. pee 38 £697 NUMBER II5 | NUMBER II16 ae FREDERIC REMINGTON, -A.N.A.- AMERICAN SCHOOL 1861—1909 11/.. REGULAR SPANISH “CAV Aliya. Pen, ink and charcoal drawing of a soldier firmly seated on his mount, which is one of those spare bronco horses the artist PY MG _ trayed so well. (, Paper. Signed in full. Height, 25% inches; width, Ee y, aie FREDERIC REMINGTON, A.N.A. AMERICAN SCHOOL 1861—1909 118. REMOUNT Pen, ink and charcoal drawing of a Spanish coed up iv. the air, thrown from his bronco. Paper. Signed and mscribed, “Spamsh cavalryman on a Texas bronco ‘Remount’.” Height, 25% mches; width, 1434 inches. FREDERIC REMINGTON? Sake AMERICAN SCHOOL 1861—1909 MO CAVALRY CHARGE Episode during the French occupation of Mexico showing cav- alry, led by a bare-headed officer on a light gray charger, dashing forward, brandishing their swords high overhead, while a French soldier lies beside his fallen horse in the left foreground. Stirring [ hee action characterizes this work. 3 Oil on canvas in black and white. Signed at lower right. Height, 23 inches; width, 33 inches. (plu FREDERIC REMINGTON, A.N.A. AMERICAN SCHOOL 1861—1909 120, THE eMOOsSr BUNT A couple of hunters have tracked a moose in the interior of a dense forest heavy with snow. The animal, a big male, is coming toward the nimrods at a rapid gait, and the principal hunter on F the left is leveling his gun from behind a tree while his guide rushes ob “ to the side for safety. Uy Gouache, academy board. Signed at lower left. Height, 23 inches; Tie width, 21 inches. 40 121. 2 aphock 4 Leo ; FREDERIC REMINGTON, A.N.A. AMERICAN SCHOOL -1861—1909 PREPARING TO FACE THE FIRING SQUAD In a picturesque Mexican courtyard a detachment of soldiers el white uniforms act as guards for a large number of American isoners, mostly bareheaded and in shirt sleeves, having the ap- pearance of miners, while at a table to the left a prisoner is ostensi- bly drawing a number from a jug which is to decide his fate. Off- cers in brown buckskin uniform preside over this operation, while others bring up the extreme left foreground. Canvas oil. Signed at lower right. Height, 27 inches; width, 40 inches. 41 JOHN. SINGLETON COPIES AMERICAN SCHOOL WAVES 1214. BRITISH ARMY MANOEUVERS In the foreground the General, in plumed hat, mounted on a prancing steed, addresses a group of officers on the right. Soldiers in formation in the distance with a row of tents farther back and a fort at the left, from which smoke clouds of cannon shot are issuing. In the immediate foreground at the left an oak tree with gnarled trunk, beside which a mounted officer is seen. Admirable perspective. Pen and ink drawing. Signed at lower right and dated, J. S. Copley Del., 1751. Height, 35% inches; length, 7 inches. 7 This drawing passed from the Copley family to Mrs. Amory, then to Dr. Charles Martin, whose daughter, Mrs. Beardsley, subse- quently bequeathed it to the present owner, Miss Elizabeth Strat- ford. It ts probably the earliest known drawing by Copley. 42 UNKNOWN PORTRAIT OF LORD TENNYSON This interesting and beautiful portrait was one of the prize posses- sions of the late W. M. Chase, N.A. The face is seen in profile to the right, with figure slightly inclined forward. The canvas is not signed, but it is very likely that it was painted by Sir William B. Richmond, R.A., and presented by him to Mr. Chase. This is the opinion of a eading English art director. Many of the English painters presented fvases to Chase. Tennyson was also painted many times by G. F. atts, R.A. Whoever painted this canvas, it is a superb portrait of Tennyson. Perhaps it was painted by Chase himself? Canvas. Height, 24 inches; width, 20 inches. 43 JOHN SINGER SARGENT, R.A. By C, Lewis H1inp John Singer Sargent, Royal Academy, D,C.L. Oxford, LLD. Cami bridge, with other honors too numerous to mention, is the most dis- tinguished of living artists. As portrait painter, subject painter, land- scape painter, water color painter, he is unrivaled. A few years ago, tired of being tied to his easel, tired at being at the beck and call of sitters, tired, maybe, of success, he announced that he would paint no more portraits except under very special circumstances. He determined to be free, to roam where he would, to paint what he liked, In this period of holiday time, the only real time for a painter, he has produced landscapes in oil and water color of extraordinary interest and beauty. His water colors have been received with especial delight. Nothing like them has been done before; no other artist, not even Winslow Homer, has been able to render so vividly and spontaneously effects of light and movement. It is impossible to analyze the method of his water color painting, to say how they are done, how light transparency and the arrested movement, arrested, yet going on, are flashed upon canvas, ‘The great museums of the world have eagerly sought Sargent’s water colors. England, Scotland, New York, Boston, Brooklyn, all have their groups. The reason why so few private persons possess Sargent water colors is because the artist prefers to sell them in groups to museums, not sepa- rately. The few that come into the market are usually presentation copies from the artist to friends. Such are the three remarkable exam- ples of his Venetian scenes now presented. te 121..”" THE... BRIDGE, . VENICE Water Color. Signed and inscribed in lower, left- hand corner, “To Helen Henschel and Wolfan Onslow Ford: John S. Sargent.” » Height, 12 inches; width, 1S inches. 7 . [See Illustration ] Af 122:. THE. BYEWAY, ‘VENICE / Water Color. Inscribed in upper, left-hand corner, “To Miss at) Wertheimer: John S. Sargent.’ Height, 18 nches ; width, 12 inches. fhe : ; [See Illustration] 44 MBER 122] 45 [NUMBER I21] NU Whe aa mer, with t ENT, R. A. back, “To Mrs. Werthe 1 ibed o1 JOHN SINGER SARG Inscr THE PALACE STEPS, VENICE Water Color 125. width, 18 3 hes Height, 12 mc ent.’’ Sarg SI 1 s of Joh mpliment O 46 A COLLECTION OF THIRTY-THREE OIL SKETCHES ON CANVAS, AND THREE STUDIES IN RED me. WHITE CHALK AND’ CHARCOAL, BY AUGUSTE RENOIR. AUGUSTE RENOIR | 1841—1919 By C. Lewis HINp Last July, Mr. Clive Bell, the first of English art critics, began an arti- cle on Renoir thus: “Renoir is the greatest painter alive.” This supreme artist died in the early days of last December, crippled with rheumatism, but painting magnificently to the end. A few days after his decease, The London Athenaeum, in a first editorial, said: “Auguste Renoir was at the time of his death the greatest of all living painters.” French and American critics support these testimonies. So universal is the admiration of Renoir that his paintings have reached an almost fabulous price. And they are rising. In 1907, the Metropolitan Museum of New York paid 92,900 francs (at that time nearly $20,000) for his “Mme. Charpentier and Her Children.” His “Moulin de la Galette” is one of the glories of the Luxembourg Gallery, and when in 1917 his “Les Parapluies” was presented by Sir Hugh Lane to the National Gallery, London, it made such a sensation and was so much appreciated that a hundred artists and connoisseurs sent to Renoir a testimony of their admiration, to which the artist replied in affecting language. So the sale by auction of thirty-six pictures by Renoir, each signed, may be justly termed an event in salesroom annals. Three of them, in red and white chalk and charcoal, are large in size and important as they are beautiful; thirty-three are the intimate thoughts and summary expressions of this master. They are the first quick studies, done in moments of inspiration and exaltation, from which he painted his pic- tures. They were purchased nine years ago in Paris by a New York collector, who obtained them from a lady, an intimate friend of the artist’s. Renoir gave them to her. 47 fr- 124. THE VILLAGE CHURCH / ng Oil sketch, canvas on cardboard, signed at the lower left. Bale Height, 5% inches; width, 10 inches. | NM 125. THE PEONY Oil sketch, canvas on cardboard, signed on the lower left. | ipa Height, 9 inches ; width, 51% inches. | ae 126. WOMAN WITH RAISED RIGHT ARM /2 vex Oil sketch on paper, signed on the lower left. as ; Height, 434 inches; width, 334 mches. t/ ee 127. WOMAN WITH RAISED LEFT ARM i dZ. ie . Oil sketch, on paper, signed on the left side, in the middle. ee Height, 4% inches; width, 334 mches. 128. THE SHOULDERS, SKETCH OF A NUDE WOMAN 1) MN | } _ Ojijl on canvas. Signed on the right side in the center. i Height, 4% inches; width, 4% inches. Pee YOUNG WOMAN, HEAD AND SHOULDERS VIVIDLY (W : SKETCHED | | | y OU a Oil on paper. Signed on the lower right. 3 I Height, 514 inches; width, 334 inches. 130. WOMAN BATHING, FULL LENGTE Oil sketch on canvas. pleted in the lower center. es Jbl pe Height, 8% inches; width, 4% iches. i pre” 131. YOUNG GIRL IN BLACK DRGs Oil sketch on paper, signed on the lower right. . . dw Height, 7% inches; width, 5% inches. peat 132. WOMAN GLANCING OVER HER SHOULDER — | ae Oil sketch on canvas, signed on the left side, in the center. om _- Height, 9% inches; width, 5% mehes. (tar 83, NUDE WOMAN be * Oil on canvas, signed on the right side, in the center. I Mae Height, 5 inches; width, 4 inches. (6-134. NUDE WOMAN RECLINING Oil sketch on canvas, signed on the lower right. Vind, <9 Height, 3 inches; width, 634 inches. ho “ 135. SEACOAST ON THE MEDITERRANEAN Oil sketch on canvas, signed on the lower left. ee Height, 434 inches; width, 7 wmches, oN a AW [See Illustration] pw ‘eg 136. NUDE WOMAN REACHING OUT nr ea, Oil sketch on canvas, signed on the lower right. [V~ — _ *Height, 734 inches; width, 334 inches. > Lp Y bss Se etoes Ke [NUMBER 135 ]| [NUMBER 139] - Ov St I 137. NUDE WOMAN HIDING HER HEAD IN HER ARMS OF Oil sketch on canvas, signed on the lower right. | Height, 73% inches; width, 5% inches. 138. NUDE WOMAN, PROFILE Oil sketch on canvas, signed on the right side, in the middle. 4% Height, 934 inches; width, 6% inches, or ib. SKETCH FOR COMPOSITION: OF BATH WOMEN This sketch seems to have been made for one of the compo- sitions of Bathing Women. Nearly the same figure is found in the Veta gaa notably in the collection of J. E. Blanche, Paris, in the collection of the Prince de Wagram, and in the Vollard collec- tion, Paris. Oil on canvas, signed on the lower right. Height, 5% inches; width, 11 inches. [See Illustration ] 140. NUDE WOMAN STANDING Oil sketch on paper, signed on the lower left. Height, ro inches; width, 45% mches. 141. YOUNG WOMAN IN A BLACK seca Oil sketch on paper, signed on the lower right. oe f Height, 47% inches; width, 33% inches. 142. YOUNG WOMAN | Oil sketch on paper, signed on the lower left. a“ Height, 634 mches; width, 3% imches. 143. YOUNG WOMAN STRETCHING vn bie | Oil sketch on paper, signed on the left, in the center. Height, 5% inches; width, 4% inches. 144. YOUNG WOMAN CLASPING HER HANDS OVER HER KNEES , ve 3 Oil sketch on paper, signed on the upper right. Height, 6% inches; width, 438 mches. 145. WOMAN BENDING TO-DRY HER FOOT boo Oil sketch on paper, signed on the lower right. wr Fra Height, 84% inches; width, 47% mches, Pre: wg 146. “FEMALE «PORTRAIT SKETCH 7 Oil on paper, signed in the center. a fo Height, 6 inches; width, 4% inches. | 147, NUDE WOMAN SEATED Oil sketch on canvas, signed on the upper left. 20 pf pe Height, 4 inches; width, 534 inches. > yl A [See Illustration] _ @ ~~ 148. NUDE WOMAN, DRAMATIC GESTURE | o: 4 il sketch on canvas, sea on the lower right. he eight, 9 inches; width, 414 inches. f. “4 ON 50 aes Ske pea SAE e [NUMBER 147] / 9° G57. md § Luce depict the same young woman who posed for the painter’s masterly i (wt Oy ‘ fe . NUDE, WOMAN IN” PLASC. POSE Oil sketch on paper, signed on the lower left. Height, 9% inches; width, 434 wches. . WOMAN BATHING Oil sketch on paper, signed on the lower left. Height, 934 wches; width, 6 inches. PORTRAIT OKT Cr wei oe Oil on paper, signed on the lower left. Height, 534 inches; width, 53% inches. . YOUNG WOMAN SEATED RESTING HER ARMS ON HER KNEES Oil sketch on canvas, signed on the upper right. Height, 10 inches; width 55% inches. . NUDE WOMAN. LYING ON As CAREEy Oil sketch on canvas, signed on the left, in the center. Height, 57% inches; width, 1034 inches, [See Illustration] . YOUNG WOMAN LEANING FORWARD Oil sketch on paper, signed on the upper left. , Height, 7 inches; width, 5% inches. - NUDE WOMAN -SEATED ON=ASB eM Oil sketch on canvas, signed on the lower right. _ Height, 1034 inches; width, 9% inches. . NUDE WOMAN RECLINING ON HER ELBOW Oil sketch on canvas, signed on the lower left. - . Height, 6 inches; width, 107% inches. NUDE WOMAN RECLINING This charming study in charcoal, red and white chalk seems to “Baigneuse” (Durand Ruel, private collection, see Meier Graefe’s “Renoir,” page 108). The directness and vividness of this sketch is comparable to the best work of the eighteenth century. It is a little masterpiece which would arouse the admiration of Boucher or Fragonard. | Signed on the lower right. Height, 16 inches; width, 24% inches. Gold frame. [See Illustration] 158. NUDE WOMAN SEATED ON, THE GROUN® Study in red and white chalk and charcoal. Probably for one of Renoir’s compositions of Bathing Women. The piquant expres- Nsiveness of the face is as beautiful as the sculptural treatment of 30 Wis the figure. Signed on the upper right. Height, 20% inches; width, 16% inches. Gold frame. 32 as se92 Tig Tp 159. YOUNG WOMAN COMBING HER HAIR Study in red and white chalk and charcoal, In spite of the girl’s absorption in the pleasure of combing her hair, there is notice- és ‘ , able in her face an underlying sadness and melancholy. A haunt- ? ~ ing study! A rare Renoir! | paroigned on the upper left. Height, 24% inches; width, 18% inches. < v 54 if WY Va ual = _ GEORGES MICHEL e - | FRENCH SCHOOL 1763—1843 Toe ND SCAPI WITH,» FARMHOUSE A broad vista stretching away illimitably, dominated by a tem- pestuous sky. At the right, beside a roadway leading to the edge of the bluff, stands a group of farm buildings surrounded by trees. In the foreground are seen two men hewing logs, and where the road forks is a peasant woman laden with fagots. Far away, on the left, the landscape undulates to the horizon and, over all, the drifting clouds gather in a tumultuous mass, from which a passing shower of rain descends. A-warm glow permeates the entire pic- ture; the breadth and simplicity being equaled by the exquisite sense of harmony and tone. Rivaling the greatest colorists in his disposition of light and shadow, Georges Michel’s pictures convey a poetic sense by their audacious harmonies and extraordinary amplitude, their profound depth and feeling for aerial perspective and contrasting effects, direct and rapid. These are not the efforts of an artist enfeebled by petty ideals; his processes are the simplest; his palette the most elementary. Painting on sheets of paper stretched on linen, his treatment was vigorous and swift. With a horizon decisively delineated and two summary values for the sky and the earth, he produces results astounding in their effectiveness; his creations flowing easily from his brush with an execution often monochro- matic, but conveying a distinct sentiment of values and harmonies. ( Owner, V. Winthrop Newman.) Paper stretched on linen. Height, 29% inches; width, 41% inches. Bought from B. Epstein, Paris. >. AUGUSTE RODIN. ~ FRENCH SCHOOL 1840—1919 POs DESPAIR: A wonderful expression of despair. The artist represents a man of powerful muscularity lying in a posture of hopeless suffer- ing, the head bowed, one arm drawn up and the hand clutching the back of the ‘head. The other hand is clenched at the side. The fe L 4 legs are drawn up, one over the other, as if the suffering were too i fp / intense to be borne. The contrast of the powerful muscles of the J arms, back and legs, which stand out even in the crushed and hopeless attitude of the body, is a striking one. This work belongs P pie the very best period of Rodin. It must have been made in the 4) i 444 ate 80’s or in 1890, the date of the “Danaide” in the Luxembourg fw’ ' (,4Museum to which it shows a close resemblance in style. V “White marble. Signed on the base to the left. Height, 134 inches; length, 25 inches. 56 St ne ng ans | 7 | > AUGUSTE RODIN Do | FRENCH SCHOOL UA A 1840—1919 162. EVE Eve is represented standing, hiding her head in her left arm. Her gesture, beautifully expressed by the artist, shows at the same ! time the fear of punishment for her sin and the first feeling of maternity in her shivering body. Eve was a favorite subject of / - _— Rodin. In 1881 he executed the model for the famous bronze 2 Vo0° statue (which was not cast in bronze until 1889) for E. Pellerin, of which another copy is in the Metropolitan Museum of Art. A large Eve in marble is also at the Metropolitan Museum. In 1889 lv , f ee made a small marble of the same subject, which belonged to i @ Vacquerie collection in Paris. Another Eve was Number 186 Ox in the sale of the collection of Henri Vever, in Paris. The present statue appears to have been made between 1900 and 1915. White marble. Signed on the base to the right. Height, 2034 inches. RS —$——$__—_— A IE DM a TE AT SE OEE TE, a i 3 ye a * let aU als a es ; a : ait | hid @\, F _—s ¥ vm. ORE ERE ION aL ea = tN Some aE ces. = Loe en ee get ce ec AS aesspe mera lg ane eo a ee Se rm : Lat ~. / t a RI on EAN Ae : ME if i Ye fs) fe ey ie \ ae = a ats —<— kK 5 ? =~ é F wt Lecce f a aes) a F Pn a are Ty. ch aa Ne ry T ae = ra es ‘ i Sos tt NE GAR py Ne. y; be ADL Sy} 0 AS ER ANE ea i v , X «jan ETTY RESEARCH INSTITUTE “i Sateen aed (5 2a ; ; af 4 ) ae ie ‘ = by » ; | ; ¢ ak’ aa ‘ } ee J ir on Siehy Wut nb na eit a inks tA dn uesac ta tees Mita telnet patrietice uy ait ! bis ach Veh y iu sy He hg is ie ae tate Pa ERED FSS iowa eh ong 25 rt ine th wank salieuevey ate SPA DY Eabegt ey Ai > Fey eta) eu thee ‘) oan ute att aa en Srareasue Miko bbs ha Uyentaey its rena Goa: Leah as aie aN oe 2 Nob euyyays Piers yey dnciret REA fa i me ae 4) ‘ Nesbit Ris tana! ah pedals Fares cy) Bane AN p) taht ; cas are s Or be! eave eae) ai. ‘ ; separ eed Suto. ch ; a bALS Soe iene Sekt ' Va sitsarity hd pata wae edhe ble tes aan ey Hels Md ati a sayin tee Hh an Sahat vi id eh +4) artnet sitet iisuye4® Hi ith Lin Partin! i a a Whe Scum vy apa wey has at 3 i rh ce Sea ba) hanes =< ny TA chi nbiey bet ai is uit Heine Aponiese ial Mitesh 5 Wee Ler eee. te TAH magenta oy aaa : ‘ wanytine bone Me erat UR ds ghey ie ota es Ma ahbak KL Rp tye sibs, Males RSH APS Se ER iN UPR FRE Fos HE MOS se sah de Tyas i 89, 8 ip mgey Re atete Sones et AVE RI ar A uly Seok bith sven Tae hanu ie hy ana sateen “Peaster tr yas sy See se Rada Se hase Tid inal "1 LARP URG abet Pehread i aati regent Ace alee? AIS Oiadiie eee ve ke ae hn a EMEA ethipan’ Ushi a doa ca tLeebatiedie ADS Age ‘ ‘ AleuR pe riaiietets Mth hee abby 2 : Harken ihe sear te ss baer art < ree Cr Sh nathte ria MEU ANN rage eae tate “esha Ri tela Mast ees 4) TURE ME Cs BS pee Ula Cealieinds *% y! PSbesinies ri I eee a OW Ay ia ni EON i ih achat ea eet PRA ee PY Se Nt atioy Fens yah) 14 FPSPR NT Rested au rs eee Pen Weveech e Sah av ecdestn Yi MESSE Aral ay | og ¥ 4 iohied! ap ata crake Ap ty hy : aka, ieue Peseta 4) t 2 if $y M he Sat Pinel ett Tarot vee a 05 Woe ure mint vy bik hy aye Neen Ubi ad bes, beg * Se Aes "in Iya. A ' Aocra * Sie Begs: Nene! NW Pate | Pare a * OFA “al PPT RH Ue me by ay: Whe Ty Aydt thei 16 Ae uw Seay Neha ks ln ea t ra ida atest aH ic er a4 v3 pets sity rise we eg 44 Ny esses FRAG Vyas) baie nck ‘ Rho: bb ry 5 Oa : 1) Ame sn ge 3 oy seractoen ta AHN) = pptee) . Kt OW Meisel Mey a Ye my: Hh edo dp srelorcete” . add PEC MS Saini Nt Mlb ha ety ae are Wise tes a x 8 Were sap rags, Se aN aed ‘ Syolmbra Bish pry . Eb Ah BOM reaett nary \ ans Ahh Olan bse ih Ugh peshek hi MA NSW ere vt ‘: see Hs bale Paes wand aA wes, i rs re Vea ey Mi any is Nite 3 A Ri ey Withers at es Aye ant ny “be i | : x apr ees beastie aa wh 4 ‘a wer aa * +8 St Ea) wait 4s wy ce an) x iid Wisy ab aie bas s : aie | ae ae a4 B78: Ai ate St banda ei ” ii SN ioe et erish ie yang eeu ees ; Senaniinn Ure t ii i 9 2 raie Hib ey Hivayee Dallas tatty pt UF eee a eh oath : st at tp Gna he + ee “ye iz ’ " nee saat eh hh A aes Nit vse porate eee ie hit. Aly Sy oe ic “i } Aerobie sass 5 tae Ake Bah We ey ve BAe Mi coke ta ah ea ereetse i wea Ph) wy ai ah rary re ae foe ant vi ii ta oD Nhe : oN oS ane te iArisy oh alae he be 5 4 aah a Aisa ie tice Shaye | asta ie Pe "8, $4 _ nH) i mat ae } nie ule ive : PUBS riiy ¥ Hat, mitt te teecray ay oe aye \! ANE in a ae fh as PLN Th te te te ny Ne UL Baye tied bee va Cty ina Stearn mae ery Dewey! ven hE \ ne 4 te tbne Hhabrai Ratha he x A ieee ste ; Wie fine at % EAD Wunh task tT | stk i ei ge yGtNe Nyda he, tne A Ni fore) qeamieay Mab Nha hcahas atest Wg oN hes Ft MD Sek >) i Ay k + etvte My Pokey sare he Nhe, a ae * Pater ae Ses | oe Ys RAD Hoon, \ mien TROY oh ek ee + Boel ides Aas etheictes re Saat Mea ghey ah ~~. h aie pitts Fi PY PAP SS hcp te Py mite uf tr iy eh vg Ua by Aeris pita ih: ve TNS Sf eas seem Y hat SPE Sgr s ay VOM NL Ng Pain ky fendi se SW a abe ss Me Seq teere bat ye waned} WHA eka ant La ~~ bqa% 4 vi “ae uk sa) (Meh ce b tneit Shek aca ae OH Hee h ASFA Wh) hd tan gt he 12 ie +} 5 3G as vera He aie v AW tee a e ua ue Y b} Hee Pe hey ruil are rae iy ee anc rap he Rada tee } Re rea ee oN be iw ee Pe By his d ro ae ule v.) me Mae {- bbw LNG eee ih sf ve tw of bean My yy = ‘ “ © OATS 1 haa) ih We Reaves tet \ i+ “ , Daas iv iH i me ee: Sr 33 Pianr Sggagsegeatsiees bi ok seid ae Meme lane Ft A