oA 
 
 NO. 
 S26 | 14 bast 57th St 
 “> a, a ae New York 
 
 LIBRARY 
 
 M. Knoedler & Co. 
 
 ACC. 
 
 Zwual| 
 
a} 
 © 
 
March 1 
 
 (390 | 
 Ae f ny | 
 
 CATA LOCUE , 
 
 i 
 OF THE 
 i! 
 
 PRIVATE COLLECTION 
 
 MODERN PAINTINGS | 
 
 BELONGING TO 
 
 MR. WILLIAM H. SHAW 
 
 OF Set Ei Sar 1nys 
 
 TO BE ABSOLUTELY SOLD BY AUCTION 
 
 ON 
 Fripay Eventnc, Marcu 7TH } 
 
 AT 7.30 O’CLOCK 
 
 AT THE AMERICANS ART. “GALLE R]is 
 
 6 East 23D STREET (MapIson SQUARE) | 
 
 HH 
 
 WHERE THE PAINTINGS ARE NOW ON EXHIBITION fh 
 DAY AND EVENING, SUNDAYS EXCEPTED i 
 
 i 
 
 THomMAS E. Kirsy, AUCTIONEER it 
 
 i 
 
 AMERICAN ART ASSOCIATION, MANAGERS f 
 
 tH 
 
 NEW YORK 
 
 1890 
 
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 im- 
 mediately put up again and re-sold. 
 
 2. The Purchasers to give their names and addresses, and to pay 
 down a cash deposit, or the whole of the Purchase-money, z7f vequired, 
 in default of which the Lot or Lots so purchased to be immediately 
 put up again and re-sold. 
 
 3. The Lots to be taken away at the Buyer’s expense and Risk 
 on the morning following each session of the Sale, between g and 12 
 o’clock, 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 himself responsible if the Lots be lost, stolen, damaged, or 
 destroyed, but they will be left at the sole risk of the Purchaser. 
 
 4. The sale of any painting is not to be set aside on account of 
 any error in the description. All are exposed for Public Exhibition 
 one or more days, and are sold just as they are without recourse. 
 
 5, To prevent inaccuracy in delivery and inconvenience in the set- 
 tlement of the purchases, no Lot can, on any account, be removed 
 during the Sale. 
 
 6. Upon failure to comply with the above conditions, the money 
 
 deposited in part payment shall be forfeited ; all Lots uncleared within 
 the time aforesaid shall be 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. 
 
 THOMAS E. KIRBY, AUCTIONEER. 
 
ARTISTS REPRESENTED. 
 
 Beauquesne (4), 
 Berne-Bellecour, 
 Béraud, 
 
 Beyle, 
 
 Binet, 
 
 Blum, 
 Bridgman, 
 Brooks, 
 
 Brown, J.G., 
 Brown, W. M., 
 
 Charpin, 
 Chilminski, 
 Col, 
 Croegaerdt, 
 
 De Neuville, 
 Detti, 
 Diaque, 
 Dupré, 
 
 Feron, 
 Frappa, 
 
 Gardanné (2), 
 Gifford, S. R., 
 Groux, 
 Guillemet, 
 Guzzardi, 
 
 Hagborg, 
 Haquette, 
 Harnett, 
 
 Hart, James M., 
 Hart, William, 
 Henner, 
 
 Hyon, 
 
 Jacque, 
 Johnson, David, 
 
 Kray, 
 
 Magnus, 
 Massini, 
 
 McCord, 
 
 Meissner, 
 
 Meyer von Bremen, 
 Miralles, 
 Moormans, 
 
 Morelli, 
 
 Mouchot, 
 
 Musin, 
 
 Pellefigue, 
 Phelan, 
 Pinchart, 
 
 Quartley, 
 
 Rau, 
 
 Ream, 
 
 Ricci, 
 
 Rota, 
 Roumégous (2), 
 Rousseau, Theo., 
 
 Salmson, 
 
 Sani, 
 
 Schenck, 
 Schmutzler, 
 Schuchard, 
 Seifert, 
 
 Sell, 
 
 Smith, H. P. (2), 
 Soulacroix, 
 Suteri, 
 
 Tamburini, 
 Tortez, 
 
 Ulrich, 
 
 Van den Bos, 
 Verboeckhoeven, 
 Vernon, 
 
 Walker, 
 Witt, 
 
 Zuber Buhler. 
 
 See 
 
 So ee ae es 
 
CATALOGUE. 
 
 COLLECTION OF 
 WILLIAM H. SHAW. 
 
 TO BE SOLD IN THE FOLLOWING ORDER 
 
 On FRIDAY EVENING, MARCH jth, at 8 o'clock 
 
 *,* DIMENSIONS ARE GIVEN IN INCHES, AND REFER TO CANVAS OR PANEL, 
 EXCLUSIVE OF FRAME. THE FIRST FIGURES INDICATE THE HEIGHT, THE SECOND 
 THE WIDTH. 
 
 No. 136 
 CHRISTIAN SELL (deceased) 
 
 Born in Altona, Denmark, 1831. Studied at Diisseldorf Acad- 
 emy, Member Royal Academy, Dusseldorf. 
 
 “The Picket Guard” 
 
 8x 10 
 
 “* Sell has made the life of the German soldier a part of himself. 
 His study of it has been mechanically faithful. He is the leading 
 painter of military genre in Germany. , He has essayed grander sub- 
 jects, as witness the ‘ Battle of Kéniggratz,’ in the Berlin National 
 Gallery, and his pictures of the Thirty-Years’ War are full of life 
 and character.” —FRIEDERICH PECHT. 
 
 Professor Sell’s pictures are characterized by their purity of color, excellence 
 of drawing, and fine finish. He prefers the cabinet size for them, and rarely 
 exceeds it. He bases his work on careful sketches and studies, and is noted 
 for the methodical accuracy with which his details are presented. To the 
 German army he is what Detaille is to the French, a faithful registrar not 
 only of the events of life in barrack, camp, and field, but also a reliable 
 authority on points of costume and armament. While he lacks some of the 
 freedom of execution of his French contemporary, he excels him in the com- 
 pleteness of his finish, and in the fine local character which he invariably 
 gives to the surroundings of his groups, of which ‘‘ The Picket Guard’ is a 
 worthy example. 
 
THE SHAW COLLECTION, 
 
 No. 137 
 LEON VICTOR DUPRE (deceased) 
 
 Born at Limoges, 1816. Brother and pupil of Jules Dupre. 
 Medals at Paris, 1849, and Philadelphia, 1876. 
 
 ‘Landscape ” 
 I2X16 
 
 ‘Tt is the inevitable vocation, in the history of families, of the 
 greater talent to obscure the lesser. The name of Jules Dupré is a 
 household word with art lovers. Who recalls that of Leon Victor 
 Dupré? And yet we have here a very respectable talent, which 
 but for its subjection to a more commanding genius might have 
 
 made an individual place for itself.’—Lovuis ENAULT. 
 
 It was at once the fortune and tHe misfortune of Victor Dupré that he was 
 the brother of a great artist. Still worse, he was his pupil, Four years 
 younger than Jules Dupré, Victor early exhibited artistic capacities of a high 
 order of promise. He entered upon acourse of study in his brother’s studio, and 
 the influence of his master attaches itself to allof his works. One traces in them 
 the ideas and the principles of Jules Dupré, even when Victor is most desirous 
 to assert his own individuality. Nevertheless he won honors at home and 
 abroad, and his pictures found a ready acceptance with amateurs, which they 
 still enjoy. They possess pleasing color, forcibly applied, and are frequently 
 characterized by sparkling brilliancy of effect. Victor Dupré preceded his 
 famous brother to the grave by more than a decade, and in the greater fame of 
 that brother his own memory has been relegated to undeserved neglect. 
 
THE SHAW COLLECTION. 7 
 
 i 
 | 
 No. 138 | 
 
 LOUIS“ ERNEST CROUX eee ae Paris Th-% 
 “The Coquette” | 
 12x8 | 
 
 ‘* This pirate bold upon love’s sea 
 Will let no passing heart go free ; 
 No barque by these bright eyes espied Hi 
 May sail away o’er life’s blue tide 
 
 Till all its treasures yielded be. 
 
 “Her craft, the Conquest, waits for thee 
 
 Where her swift rapine none may see ; 
 From shadowing coves on thee will glide | 
 
 This pirate bold.” & 
 
 —SAMUEL WADDINGTON. } 
 
 A coquetry reinforced by such beauty as this should be, indeed, formidable 
 to the susceptible among the ruder sex. The victims of M. Groux’s coquette 
 can, however, find satisfaction, like the defeated Roman soldier, in the fact 
 that they have succumbed to an enemy who could not be resisted. Itisa # 
 charming head, full of expression, of what the French call esfrz¢, and with | 
 
 i 
 | 
 
 those clean-cut contours that constitute the highest type of feminine beauty, 
 painted, as are indeed all these feminine types in which the artist rejoices, 
 with a purity and freshness of color and a fluency and delicacy of touch in 
 keeping with the subject. 
 
8 THE SHAW COLLECTION. 
 
 NeAsBROOKS. 6 ates aes Feke ae as stabs Si .New York 
 
 ‘Still, bife”’ 
 
 14 X 18 
 
 ‘« The range of the painter of still life being narrow, he must rely 
 on executive perfection for success. There can be no middle ground 
 between a good still life picture and a poor one. We have a great 
 many painters of the latter grade. Prominent among the former is 
 N. A. Brooks, to whom one can always look for good grouping, good 
 color and tone, and a representation of form and textures in keeping 
 with the rest.” — Zhe Collector, 1889, 
 
 A book, a jar, a teapot} the casual grouping of familiar objects on a table 
 furnishes the artist an excuse for the display of his powers of imitation. The 
 rest depends upon himself. His drawing must have the accuracy of a photo- 
 graph. His brush must possess the faculty of reproducing natural tints and 
 surfaces like a mirror. When he can command these forces, as Mr. Brooks 
 does, he is not a mere mechanical copyist of facts, but a producer of pictures 
 whose attractiveness will never cease to entitle them to a place upon the col- 
 lector’s walls. 
 
THE SHAW COLLECTION. 9 
 i 
 
 q 
 & 
 
 No. 140 
 
 : | 
 
 SANDFORD R. GIFFORD, N.A. (deceased) 
 
 Born in Saratoga County, N. Y. Studied with John R. Smith, ; 4 
 
 5 7 li 
 
 New York, Elected a member of the National Academy, New | Ue ye F \ 
 
 York, 1854. Commended for excellence in landscape painting va | 
 
 at the Centennial Exposition, Philadelphia, 1876. Died, 188c. | 
 
 | 
 
 “ Landscape ” i 
 
 I2 X 20 H 
 : = 
 
 ‘‘ When the long nights return, and find us met Hi 
 
 Where he was wont to meet us, and the flame 
 
 Of the deep hearth-stone gladdens as of old, i 
 
 And there is cheer, as ever in that place, | 
 How shall our utmost nearing close the gap, 
 Known, but till then scarce measured? Or what light 
 Of cheer for us, his gracious presence gone, 
 His speech delayed, till none shall fail to miss 
 That halting voice, yet sure ; speaking, it seemed, 
 The one apt word? For well the painter knew | 
 Art’s alchemy and law ; her nobleness | 
 Was in his soul, her wisdom in his speech, i 
 And loyalty was housed in that true heart. 4 
 Gentle, yet strong, and yielding not one whit ' 
 Of right or purpose. Now, not more afar ii 
 The light of last year’s Yule fire than the smile 
 Of Gifford, nor more irreclaimable 
 Its vapor mingled with the wintry air.” 
 
 —Epmunp C. STEDMAN: “‘ Gifford.” 
 
THE SHAW COLLECTION. 
 
 These touching lines, which Mr. Stedman indited upon the death of the 
 artist, index the personal esteem in which he was held. In his artistic connec- 
 tions much the same sentiment prevailed. He represented a transition period 
 in our art—a passing away of the old, and a building up of the new—and the 
 sincerity and dignity with which he labored in the path he believed the right 
 one compelled the respect even of those who disagreed with his beliefs. His 
 genius is aptly summed up by Professor Weir, in his official report of the fine 
 arts at the Centennial Exhibition of 1876: ‘‘ This artist is varied in his powers, 
 and sustained, free, and finished in his methods. His pictures always manifest 
 great elevation of thought and feeling. They are the interpretation of the 
 profounder sentiments of Nature rather than of her superficial aspects.” 
 
THE SHAW COLLECTION. II 
 
 No. I41 
 
 WILFRED C. BEAUQUESNE 
 Born at Rennes. Pupil of Vernet and of Lecomte. 
 
 ‘““ Stragglers ” 
 25X19 
 
 ‘* Stragglers are the ghosts of the army. They follow in its wake 
 like shadows. Physical weakness, weariness, or indolence may be 
 the cause of their defection from the ranks. Accident may separate 
 them from their companies. They incur personal perils unknown 
 to soldiers marching in bodies, and their experiences are full of the 
 romance of hair-breadth escapes.”—HARRISON: ‘‘ Diary of a 
 War Tramp.” 
 
 Two soldiers, belonging to different commands, as their uniforms show, have 
 met upon a common footing as stragglers, and joined company. Guided by 
 the broad trail left by the army in its advance, they follow in its wake. Their 
 track lies through a desolate country, rendered doubly forlorn by the ravages of 
 war. It is invested with unknown perils. Their progress is stayed by the dis- 
 covery, far in advance, of masses of troops, whose identity the distance 
 renders it impossible to fix. Are they friends or foes? The question is a 
 momentous one, and the wanderers slacken the speed of their steps to discuss 
 it. Painted in the artist’s best manner, this picture is excellent in color, in 
 characterization, and in the simple story it tells in direct terms. 
 
THE SHAW COLLECTION. 
 
 No. 142 
 
 GHORGES-CROEGAER DT. jt2. toe ees Ealts 
 Born at Antwerp, Belgium. Pupilof Van Beers. 
 
 “ Maidenhood ” 
 
 10x8 
 
 ‘* Maiden ! with the meek brown eyes, 
 In whose orbs a shadow lies 
 
 Like the dusk in evening skies ! 
 
 ** Standing with reluctant feet, 
 Where the brook and river meet, 
 Womanhood and childhood fleet !” 
 —HENRY WADSWORTH LONGFELLOW. 
 
 Croegaerdt has acquired from his master Van Beers some of the latter’s ex- 
 traordinary dexterity in seizing upon the traits of feminine character, and 
 transferring them to canvas. He aspires, however, less to the dashing and 
 sensational types that Van Beers has made his own. His most successful 
 idealizations of womanhood have been marked by delicacy of feeling and truth 
 of sentiment, and he has been exceptionally felicitous in his renditions of 
 young womanhood at that adolescent period when, as in this example, the 
 living original possesses those subtleties of beauty and expression that are 
 most difficult for the painter to realize. His Salon exhibits, which in 1888 and 
 1889 won Croegaerdt high commendation, are of a more ambitious character of 
 composition, painted with decided freedom and force. 
 
THE SHAW COLLECTION. 13 
 
 LOUIS=RERAU Diet Sart ee a ....Paris 
 
 Born at Lyons. Pupil of Savastre and Bonnat. Medal, 1883, 
 
 Hors concours. 
 “A Corner of the Studio” 
 
 22 X 26 
 
 ‘‘ Béroud, who with the aspirations of an artist was compelled at 
 the very commencement of his career to face the stern realities of 
 war, is an anomaly among Frenchmen. Although he served in the 
 National Guard during the siege of Paris, and experienced all the 
 hurly-burly and horrors of the Commune, he has never painted a 
 military picture. Scenes of peace, and of peace associated with ar- 
 tistic surroundings, are his forte ; vast interiors, with walls crowded 
 with pictures and ceilings made sumptuous with carvings and deco- 
 rations, he paints with a master hand, animating them with groups of 
 figures full of character and life. Such pictures other than these 
 that he paints are masterly studies, ripe and strong in color, fine in 
 tone, and replete with the sentiment that comes to an artist out of 
 
 complete absorption in his work.”—ALBERT WOLLF. 
 
 The tendency of Béroud to large decorative compositions is readily explained 
 by the fact that his earlier art life was spent asa decorator. He has, however, 
 produced some charming canvases of a less ambitious order, commonly 
 pages of the daily life of the studio, a model in repose, a visitor inspecting a 
 picture, a pupil—always, by preference, of the fair sex—seated at the easel, 
 palette in hand. He dwells upon these efforts witha loving and lingering 
 care, and speaks of them as his children. His larger works he calls his mas- 
 ters, because, in his opinion, he can never quite carry them to the point which 
 his exacting self-criticism has made the standard. 
 
THE SHAW COLLECTION. 
 
 No. 144 
 
 FE. GALEARDY PE RINAV Gc; aligt ore nel ss yoo ordhic 
 Born in Spain. Studied in Paris under Ziem. 
 
 “On the Mediterranean Sea” 
 
 26 X 38 
 
 ““A wet sheet and a flowing sea, 
 A wind that follows fast, 
 And fills the white and rustling sail, 
 And bends the gallant mast ; 
 And white waves heaving high, my boys, 
 The good ship tight and free— 
 The world of waters is our home, 
 And merry men are we.” 
 —ALLAN CUNNINGHAM. 
 
 The Mediterranean is a sea by itself. It enjoys a climate, an atmosphere 
 and weather of its own. Its waters have a color one finds nowhere but here, 
 its tides ‘are swayed by caprices unknown in other seas, and its individual 
 character has gained for it with mariners a place apart. M. Lepinay, who 
 from the studio of Ziem long since stepped into a reputation of his own, has 
 done with his brush for the Mediterranean much the same service as his 
 master has performed for the. Adriatic. He has largely devoted himself to 
 scenes on the French and Spanish coast, which he paints with great animation, 
 truth: of local color and technical dash and spirit, rendering the brisk and 
 sparkling movement of the water, the character and action of the shipping, 
 .and the picturesque variations of the coast-line with much fidelity and force. 
 
THE SHAW COLLECTION. 15 
 
 No. 145 
 GEORGES PIERRE MARIE VAN DEN BOS. . Paris 
 
 Born at Ghent, Belgium. Pupil of Lefebvre. 
 
 “ Among the Apple Blossoms” 
 
 38 X 25 
 
 ‘‘Van den Bos belongs to the advanced modern type of Belgian, 
 to whom the world does not end at the Flemish frontiers. In art he 
 is more of a Parisian, both in thought and expression. Moreover, 
 he is one of those far from common spirits to whom it has been 
 permitted to read that marvellous riddle, the Parisienne’s heart.”— 
 
 PIERRE PAUL LEvy. 
 
 It is two of the painter’s Parisiennes whom we see in this picture, chzc and 
 coquettish daughters of the town, who have celebrated the advent of spring 
 with an excursion into the suburbs. You may be sure there is a comfortable 
 
 inn somewhere not too far away for high-heeled boots to reach it in comfort, 
 
 and agreeable company of the sex which carries the purse to preside at the 
 feast. This little invasion of the blossoming orchard has been a mere whim, a 
 tribute of capricious respect to nature which means nothing but a bit of gossip 
 by the way and a handful of wild blossoms in the centre of the dinner-table, 
 where they will wither in neglect before the Jousse-café has been.set upon the 
 board and mine host been called upon to produce that bill which is the one 
 inevitable penalty of every social festival. M. Van den Bos was the recipient 
 of an Honorable Mention at the Salon of 1889. 
 
16 THE SHAW COLLECTION. 
 
 MORSTON-RIA M23. xa sues atelne einic NeW Y OFK 
 
 fs Born in 1840. Devoted to painting cabinet pieces of fruit. 
 Also known as a connoisseur and collector of pictures for 
 
 purposes of trade. 
 “Fruit and Wine” 
 
 I2 X14 
 
 ‘*Tt is an amiable talent, that of Ream’s. It leaves on our walls 
 pleasant reminders of modest repasts, represented with clear color 
 
 and a delicate finish.” — Zhe Arcadian. 
 
 A composition of a sort familiar with this artist, displaying his usual careful 
 execution, and light and agreeable scheme of color. The tints of oranges and 
 grapes make a harmonious contrast, and the glass, partially filled with wine, 
 is skilfully painted. The painter, an excellent judge of pictures, and thor- 
 oughly in sympathy with good art, was one of the apostles of American art in 
 the present generation, and it is due to his influence that many representative 
 works of native origin found their reception in private collections. His own 
 pictures are widely popular, and, extensively distributed in the public exhibi- 
 tions, have secured acceptance among collectors throughout the country. 
 
THE SHAW COLLECTION. 17 
 
 No. 147 
 PIO RICCL 
 
 Born at Arezzo, Italy, 1844. Pupil of Sienna Academy. 
 
 “A Difficult Choice” 
 
 18 X 14 
 
 ‘‘ He has carried the painting of textures to a high degree of per- 
 fection. His patrician women of the Renaissance period, attractive 
 in the picturesqueness and splendid in the sumptuousness of their 
 dress, are especially satisfactory, and it is when he paints them in the 
 magnificent palace interiors of the time that we see him at his 
 
 best.’ —ALESSANDRO MORELLI. 
 
 Beauty at her jewel casket finds herself in a quandary not uncommon with 
 her sex, in times remote or present. What jewels shall be found most appro- 
 priate with this crimson robe faced with blue is a question not lightly 
 answered. Pearls are too pale. The flash of diamonds would disturb the 
 rich harmony of her attire. Rubies? But their color does not match. And so 
 the contents of the casket are tumbled about by an impatient hand and the 
 choice of the necklace is, apparently, as far off as ever, The artist has made 
 the settings of his scene appropriate to the subject. The accessories are as 
 ornate and rich as their mistress is magnificent in her aristocratic presence. 
 The gems whose conflicting claims to favor confuse her should, to be in keep- 
 ing with the rest, represent the ransom of a principality at least. 
 
 2 
 
18 THE SHAW COLLECTION. 
 
 NIG T © REO ROE Hosein, 0s aaices Sort oa aris 
 Born at Paris, Pupil of Gérime and Stenner. 
 “Just from the Garden” 
 
 26 x 18 
 
 ‘¢ She will bring thee, all together, 
 All delights of summer weather ; 
 All the buds and bells of May, 
 From dewy sward or thorny spray. 
 Thou shalt, at one glance, behold 
 The daisy and the marigold, 
 White plumed lilies, and the first 
 Hedge-grown primrose that has burst.” 
 —Joun KEATS. 
 
 Flowers and sentiment go together. Certain poets have held that the colors 
 of the floral kingdom have a meaning, and their perfumes an individual elo- 
 quence. That flowers havea language of their own we are aware, at least 
 upon the authority of tradition. The maiden of M. Tortez’s picture has evi- 
 dently mastered this mystic tongue, and is communing with the trophies of her 
 raid upon the garden in close confidence. We may be privileged to guess at 
 the secrets she whispers to them, and to guess only. The painter’s power of 
 suggestion ceases there. But he has given us a picture full of nature, bright, 
 airy and refreshing to the eye, with a freedom of touch with which the sim- 
 plicity of the subject goes hand in hand. 
 
THE SHAW COLLECTION. 19 | 
 
 No. 149 
 
 J 
 
 WILFRED Gy BEAUQUESNE 2.3...5<02+--sbatis po 
 Born at Rennes. Pupil of Vernet and of Lecomte. 
 
 “Water in the Desert” 
 
 17 XII 
 
 “ One of the privations of the campaign was want of water. Wells 
 were few and far between, and the water in them commonly bad. 
 The natives, as they retreated before our advance, destroyed most of 
 the cisterns. When the men discovered one of these tanks still 
 intact it was an event indeed, and the excitement attendant on the ' 
 discovery did not die away until canteens and soldiers were full of 
 the grateful liquid, and the cistern as dry and empty as the troops had 
 
 been before.” —‘“‘Campaigning in Algiers.” 
 
 A portion of the army, advancing through the desert, panting and parched it 
 with thirst under the African sun, has reached the solitary and abandoned 
 habitation of some Algerine who has fled before the invaders’ approach. The 
 leaders of the advance have found, in the wall surrounding the garden, the 
 waste-pipe of the cistern, trickling moisture into the arid sand. It isa moment |) 
 of joyous suspension of discipline. One soldier drinks his fill at the pipe. eh 
 Another calls up the troop with a significant wave of his canteen. Ranks are Bl 
 broken, and while there is a drop in the cistern the progress of invasion is 
 halted, and the invader forgets a future of battles in a present of refreshment 
 all the more agreeable for its unexpectedness. 
 
20 THE SHAW COLLECTION. 
 
 No. 150 
 
 SNe IACI teeta ate peta ye ata eee es GIOLENCE 
 
 “A New Treasure” 
 
 I4 X 12 
 
 ‘* Collectorship is a mild form of insanity, but it is an amiable and 
 harmless mania. I am most interested in those elderly gentlemen 
 who gather up unconsidered trifles of bric-4-brac, from any hole or 
 corner in which they can find it. Where do they put their treas- 
 ures? What do they do with them? And what becomes of them 
 when the collector in due course of nature can collect no more? 
 This is the mystery about my friends of the second-hand shops and 
 the auction rooms that fascinates me and holds me as by a spell.” — 
 
 CHARLES LEVER. 
 
 One of Lever’s amiable and harmless madmen has just added a treasure to 
 his collection. He has secured his prize at a bargain, in his own estimation at 
 least, and conveyed it safely home. Now, in the seclusion of his own cham- 
 ber, he may revel in its beauties, which will grow no less, in his eyes, through 
 continuous contemplation of them. It is one peculiarity of the inveterate col- 
 lector that his last find is always his greatest. From the expression of Sani’s 
 self-satisfied old gentleman, it is manifest that he views his precious group as 
 the central gem of all his jewels of rarity and ripe old age, 
 
THE SHAW COLLECTION. Bil 
 
 No. I51 
 
 AUGUSTIN FRANCOIS ROUMEGOUX...... Paris 
 
 Lorn at Revel, France, 1851. Pupil of Cabanel. 
 
 “The Flax Breakers” 
 
 40 X 33 
 
 “In stony court-yards rings the axe’s clang 
 Where once the troubadour his ballad sang, 
 And empty windows, staring at the sky, 
 Invite the vagrant bird that passes by ; 
 
 From the great fireplace rises no warm smoke, 
 And echo bears the dull and heavy stroke 
 
 Of the flax-breakers, who to their task bend 
 From early morn until the long day’s end. 
 
 One glory only in these ruins abides, 
 
 But it atones for many wants besides ; 
 Beautiful still, as flowers amid decay, 
 
 The maids of Provence go their cheerful way.” 
 
 —FREDERIC MISTRAL. 
 
 The painter has gone to his own country for a subject in this picture. 
 The scene is in the spacious court-yard of one of those great farm-houses of the 
 South of France that were, perhaps, once castles, and that preserve their so- 
 lidity and strength in defiance of the waste and ravages of time. In the fore- 
 ground, a stalwart peasant woman is breaking flax at a primitive contrivance 
 almost as old as flax itself. A girl in the ripe beauty of young womanhood 
 stands ready to supply her with fresh material for her use. In the rear of the 
 courtyard a peasant, who has been chopping firewood, rests his axe upon the 
 billet at his feet to wipe his streaming brow. M. Roumégoux gives us, in, 
 this picture, a graphic glimpse of the Provence of to-day of which his poet com- 
 patriot sings so eloquently in his famous verses. 
 
22 THE SHAW COLLECTION. 
 
 No. 152 
 A. SUTERI 
 
 ‘Economy ” 
 
 14 X 10 
 
 ‘* Another of those Italians who go to the monastery for their sub- 
 jects. This one, however, views the friar with a domestic rather 
 than a satirical or reverential eye. He paints him at his daily avoca- 
 tions, always good-naturedly, with good color and an eye for pic- 
 
 torial effect.” —/Journal Pittoresque, 1887. 
 
 In the convent cellar the cellarer, with a frugal bent of mind, is emptying 
 the lees of wine from casks and bottles into a bowl.’ He is draining the con- 
 tents of a barrel into this receptacle. Flasks already emptied and a large jar 
 to receive the contents of the bow! offer further attestations to his economical 
 industry. What is no longer good wine, says his smiling face, may be very 
 good vinegar. The vaulted cellar loses itself in dusky ramifications, but the 
 figure of the cellarer is brightly lighted from an unseen window. The color is 
 cheerful and the contrast of light and shade brilliant in effect. 
 
THE SHAW COLLECTION. 23 
 
 GEORGES HYON -c,450- 5. 52-5 a saicelet nies Paris 
 
 Born at Paris. Pupil of Protats. 
 ‘The Dog of the Regiment” 
 18 X 25 
 
 “Hyon, a pupil of Protais, who has also, we believe, enjoyed the 
 instruction of Detaille, exhibited in the 1887 Salon a striking canvas, 
 ‘After Jena.’ In 1888 he followed it with a still more imposing 
 work, ‘ Waterloo,’ based on a passage of Thiers’ history. This year 
 (1879) he sends an episode of the bloody 30th of August, 1870—‘ A 
 Day of Battle: Beaumont.’ Hyon won his spurs a decade ago. It 
 is in these recent exhibitions, however, that he has shown himself at 
 
 his strongest and best.” —PAuUL MARITZ. 
 
 The regiment is encamped during the annual manceuvres. A group of 
 cronies from the ranks are taking their ease with the dog of the regi- 
 ment for company. The dog of war, it may be added, is now an insepa- 
 rable part of the French army. Every regiment has such a canine attach- 
 ment. Often single companies have dogs of theirown,and many of these 
 sagacious brutes are trained to extraordinary feats of intelligence as bearers of 
 messages and sentries with the outposts. M. Hyon’s dog is, just now, 
 engaged in the serious duty of begging a share of a human comrade’s lunch, 
 and although the latter shows no marked signs of an intention to yield a share 
 of his bread and cheese, the suppliant, we may make safe to say, will not go 
 hungry for long, 
 
24 THE SHAW COLLECTION. 
 
 FRANCOIS MUSIN...... Tah it ae er iSSels 
 
 Born at Ostend. Studied at Antwerp and Brussels. Knight 
 of the Order of Leopold. Medals at London, Vienna, 
 
 Amsterdam. 
 
 “A Fresh Breeze in the English Channel” 
 
 18 X 30 
 
 ‘« The refluent ocean 
 Fled away from the shore and left the line of the sand beach 
 Covered with waifs of the tide, with kelp and the slippery sea-weed. 
 Back to its nethermost caves retreated the bellowing ocean, 
 Dragging adown the beach the rattling pebbles, and leaving 
 Inland and far up the shore the stranded boats of the sailors.” 
 —HENRY WADSWORTH LONGFELLOW. 
 
 Born within sight and sound of the narrow sea which washes the coast of 
 the Netherlands, M. Musin, in the earliest stages of his art, turned naturally 
 to it for his subjects. He has roved the Flemish and Dutch coasts in quest of 
 pictures, and the productions of his easel provide the landmarks by which his 
 wanderings may be traced. It is with the shore and waters of his own 
 country that he is most at home, however, and he has made a close study of 
 their picturesque aspects and of the phenomena of the atmosphere that aid in 
 giving them interest. The boats of the fishermen and the luggers of the 
 traders, rocking on the long swells, buffeted by gales, lost in the fog banks or 
 left stranded on the shore by the outgoing tide, furnish him with material 
 abundant and varied enough to constitute a constant succession of pictures, 
 ever novel and fresh in character, and never lacking in interest. The subject 
 of ‘‘A Fresh Breeze”? is found on the Flemish coast, near Ostend, where, 
 under pressure of wind and tide, a restless and turbulent sea is far commoner 
 than periods of placidity and calm. 
 
THE SHAW COLLECTION. 25 
 
 ALFRED SET EAR Tye ee oes eee rine ee . Munich 
 
 Born in Harowitz, Bohemia, 1850. Pupil of Lindenschmidt. 
 
 “A Good Story” 
 
 12X14 
 
 ‘* Seifert came before the public with compositions of an ambitious 
 character, mainly historical, which, while good from an academic 
 standpoint, were too cold and formal to arouse enthusiasm. Since 
 he has descended to less ambitious themes he shows as an artist of 
 much merit, and has enjoyed a success which he fully deserves.” — 
 
 FRIEDRICH PECHT. 
 
 A worldly visitor has invaded the monastery. He has come on business, no 
 doubt, for he has the look of a lawyer, and even the Church is not beyond the 
 need of legal advice in these degenerate and contentious days. His entertain- 
 ment has been hospitable. The ripest vintage of the convent casks has been 
 brought up for his refreshment. His business concluded, the claims of socia- 
 bility are allowed, and the news of the world, which only by accident invades 
 this retreat of the unworldly, comes up for discussion. He carries some of it 
 by him in print, and as he culls from the pages the details of some tale just 
 piquant enough to be permissible in pious company, his hosts find themselves 
 amply compensated for their hospitality. The quiet enjoyment of the story by 
 the reader himself is discounted by the hearty merriment it arouses in his 
 hosts as it approaches a climax which will certainly necessitate another drain 
 on the resources of the wine vault. 
 
26 THE SHAW COLLECTION. 
 
 No. 156 
 
 Ge ROTA rere Sh wesc Rimiaienive 5.6 bas diar sor EHICE 
 
 “A Girl of To-Day” 
 
 18X14 
 
 **A girl of fullest heart she was; 
 Her spirit’s lovely flame 
 Nor dazzled nor surprised, because 
 
 It always burned the same.” 
 —COVENTRY PATMORE. 
 
 The modern young woman, in spite of more or less philosophical and meta- 
 physical dissections and detractions, is conceded, by right-minded persons, to 
 be the highest type of the young girl that civilization has produced. To the 
 simpler virtues of a ruder ancestral stock she adds the polish and refinement 
 of our own time. Her elegance, her style and grace of carriage, her intelli- 
 gence and culture, belong to the present. Her self-respect, her power to sus- 
 tain her position and assert her dignity when occasion arises, are a heritage 
 from the past. Her detractors have adopted the exceptions which the imper- 
 fections of human nature render inevitable as the rule, but the true girl of 
 to-day affords a prompt and conclusive refutation of their imputations upon 
 her. She is, as Rota paints her with the brush, and as the English poet pre- 
 sented her with the pen, a creation of whom we may well be proud, and to 
 whom the future will render the just appreciation she deserves, 
 
THE SHAW COLLECTION. 27), 
 
 AS TAMBURING, «4.3 +268 B stitara we cle Wiens eg . Rome 
 Pupil of Ciceri. Medal, Academy of Fine Arts, Florence. 
 
 “A Little Worldly” 
 
 I2 X10 
 
 ““ They say that even the friar in his cell 
 Sometimes gives way to thoughts of vanity : 
 Envies their lives who in the world do dwell, 
 And pines at heart for more variety : 
 Bewigs his tonsure and discards his gown, 
 And in his mind goes ruffling through the town.” 
 
 —LorpD Byron. 
 
 Modern art has produced what might almost be called a distinct school—that 
 of the painters of monks and of monastery pictures. In Italy, France, Ger- 
 many, and England, painters have grown into fame upon the satire, humor, or 
 purely narrative character of their representations of the life of the religious 
 recluse. Some paint him with stinging satire, and others with sly humor that 
 is full of disrespect for his cloth. Some see in him but the incarnation of a 
 self-indulgent man, retired from the world out of sheer laziness and avoidance 
 of its responsibilities, while others view him as the ascetic mortifying his flesh 
 that his spirit may be chastened, and putting his body to penance to pu- 
 rify his soul. Tamburini takes the lighter view of the subject ; the Byronic 
 view, without the Byronic irony and bitterness. The worldly thoughts 
 aroused in his old friar’s mind by a contemplation of the globe are evidently 
 
 flavored with curiosity rather than intrigue, and do no violence to his vows 
 and vocation, 
 
28 THE SHAW COLLECTION. 
 
 No. 158 
 COREL MGON fron pee _.. «Paris 
 
 Born at Albert, France. Pupil of Cogniet and of Bouguereau. 
 
 “The Fisherman’s Daughter” 
 
 26x 18 
 
 ‘‘ Mlle. E, Salanson is one of the women of the present Salon. 
 She treats subjects of the sea-coast with a frank and sympathetic 
 touch. Her ‘ Driftwood Gatherer’ is a poem in itself, and her 
 ‘Fisherman’s Daughter’ a type whose acquaintanceship we can 
 envy her. To predict a future for a talent healthy and active would 
 be assuming no merit of prophecy, since it affords its own prediction 
 and guarantee in its works.’—Rent& Marzeroy: ‘‘ Le Salon de 
 1885.” 
 
 The commendation extended by the French critic to one of the two exhibits 
 made by Mlle. Salanson in the exhibition noted received the substantial in- 
 dorsement of the public, and the equally flattering, if less profitable substantia- 
 tion of the press. Restricting herself almost entirely to the class of subjects 
 with which she won her first successes, she has varied them occasionally with 
 portraiture, and has added annually to her reputation and popularity. In 1886 
 her ‘‘ Avant la Péche,” a fisher-girl awaiting the return of the boats, was an 
 attraction of the Salon. In 1887 She exhibited an admirable male portrait, in 
 1888 a portrait of a general of the French army and one of a lady of title, and 
 in 1889, a portrait of an eminent member of the Paris bar. Meanwhile, her 
 production of picturesque subjects has continued during each of her busy sum- 
 mer vacations on the coast. ‘‘The Fisherman’s Daughter’’ is one of Mlle. 
 Salanson’s exhibits in the Salon of 1885. 
 
THE SHAW COLLECTION. 29 
 
 No. 159 
 FREDERICK A. BRIDGMAN. |: ic sais. bom Paris 
 
 Born at Tuskegee, Ala., 1847. Studied at Brooklyn Art School, 
 and in 1866 with J. L. Géréme in Paris. In 1873-74 
 
 travelled in Algiers, Egypt, and Nubia. Medals, Paris,: 
 
 1877, 1878. Chevalier of the Legion of Honor, 1878. Elected 
 Member of National Academy, New York, 1881. 
 
 “A Street in Algiers” 
 
 16 X 12 
 
 ‘‘ Mr, Bridgman, penetrating the atelier-Géréme as a shy, indus- 
 trious, black-eyed youth, did not at first make a startling impression. 
 He had no means to assert his powers in the eyes of travelling 
 Americans, and open a dashing studio. In the provincial aristocracy 
 of France, however, he made a more decided effect. A piece of 
 romance which happened to him near Pont Aven, in Brittany, had 
 the result of opening some of those charming chateau doors which 
 the minor zodlesse guard so carefully from most intruders. While 
 sea-bathing in the Bay of Biscay, he saved from drowning a daughter 
 of the Marquis de Moutier. Introduced by this act of courage to a 
 family of distinction, his residence in France soon became socially 
 agreeable. Some of the pleasantest attractions of the French coun- 
 try-house were opened to him ; nor were his black eyes and his 
 
 powers on the violin misplaced.” —-EDWARD STRAHAN, 
 
 Although his first successes were made by European and historical subjects, 
 Mr. Bridgman has, for the past fifteen years, concentrated the best efforts of 
 his art upon Oriental motifs. He has fallen under the fascination of the sun, 
 and is never so happy as when he is giving us upon the canvas its vast blaze 
 
30 THE SHAW COLLECTION. 
 
 of radiance, contrasted with the broad and massive shadows, and enhanced by 
 the intensity and brilliancy of color which nature displays under its influence. 
 Algiers and Egypt have found in him a recorder whose pencil could not be 
 surpassed in fidelity, and, it may be added, he has also described their 
 romances and attractions in the literary field with a pen as facile and faithful 
 as his brush. ‘ 
 
THE SHAW COLLECTION. 31 
 
 No. 160 | 
 
 DAVID JOHNSON..... Ge an eee New York / f/, 
 
 Born in New York, 1827. Elected member of the National 
 Academy, New York, 1862. Medal, Philadelphia, 1876. 
 One of the founders of the Artists’ Fund Society, 
 
 “Sandwich Notch, White Mountains” 
 
 I2X 14 
 
 “Through Sandwich Notch the west wind sang Hi 
 
 Good morrow to the cotter; Hi 
 , 
 
 And once again Chocorua’s horn Hi 
 
 Of shadow pierced the water.” | 
 
 —JOHN GREENLEAF WHITTIER. 
 
 Although he confines himself, as a rule, to the pastoral and simple rural 
 scenes with which his name has become identified by a long record of artistic : 
 merit and success, Mr. Johnson has executed a number of transcripts of the a 
 grander and more dramatic phases of nature with quite as able a hand. Some i] 
 of his most notable earlier pictures have had for subjects the picturesque and 
 rugged mountain scenery of New York and New England. In the White } f 
 Mountains he at one period of his career found the motives for many of those aa 
 strikingly pictorial and effective canvases which the Switzerland of America He | 
 supplies in such abundance. ‘t Sandwich Notch’ is one of these. The Notch | 
 is one of a number that divide the mountains into passes that furnish channels Hj 
 for the rivers that traverse the district, or open basins for the lakes that i) 
 reflect in their depths, as in a black mirror, the environing crags and peaks. Hye) 
 
a2 THE SHAW COLLECTION. 
 
 No. 161 
 
 CHARENS* i MILE: JACOUR. 22 a Paris 
 
 & Born at Paris, 1813. Larly in life studied with a geographical 
 
 : engraver. Later, spent seven years in the army, and worked 
 
 Gy | two years in England as an engraver on wood. Ls famous 
 
 for his etchings as well as his paintings. Medals, Paris, 
 
 1861, 1863, 1864, 1867. Chevaler of the Legion of Honer, 
 1867. 
 
 5 “Sheep and Landscape”’ 
 
 16 X 20 
 
 “His inns, his farms, and poultry yards, his village streets, his 
 skirts of forest, his old walls full of crevices, of stains of damp and 
 
 crumbling plaster, his barns with cobwebs hanging from their ceil- 
 
 ings, are full of the familiar sentiment of life, as also are of poetry 
 his far-away twilight skies. Not less does he catch the distinctive 
 detail of the movement, action, attitude, and relations of animals. 
 Jacque, who is high in rank among the painters of landscape and 
 animals, who excels in both, harmonizes the two with true feeling.” 
 
 —C. H, STRANAHAN, 1888. 
 
 Sheep were ever the choice of Jacque as subjects for his brush. He has 
 painted cattle with equal art, and revelled in the delineation of pigs and barn- 
 yard fowl. But it is in the sheep that he has found his favorite motives. In 
 the stall or pasture, penned in the fold or browsing in the freedom of nature, 
 watched only by the shepherd and his dog, the bleating flocks have found in 
 him an appreciative historian. His first great successes at the Salon were won 
 by his sheep pictures. A year ago, when, after fifteen years of absence from 
 the Salon, necessitated by the rapid transfer of his pictures from his easel to 
 private galleries, he found time to execute a work for that exhibition, it was 
 again a flock of sheep with which he called upon the public of the present to 
 confirm the verdict of the public of the past, a challenge which was promptly 
 met and responded to in his honor, 
 
THE SHAW COLLECTION. 33 
 No. 162 
 ERNST MEISSNER....... ii Ras ae Munich 
 
 Born in Dresden, 1837. Pupilof Ludwig Richter and Kum- 
 mer. Entered as a pupil at the Munich Ecole des Beaux 
 Arts, 1870. 
 
 “The Storm Driven Flock” 
 
 29 X 40 
 
 “The sounds that drive wild deer and fox 
 To shelter in the brake and rocks, 
 Are warnings which the shepherd ask 
 To dismal and to dangerous task. 
 His flock he gathers, and he guides 
 To open downs and mountain sides, 
 Where, fiercest though the tempest blow, 
 Least deeply lies the drift below.” 
 —SIR WALTER SCOTT. 
 
 Writing of Meissner, Friedrich Pecht, the great Munich critic,says: ‘ Meiss- 
 ner belongs among the painters of the idyllic life of the fields. From his advent 
 in Munich he attracted attention with his sheep pictures, and he secured an 
 enviable reputation by his ‘ Winter’ in the Dresden Gallery, his ‘ Stampeded 
 Sheep’ in the Vienna Academy, and others. Like Schenck, he gives a dra- 
 matic touch to his compositions, and invests them with a sentiment indepen- 
 dent of their merely pictorial effect.” .Here we see the flock buffeted by the 
 blasts of a winter storm, shuddering around the shepherd who guides them 
 toshelter. The feeling of inclement weather, of biting blast and penetrating 
 cold, is made more positive and powerful by the action and expression of man 
 and beast, who in the midst of this frost-bound landscape heighten its sense of 
 desolation by the contrast of their houseless misery. 
 
 2 
 
 Be) 
 
34 THE SHAW COLLECTION. 
 
 No. 163 
 ALPHONSE-MARIE DE NEUVILLE (deceased) 
 
 Born at St. Omer, 1836. Pupil of Laurient and Delacroix. 
 Medals, 1859, 1861. Cross of the Legion of Honor, 1873. 
 Officer of the Legion of Honor, 1881. Died, 1885. 
 
 “Wounded Soldier” 
 (Pen Drawing) 
 12X10 
 
 ‘‘De Neuville has freedom, audacity, movement, truth of physi- 
 ognomy, truth of gesture, truth of color at the end of his brush, and 
 all without visible effort. In a word, he has that entirely French 
 
 quality, the genius of action.” —ERNEST DUVERGIER DE HAURANNE. 
 
 Struck down in the heat of combat, a soldier has fallen at the feet of his com- 
 rades. It is an every-moment incident in the great tragedy cf war. The 
 ranks break for an instant. Then they close up again into a living wall as 
 before. Dying or dead, it is all the same, in the sinister system of battles, what 
 has befallen the stricken man. It is enough that he is out of the fight and that 
 another must take his place. A brief touch of a pitying hand, a word of 
 encouragement and cheer from one who may be the next victim of the chances 
 of the fray, and the deadly game goes on, to be played at any cost of blood and 
 honor to the end. M.de Neuville’s drawing is a study made by himself for 
 one of those smaller pictures in which he represented the vicissitudes and 
 trials of military life with a strong and sympathetic hand. _ 
 
LAE VSTAW"COLLEGTLION: 35 
 
 No. 164 
 
 AUGUST-FREDERIC-ALBRECHT SCHENCK Paris 
 
 Born at Glickstadt (Holstein), 1828. Pupil of Cogniet. Medal, 
 Paris, 1865. Cross of the Legion of fonor, 1885. Medal, 
 Philadelphia, 1876. 
 
 “Sheep in the Snow” 
 
 18 x 26 
 
 ‘“ Albert Schenck is certainly one of the most original figures of the 
 contemporaneous artistic gallery. He is one of those originals of a 
 species not yet extinct, who prefer dogs to men and find more sweet- 
 ness in sheep than in women. Retired to Ecouen, to a farm, he lives 
 in the midst of oxen, dogs, goats, asses, horses, and sheep of all 
 types, races, and species ; cares for them, cultivates them, loves them, 
 and, above all, studies them as never artist studied his models. By 
 means of studying closely the joysand griefs of these modest com- 
 panions and humble servants of man, he has penetrated the inner- 
 most recesses of their souls, which he knows how to show us in pict- 
 
 ures of striking truth.”—Ze Figaro, June 5, 1878. 
 
 Despite the variety of subjects from animal life to which his pencil has been 
 devoted, it will be by his sheep pictures that Schenck will always be judged at 
 his best and held in the most enduring recollection. That his own predilection 
 is for this submissive and gentle species of the race of brutes, his artistic treat- 
 ment of it clearly shows. His sheep are invariably made the actors in some 
 more or less dramatic episode familiar to their simple existences and delineated 
 by him with a power of expression and a sympathy of sentiment that could not 
 be greater were they bestowed upon the human race itself. In representing 
 the winter trials and perils of the fleecy flock, the artist touches the level of 
 actual tragedy, and his works in this vein laid the foundation of his fame. 
 
36 THE SHAW COLLECTION. 
 
 No. 165 
 EUGENE JOSEPH VERBOECKHOEVEN (deceased) 
 
 i Born in Warneton (West Flanders), July 8, 1799. Medals at 
 Paris, 1824, 1841, and 1855 ; Legion of Honor, 1845. Che- 
 valter of the Order of Leopold, St. Michael of Bavaria, and 
 Christ of Portugal. Decoration of the Iron Cross. Mem- 
 ber of the Royal Academies of Brussels, Antwerp, and St. 
 
 Petersburg, Died, 1881. 
 
 “In the Pasture ” 
 7X10 
 
 ‘Balthazar Ommeganck has left us landscapes which were much 
 praised in his day. They are picturesque ; his trees are traced with 
 
 great delicacy, and he evinces a true appreciation of nature. The 
 
 great care which he bestowed on his shepherds and their flocks 
 earned for him the name of the ‘ Racine des Moutons,’ nor, indeed, 
 is the title inappropriate, for his sheep are painfully elaborated and 
 their fleeces white and lustrous. Nevertheless, this name might be 
 applied with still greater truth to Eugéne Verboeckhoeven, the most 
 
 celebrated among the pupils of Ommeganck.”—A. J. WOUTERs. 
 
 Extensively as he is famed as a painter of sheep, Verboeckhoeven was, in 
 fact, a master in the widest range of animal painting. His knowledge of the 
 forms, characteristics, and habits of the brute creation was based upon close 
 and constant study from nature, and from the humblest domestic animals to the 
 noblest leaders of the horned herd and the most spirited specimens of the royal 
 equine race, he drew and painted them with equal readiness and accuracy. It 
 is told of him that he enjoyed the painting of horses especially, and that this is 
 true is shown by the fact that some of his best and most striking productions 
 are of this class. His horses are distinguished by character, action, and fidelity 
 of drawing, and he brought to their delineation the same care of execution and 
 elaborateness of detailas mark his other works, and which have obtained for 
 him an unique distinction and popularity among the painters of his time. 
 
DELLE | SILANE OLAS CHOWN oF 
 s : | 
 
 No. 166 , 
 WILFRED CONSTANT BEAUQUESNE 
 
 Born at Rennes. Pupil of Vernet and Lecomte. 
 
 “The Escape” He 
 
 30 X 34 
 
 ““The Prussians had, however, reckoned without their host. 
 Having penned us in the old chateau and found it impossible to 
 invade the walls we so effectually defended, they invested the park 
 itself, which was enclosed in a high stone wall. The situation was 
 critical. Once they obtained a reinforcement we were certainly 
 
 doomed by mere force of numbers. Escape was our only hope. 
 
 We scaled the park wall near the main gateway, overpowered the 
 drowsy sentry before he could utter a cry, and when the enemy f 
 forced the, to their astonishment, undefended gate, it was to find the HP | 
 nest empty and the birds flown.” —MoNTMORENCY : ‘‘ Zfisodes of the | 
 
 War.” 
 
 The scene described by Captain Montmorency is vividly realized by the artist. 
 He shows the exterior of the wall of the chateau. Dawn is just breaking, {ie 
 The sombre shades of the forest are rendered darker by the growing luminosity 
 of the sky. At his post in front of the gateway the Prussian sentry is seen in 
 
 Frenchmen drop, one by one, stealthy, noiseless, like phantoms of the darkness i} 
 fleeing the approach of day. In a moment more the sentinel will be over- Hi] 
 powered, a dead man will lie among the fallen leaves, and the prisoners of the 
 night will be in full flight, leaving to the enemy, confident of their capture, 
 only an empty old house on which to wreak their chagrin and disappointment 
 in impotent wrath. 
 
 | 
 | 
 | 
 an attitude of weariness. Over the wall in the foreground the beleaguered Hi || 
 i 
 | 
 
— SS a 
 e 
 
 38 THE SHAW COLLECTION. 
 
 No. 167 
 EMIEESAUGUSTO PINCHART fos 240s... Paris 
 
 Born at Cambrai. Pupil of Gérime. Medal, 1884. 
 
 “At the Fountain ”’ 
 
 18 X 12 
 
 ‘¢ Pinchart has given us some charming pictures, conceived in an 
 idyllic vein. In decorative compositions he is most successful. “He 
 has the decorative eye which sees and seizes upon opportunities for 
 pictorial composition independent of those artistic qualities that in- 
 vite the painter of subject pictures or studies of nature,”—‘‘ Gazetée 
 des Arts Décoratifs.” 
 
 One of the painter’s characteristic decorative compositions, this canvas re- 
 veals, inaspring landscape made vivacious by a breezy sky, a female figure 
 at a rustic fountain side. The treatment is broad, the color delicate and fresh, 
 and the work, in its entirety, an excellent example of his style. 
 
THE SHAW COLLECTION. 39 
 No. 168 
 JAMES McDOUGALIE HAR ie yen: New York 
 
 Born in Kilmarnock, Scotland, 1828. Brother of William Hart, 
 NA. Brought to America, 1831. Studied with Schirmer 
 in Dusseldorf. Elected member of the National Academy, 
 New York, 1859. 
 
 “Landscape and Cattle” 
 
 20 X 16 
 
 “Of Scottish art, which has produced some fine things in this 
 country, James McDougall Hart is a highly creditable incarnation. 
 Some of our well-known artists have been his pupils. His industry 
 is something amazing, while his capacity for hard work is unusual. 
 He has the hearty manners of the best type of his countrymen ; his 
 wit is fluent and spontaneous ; his good-nature is the same. He likes 
 cattle as well as landscape, and for cows and oxen he has the fullest 
 sympathy. 
 
 # * * * x * 
 In his studies of cattle the same easiness is apparent which is so at- 
 tractive in his more simple landscapes, and when the two are united 
 the most delightful harmony is observed in every detail.’—G. W. 
 Sheldon, and ‘* Art Journal,” 1875. 
 
 A typical American landscape, delineated with close adherence to the facts 
 and sentiment of the scene, is what Mr. Hart never fails to send from his 
 easel. He sces with clear eyes and paints with an honest hand. It is among 
 the New England pastures, with their fine umbrageous groves, their placid 
 streams and ponds, their fertile fields, sedate old farms, and distances of blue 
 hills so perfect in their rural restfulness and peace, that he is especially at 
 home. Nature in this mood is ever beautiful and ever attractive to the 
 artist’s eye, while to that of the layman it possesses a familiar and enduring 
 charm, and itis in this field that Mr. Hart has found the material for the 
 works that have given him his widest reputation and won him his greatest 
 favor. 
 
40 THE SHAW COLLECTION. 
 
 aA WATER Ros Se: re es eee Paris 
 Born at Calcutta, of French parents. 
 
 “Taking Observations” 
 
 I2 X 20 
 
 ‘“Walker occupies a middle ground between the painters of sol- 
 diers and the painters of battles. He is not content merely with the 
 representation of models in uniform, but delights as well in the act- 
 ual movements of war. A Frenchman in everything but birth, he 
 belongs to France both by the quality of his art and by the choice 
 of subjects by which he challenges our attention and commands our 
 
 esteem.” —ARMAND SILVESTRE. 
 
 A commanding officer, upon the outposts, is examining the position of the 
 enemy from a favorable point of observation. He has straightened himself in 
 the saddle, field-glass in hand. His orderlies have reined up their horses ata 
 respectful distance. The ground is covered with snow. The sullen winter 
 sky is heavy with the portent of wild weather. The scene is one of utter 
 dreariness, to which the bloody excitement of battle would afford acceptable 
 variety and relief. As in all of Walker’s pictures, the principal figure isa 
 portrait of one of his military friends, of whom his works constitute a gallery 
 of picturesque likenesses, treated in an artistic spirit but none the less faithful 
 in their preservation of the salient traits of personal character. 
 
LHE SHAW COLLECTION. Al 
 
 No. 170 
 ARSENE JULES GARDANNE 
 “The Adjutant” 
 
 9X7 
 
 ‘‘A young painter with a future is Gardanné. His soldiers have 
 the truthful quality of Detaille and are handled with spirit. He as 
 yet adheres to simple subjects, single figures, and small groups full 
 of character. They are useful preparations for greater things in 
 
 the future.”—‘‘ Le Figaro,” June, 1886. 
 
 A souvenir of the military reviews. The adjutant is dismounted, and stands 
 facing the spectator. The figure is spirited, the character excellent, and the 
 attitude and expression life-like and natural. 
 
 No. 171 
 “Dragon en Vidette” 
 
 9X7 
 
 A character study from the grandes maneuvres, a trooper on an outpost. 
 The type is well rendered and the vigilance of duty excellently expressed. 
 
 a 
 
42 THE SHAW COLLECTION. 
 
 7S | ey ad DAVID COU rien Seo adee Erraeee Law AN EWerp 
 YJ’ : 
 
 i\ 
 | | | U Born at Antwerp, 1822. Pupil of De Keyser and Antwerp Acad- 
 emy. Medal, Vienna Exposition, 1873. Chevalier of the 
 \ Order of Leopold, 1875. 
 
 “Bard to Persuade” 
 
 Irx9Q 
 
 *“To David Col belongs the palm as the chief painter of familiar 
 incident in the Belgium of to-day. As arule, men who paint humor 
 do so at the expense of their technique. They sacrifice art to the artifice 
 of their subject. Col, however, gives us his subjects fresh from the 
 easel of a master, conceived in a light mood, but executed seri- 
 ously, carefully, with nice attention to detail and an exquisite sympa- 
 
 thy with the subtle beauties of nature.”—EpwarbD F®£ris. 
 
 The master has undertaken to vary the morning promenade and give his dog 
 a bath by tossing a stick into the ditch, for poor Tray to find and fetch ashore 
 tohim. Tray, however, is either in a stubborn mood or his training has been 
 defective. He has plunged into the water, but he has not captured the object 
 destined for his seizure,and his disgusted master, cane in hand, threatens, ex- 
 postulates, and drives him back as he essays to climb the bank, but all in vain. 
 The distance affords a charming glimpse of simple Netherlandish landscape, 
 with the outskirts of a village seen across the footbridge which spans the ditch. 
 The story is told without exaggeration, and the picture is a capital example of 
 the artist in composition and characterization, in its delicately fresh and vivid 
 coloring and in the style and finish of its execution. 
 
THE SHAW COLLECTION. 43 
 
 No. 173 
 PREZ OZU BRB OH Ree ee Pe 
 Born at Locle, Switzerland. Pypil of Grosclaude and of Picot. 
 
 ‘Rosy Youth” 
 
 14 X10 
 
 “Rosy is the West, 
 Rosy is the South, 
 Roses are her cheeks, 
 And a rose her mouth.” 
 —ALFRED TENNYSON. 
 
 Childhood has been aptly termed by the poet the time of roses. It is the one 
 period of life in which flowers bloom untouched by a canker of care. The 
 little maiden of the artist’s fancy has her flower-time in her arms and in her 
 heart. For her all the universe is a garden which no storm has yet invaded, 
 and life a perfumed round of blossom-garlanded pleasure, broken by no rude 
 worldly touch. The woods are green, the garden beds in blossom, the south 
 wind blows in warm and balmy zephyrs, yet roses, however beautiful, have 
 thorns, as the little flowef-gatherer must some time learn to her cost. The pict- 
 ure, which is painted with all of the artist’s purity and brightness of color, 
 and is beautifully typical of the innocent charm of childhood, is characterized 
 by a tenderness of sentiment and execution that is rarely met with in his strik- 
 ingly spirited work. 
 
44 THE SHAW COLLECTION. 
 
 ) (EST SUN Ua) lod BS eaters bea Ure ek ate ry vce rine ace 
 
 SNES yee Born in Rome, 1849. Pupil of the Academy of St. Luke. Che- 
 valier of the Order of the Crown of Italy. 
 
 | ‘Reading Music” 
 16 X I2 
 
 “‘Music! Oh, how faint, how weak, 
 Language fades before thy spell ! 
 Why should Feeling ever speak, 
 When thou canst breathe her soul so well ? 
 Friendship’s balmy words may feign, 
 Love’s are even more false than they : 
 Ah! ’tis only Music’s strain 
 Can sweetly soothe and not betray.” 
 —Tom Moore. 
 
 Detti, a Roman who had made Paris his home, was a popular artist in 
 Germany, Italy, England, and America, before the Parisian public found 
 him out to be what he is—a painter of distinction, a water-colorist of 
 great facility and merit, and a wit in his art, as in real life. His 
 ‘‘ Henry III. Received by the Doge Muccinigo,” at the Salon of 1882, was his 
 first real Parisian triumph. When this came to him he was already a pros- 
 perous man, so that the French indorsement of what was practically an 
 international verdict was more of a compliment than a benefaction. He 
 accepted it with the gay and caustic humor native to him. “They are not 
 quite blind, after all,” hesaid. Detti’s large historical compositions are few, 
 and painted only for the great exhibitions. In works of moderate and cabinet 
 size he is represented wherever collections of pictures exist, always, as in his 
 ‘Reading Music,’ with an abundance of human nature, inspired by his own 
 gayety, and executed with French vivacity and that plenitude of colorin which 
 the Italian artist of the present revels as in the sunshine of his native land. 
 
THE SHAW COLLECTION. 45 
 
 No. 175 
 JAN VAN CHEDSINGR Ice te sees Munich 
 
 Born at Brzostov, Poland, 1851. Pupil of Munich Academy 
 and of Franz Adam. Had a studio during 1884-85 in New 
 York. 
 
 “The Fugitive Nihilist ” 
 36 X 64 
 
 ‘Mr. Chelminski shows in his canvases a fine instinct for compo- 
 sition and a good eye for character and form. He is a painter of 
 action by inclination, and has a masterly command of movement and 
 physical expression. He draws with grace, ease, and spirit, and his 
 technique is characterized by the same readiness and absence of 
 effort. He possesses the faculty of endowing his figures, human or 
 brute, with a robust and healthy vitality, as well as an admirable 
 distinctiveness of personality. His color is lively and fresh, well 
 regulated, well balanced, and pleasing. At a recent exhibition of his 
 paintings at the Lotos Club, the picture which perhaps attracted 
 most attention was his ‘ Flight of a Nihilist.’ The picture is im- 
 
 pressive and full of action.”"—‘‘Art Amateur,” February, 1885. 
 
 The snow lies deep and crusted on the steppes. The day dies in the sky in 
 flushes of lifeless color without the mellowness or warmth of sunset. The 
 outrider has ignited the tar and tallow-soaked tow in his lantern, and leads the 
 furious flight of the fugitive whose sledge sweeps over the frozen earth in 
 all the frantic haste of a race for life or death. Pursuit is close at hand. 
 Over a ridge, in the undulating waste, the head of a band of Cossacks appears. 
 It isa mere question of speed and the endurance of the panting brutes on 
 whom speed depends. Out of the black shadow of falling night into which the 
 flying patriot is speeding the light of liberty flashes like a beacon. Behind him 
 is the gloom of hopeless servitude or violent dissolution. Such episodes as 
 this are commoner in the history of the Russia of to-day than is the ability of 
 artists to represent them. 
 
46 THE SHAW COLLECTION. 
 
 No. 176 
 POMPEO MASSANI 
 
 “A Pleasant Passage” 
 
 14 xX Io 
 
 “The Italian sense of humor is active in him, but not to a suffi- 
 cient extent to invest his works with that element of exaggeration 
 which mars so much that is otherwise good in modern Italian paint- 
 ing. It expresses itself rather in his rendition of character than in 
 his subjects themselves. Massani is one of the very few Italians of 
 our time who can paint a smile. As a rule, his compatriots in art 
 render it as a guffaw or agrin.”—SMITH : ‘‘ Report on Art in Ltaly,” 
 1887, 
 
 A genial old amateur on the violin has seated himself to the study of a new 
 score. He has fiddled through the introduction, and for the moment laid his 
 bow to rest in order to study the notes of a passage in which he evidently finds 
 an unusual degree of satisfaction. His eyes sparkle. His face wreathes itself 
 intoasmile. Already, in his imagination, he hears himself drawing the notes 
 he is reading from his instrument, and he smacks his lips at the illusion as a 
 gourmet might at the anticipation of a feast. Admirable in character and 
 expression, the picture is also strong and vivacious in color. The complexion 
 of the amateur has a healthily florid tinge. His sumptuous costume, with its 
 coat of buff satin and the rich surroundings, show him to be a person well 
 equipped for the indulgence of any taste his fancy may incline him to. They 
 also present the artist in the ripeness of his power asa master of color, an expert 
 in composition, and a student of human nature who reads his lessons with clear 
 eyes. 
 
Nill, SIEM NY (QUILL RCILM ONE, 47 
 
 No. 177 
 
 ARTHUR QUARTLEY (deceased) 
 
 Born in Paris, 1839, of English parents. Brought to the United 
 States as a child. Masrine painter, self taught. Elected 
 AN.A., 1878 ; and N.A., 1886. Died, May ig, 1886. 
 
 “A Breezy Day in New York Bay” 
 21 X 16 
 
 “ And suddenly there springs 
 Upon the wide sea plain 
 A breeze like fanning wings, 
 And life revives again. 
 And, wavelet on wavelet, the tide 
 Races on through the harbor wide.” 
 —Lrwis Morris. 
 
 The charm of brisk movement and variety of color and shifting light and 
 shade that belongs to a breezy day at sea had ever a strong influence on the 
 painter of ‘‘ A Breezy Day.” Some of his happiest and most successful efforts 
 are associated with delineations of this phase of nature, both from the familiar 
 waters of our harbor and the remoter portions of the coast along which he made 
 his studies. New York Bay, from its accessibility, was a favorite source of 
 inspiration with him, and he studied it in all its aspects, friendly and severe, 
 regardless of any inclemency of weather or the discomforts of seasons when 
 artists, as a rule, are content to revive memories of nature in the snug seclusion 
 of their studios. This picture, painted on commission for the owner, and at 
 the painter’s strongest period, is as characteristic of its creator’s talent as it is 
 of the scene which it depicts. 
 
48 THE SHAW COLLECTION. 
 
 No. 178 
 CHARLES PREDERICK“ULRICH ....>. New York 
 
 i) d Born at New YVork, 1858. Studied at National Academy. 
 a ee Later in Munich under Liffts and Lindenschmidt from 
 {| 1873-81. lected A.N.A., 1883. 
 
 “The Lace Worker” 
 
 16 X 12 
 
 ‘Von cottager, who weaves at her own door, 
 Pillow and bobbins all her little store ; 
 
 Content, though mean, and cheerful, if not gay, 
 
 Shuffling her threads about the livelong day, 
 
 Just earns a scanty pittance, and at night 
 
 Lies down secure, her heart and pocket light.” 
 —WILLIAM COWPER. 
 
 In certain rural communities lace-making forms an employment of those 
 leisure hours which the poor can never afford to pass in idleness, and adds ap- 
 preciably to the meagre earnings of the household. It is such a worker at 
 this delicate and tedious task that Mr. Ulrich depicts. This picture is one of a 
 series of industrial subjects which the artist executed in the period between 
 his return to America from European study and his departure, later, for 
 Venice, where he has resided for some years. His idea was to present the 
 picturesque side of the daily record of toil, to show the blacksmith at his 
 forge, the carpenter at his bench, the weaver at his loom, the paper-box girl 
 at her work-table, and demonstrate in each and every instance that there is, 
 in the most commonplace and unromantic employment, an interest and a pic- 
 torial quality well worth portrayal. He did not carry his purpose as far as he 
 intended, though he did produce a series of pictures on these lines, of which 
 “ The Lace Worker” is an admirable example, as it also is of the artist’s charm 
 of pure and refined color and his command of the luminous and penetrating 
 
 effects of light. 
 
THE SHAW COLLECTION. 49 
 
 No. 179 i 
 ETIENNE PROSPER BERNE-BELLECOUR.. Paris 
 
 Born at Boulogne, June 29, 1838. Pupil of Picot and F. 
 Barrias. Medals, Salon, 1869, 1872, 1878. Legion of 
 Honor, 1878. Honorable Mention, 1886. 
 
 “Le Capitaine” 
 
 16 X 10 
 
 i 
 ‘‘ He is a painter of battles at long range. At the Battle of Mal- 
 
 maison, where the Artists’ Brigade was engaged, many were killed or 
 
 wounded. Berne-Bellecour painted a picture of this engagement, 
 
 with portraits of some of the regiment—Leroux wounded, Jacquet | 
 
 firing a last shot, Cuvelier supported by comrades. In the extreme 
 
 distance was the Prussian army, represented by a line of smoke and 
 a few microscopic figures. Berne-Bellecour finishes with the utmost 
 
 detail the backgrounds of earth fortification and barricade. These 
 
 accessories are not easy to obtain in times of peace, and, in order to 
 render truthfully his work, he models miniature earthworks of clay, 
 small timbers and stones, after hasty pen and ink sketches which he / 
 had made during the war. Berne-Bellecour is tall and well-propor- | 
 tioned, has a fine, military bearing, and might easily be an officer of | 
 the legions he depicts.” Henry Bacon. 
 
 The painter renders individual types of military life with the same accuracy I 
 and spirit as he brings to the representation of the greater episodes of that ii 
 life itself. His old soldiers are all veritable old campaigners, tanned by the Hi} 
 smoke of battle and toughened by the vicissitudes of long marches and war- i 
 fare in many climes. It is such a character he presents to us in ‘‘ The Cap- ie th 
 tain,” a grim and stanch veteran, to whom death is a playmate, and danger a 
 trifle to be juggled with as a child might trifle with a toy. In time to come ie} | 
 these admirable bits of individual portraiture will give to Berne-Bellecour | 
 almost as high a place among the character painters of the French army as 
 his more ambitious and historical compositions have already won for him 
 among its historians. 
 
 4 
 
50 THE SHAW COLLECTION. 
 
 No. 180 
 WILFRED BEAUQUESNE 
 Born at Rennes. Pupilof Vernet and of Lecomte. 
 
 “ Attacking the Hospital Train” 
 
 32 X 26 
 
 *« The streets of the village were narrow, and opening upon them 
 were many passage-ways leading into the interior court-yards of the 
 houses. A more favorable place for an ambuscade could not be 
 conceived. Still, we had no occasion to suspect the presence of 
 an enemy so far out of the army’s line of march, and though we 
 advanced with caution it was in no special dread of surprise. Sud- 
 denly a shot rang out, then another and another. In a moment 
 more we were overwhelmed by a furious assault of the Prussians, 
 made more horrible by the screams of the wounded, who were 
 massacred in the wagons on their beds of straw.” —‘‘ Recollections of 
 
 a Sous-Officier,” 1869-70. 
 
 The painter is said to have been an eye-witness of this incident, which was, 
 by reason of the brutality of such an attack, one of the great sensations of the 
 Franco-Prussian War. Whether he obtained his idea of it from observation, or 
 merely called upon his imagination to assist in its illustration, he has certainly 
 produced a most vivid and spirited picture. The confusion of a surprise, the 
 fury of a desperate contest at close quarters, are admirably rendered by him. 
 The coloring is rich and powerful, the effect striking, and the mse ex scéne has 
 all the picturesqueness of one of those ancient French villages, where genera- 
 tion after generation has housed under the same roof, and only time has 
 wrought any changes in their abodes and surroundings. 
 
THE SHAW COLEECTION. Si 
 
 No. 181 
 
 J. SOULACROIX 
 “A Bit of Scandal ” 
 
 16 X12 
 
 ‘* Snake: She wants that delicacy of tint and mellowness of sneer 
 which distinguish your ladyship’s scandal. 
 
 ““ Lady Sneerwell : You are partial, Snake. 
 
 ““ Snake: Not in the least. Everybody allows that Lady Sneer- 
 well can do more with a word or look than many can with the most 
 labored detail, even when they happen to have a little truth on their 
 side to support it. 
 
 “Lady Sneer. : Yes, my dear Snake; and Iam no hypocrite to 
 deny the satisfaction I reap from the success of my efforts.”’ 
 
 —SHERIDAN: ‘6 The School for Scandal.” 
 
 The artist transfers the scene of the famous English comedy to France, but 
 the subject and the period remain about the same. In an interior of the time 
 of the Directoire, hostess and visitor are exchanging the latest tid-bits of social 
 gossip, their budgets being additionally enriched by a contribution in the shape 
 of correspondence which the mistress of the house reads to her friend, with 
 proper interjectory comments thereupon, you may besure. That this afternoon’s 
 conversation will awaken no malicious echoes in Parisian saZons would be as 
 unreasonable to suppose as that the pleasant little reunions of Lady Sneerweii 
 and her friends were without results upon the circle they enlivened, if they did 
 not exactly adorn it, 
 
52 TLE SHAW COLEECTION, 
 
 No. 182 
 GEORGE H. McCORD, A.N.A...... Jo New Vork 
 
 Born in New York, 1840. Pupil of Prof. Morse. Elected 
 A.N.A., 1880. 
 
 “Near St. Augustine, Fla.” 
 
 I2 X 20 
 
 ** The beacon light 
 In red and white 
 Flashes its flame upon the dusky wave ; 
 A sentry bright 
 That through the night 
 Holds lonely watch, to guide, to warn, to save 
 The wanderer from a lost and unmarked grave.” 
 
 —ALFRED AUSTIN. 
 
 Mr. McCord is more generally known as a painter of familiar northern land- 
 scape than as a wanderer enriching his sketch-book in remoter fields. The 
 present canvas is a souvenir of a southern tour which resulted in some works 
 of asimilarly picturesque character from his easel. He reproduces the local 
 color and the spirit of the scene in them as skilfully as in his translations of 
 nature nearer home. The drowsy charm of a southern twilight, the luxuri- 
 ance of sub-tropical verdure, the richness of color in earth and sky which dis- 
 tinguish a climate where almost perpetual summer reigns, are reflected in them 
 through the sympathy of a temperament which regards nature not only as a 
 mere substantial fact,to be photographically reproduced, but as a source of 
 inspiration, replete with sentiment and rich in the poetry that sensitive souls 
 distinguish in the penetrating influences of the forest and the field. 
 
THE SHAW COLLECTION. 53 
 
 No. 183 
 
 VICTOR: BIN Ese ee een Pens Spat ee Peak avlS. 
 
 Born at Rouen. Pupil of Jacque. Honorable Mention, 1881. 
 Medal, 1882, 1883. 
 
 “A Pleasant Pasture” 
 
 27 X 33 
 
 ‘‘The pupils of Jacque are so few that any one of them is worth 
 chronicling. Of these Binet is probably the most notable. He is, 
 if anything, a better colorist than his master. He treats landscape 
 with much feeling and cattle with a touch suggestive of Troyon 
 rather than his actual preceptor. A worthy artist, it is gratifying to 
 note that Binet’s works find acceptance among our connoisseurs and 
 that he does not have to go abroad for appreciation.”——EMILE LE- 
 
 CLERCQ. 
 
 A characteristic feature of French landscape is the wide and sunny pas- 
 turages that environ the settlements of the rural districts. These common 
 pastures present many subjects for pictures. Even where the orchard growths 
 take root the turf is by no means allowed to go to waste, for where grass 
 grows sheep and cattle may be fattened. Economy is part of the French 
 peasant’s nature, and he utilizes every inch of soil to its fullest capacity, for his 
 horror of waste has become a religion to him. It is one of these communal 
 pasturages that Binet’s picture represents. Here is it that the cattle of the 
 village graze. Some cows and calves are enjoying the freedom of the green- 
 sward, wandering at their will. A peasant woman follows the beaten path 
 across the pasture to the village. Overhead a summer sky, blue as turquoise, 
 has its heat tempered by cool banks of cloud, and the landscape extends, level 
 and serene, to the horizon, in itself a picture of rural peace and security in 
 which the kine may well find pleasant pasturage. 
 
 | 
 # || 
 { 
 i 
 
54 THE SHAW COLLECTION. 
 
 No. 184 
 
 PAUL VERNON (deceased) 
 “Atthe Brookside” 
 
 14 X 18 
 
 “Perhaps no pupil ever approached his master in modern times as 
 closely as Vernon approaches Diaz. Whether through sympathy or 
 imitation, conscious or unconscious as it may be, the former has pro- 
 duced pictures which might readily be called the works of the great 
 hand from which he had his lessons. Vernon has, apparently, mas- 
 tered the secret of Diaz’s color. In his wood interiors the resem- 
 blance is particularly close. His figures always remind one of 
 
 sketches by Diaz.”—London Art Journal, 1884. 
 
 A group of modern wood-nymphs has gathered by a purling brook, as these 
 modern dryads will gather in pictures if not in real life. The slumberous 
 fastnesses of the forest are their best guard against intrusion. No new 
 Actzon will, we may be sure, surprise these modern Dianas at their bath. 
 The artist has limned them from the mirror of his imagination, and their vivid 
 color and vital spirit they owe to himalone. The picture is a very superior 
 example of Vernon, both asa painter and for its approximation to the rich- 
 ness of style and pigment of his master. 
 
THE SHAW COLLECTION. 55 
 
 No. 185 
 Ge GUAZAR ION iy oe ene tl oe ee arene 
 
 “In the Wine-Cellar” 
 
 30 X 21 
 
 ** Fill the goblet again! for I never before 
 
 Felt the glow which now gladdens my heart to its core ; 
 
 ’ 
 
 Let us drink !—who would not ?—since throwgh life’s varied round 
 In the goblet alone no deception is found. 
 
 I had friends !—who has not ?— but what tongue will avow 
 
 That friends, rosy wine ! are so faithful as thou ?”’ 
 
 —Lorp Byron. 
 
 “Good wine,” says Sancho Panza, ‘‘is the next best thing to a light heart, 
 and one is as easy to carry as the other.”” The maxim of Don Quixote’s squire 
 finds even more general acceptance in Italy, where they say in a popular prov- 
 erb, ‘‘Water is good for cattle to drink and fish to swim in.”’ Italian art 
 embalms the bibulistic exploits of the nation. The wine-bibber and the wine- 
 drinker are favorite subjects with the artist. Signor Guzzard1 presents them 
 to us in their very stronghold—a joyous band of men-at-arms who, in the ripe 
 libations of the time-seasoned casks, are drowning the memories of the hard- 
 ships and vicissitudes of their campaigns. The vaulted gloom of the wine- 
 cellar reéchoes the boisterous jest and the lusty song. It is a revel indulged 1n 
 with the whole heart, satisfied with the frolic and the feast of to-day and reck- 
 less of any evil, care or trouble that to-morrow may bring forth. 
 
THE SHAW COLLECTION. 
 
 é No. 186 
 | \ WILLIAM M. HARNETT........ .......New York 
 
 Born at Philadelphia, 1851. Studied at National Academy, 
 NV. Y. ; also in Frankfort and Munich, 1880-84, 
 
 “ Still Life ” 
 
 12X15 
 
 ‘‘The artist shows the highest skill in the representation of text- 
 | ures. The wood is wood, the iron is iron, the brass is brass, the 
 leather is leather. The technique of these paintings is simply 
 perfect. The management of light, shade and harmony of color in 
 these works has reached a point of perfection which amounts to 
 
 complete illusion.” —Wew York World. 
 
 The popularity of the most remarkable painter of still life in America came 
 tohim almost over-night. He had long been producing a series of the most 
 strikingly deceptive experiments in the delineation of inanimate objects, which 
 a few connoisseurs, confident of the future of his talent, had acquired as they 
 were completed, when one of his exhibits at the National Academy of Design 
 fascinated the always capricious fancy of the public ; the newspapers took him 
 up, and his permanent popularity was assured. A number of larger canvases, 
 calculated for purposes of illusion and painted for display in public under art- 
 ful arrangements of light and surroundings, have brought him a decidedly sen- 
 sational and wide-spread consideration ; but it will be upon his cabinet studies, 
 so marvellous in their reproductions of form, color and texture, and their 
 semblance of the solid quality of nature, that his reputation will chiefly rest. 
 
THE SHAW COLLECTION. 57 
 
 JG. DROWN, SNA ee ieee Mee ete NO We /Ork 
 
 Born in England, 1831. Studied in Nevwcastle-on-Tyne and 
 at the Royal Scottish Academy, Edinburgh ; later, with 
 Thomas Cummings, V.A., in New York. Llected member 
 of the National Academy, New York, 1863. Medals, Bos- 
 ton and San Francisco. President of the American Water- 
 color Society. Honorary member of the Salmagundi 
 Sketch Club. 
 
 “Nary a Red” 
 
 24 X16 
 
 ‘* Although a republic, America possesses one king. This is the 
 New York street-boy—the Gavroche of the Western Continent, who 
 is literally monarch of the situation and of ali he surveys. He is 
 inimitable, and Mr. J. G. Brown, the greatest of American figure 
 painters, paints him as he is, in every phase of his varied industry 
 
 and idleness.” —GEORGE AUGUSTUS SALA. 
 
 That the painter of ‘‘ Nary a Red” adopted the street-boy as a stock model 
 out of genuine liking for and sympathy with his individuality and independence 
 of character he has frequently asserted, and the hearty spirit in which he paints 
 him bears out this assertion to the letter. To such a young soldier of fortune 
 as this one, for example, the conquest of the world is but a matter of time. The 
 universe is for him simply one illimitable possibility, and life a lottery whose 
 grand prize may be the millions of a magnate of speculation or the power of a 
 monarch of politics. Fortune isa true coquette. She is never coy to the phi- 
 losopher who commences life by defying her with a laughing face and a light 
 heart, and the artist has endowed his little hero with both. The picture, in its 
 strength and ripeness of color, is an unusually striking example of the best 
 period of Mr. Brown’s art. 
 
TELE SELA WV MCOLDEC PLONE 
 
 No. 188 
 AUGUSTIN FRANCOIS ROUMEGOUS =. Paris 
 
 Born at Revel, France, 1851. Pupil of Cabanel. 
 
 “The Challenge”’ 
 40 X 33 
 
 ‘“Roumégous comes to us from the South. The hot blood of his 
 nativity has not been chilled by the cool serenity of a course of study 
 under Cabanel. Grounded in his art in Paris, he has been perfected 
 in it in Algiers, whence he brings us the ‘ Coup de Sirocco,’ a canvas 
 worthy of all the notice it receives. Perhaps in order to convince us 
 of his versatility he exhibits at the same time a portrait of a lady, 
 
 which is equally admirable.” —SERRAMINE : ‘‘ The Salon of 1879.” 
 
 In the inner court-yard of an Oriental habitation a furious brawl has broken 
 out between the master of the. house and an intruder. The latter stands with 
 his back to the spectator, in a posture of sturdy defiance. The sunlight 
 flashes on the bare blade of his scimetar. The master is restrained in his 
 doorway by his servants and dependents, with whom he struggles fiercely to 
 escape and accept the challenge hurled at him by his enemy. The lofty walls 
 of the house lose themselves above. A flood of the radiance of noonday pours 
 down into the court, mapping out its picturesqueness in masses of strongly 
 contrasted light and shadow. The action of the scene is as vivid as its setting. 
 This picture was painted by the artist, who is nowa resident of New York, 
 since his arrival in America, and is a reminiscence of an incident of his last 
 tour of North Africa, 
 
THE SHAW COLLECTION, 59 
 
 No. 189 
 
 WIL LAM EAR NAG estan oe Shee eee av Oul 
 
 Born in Scotland, 1822. Elected Member of National Acad- 
 emy, New York, 1858. 
 
 “Landscape and Cattle” 
 
 18 X 14 
 
 ‘* William Hart’s style is rich and glowing, and for subjects he 
 prefers the brilliancy of a sunset sky, or the delineation of the gor- 
 geous tints of autumn foliage, or Nature in her brightest rather than 
 in her dark and gloomy phases. As Tuckerman remarks in his 
 ‘Book of the Artists,’ his landscapes ‘admirably discriminate the 
 diversities and coincidences of natural phenomena in North Britain 
 and North America ; they display characteristic features, often ren- 
 dered with consummate taste. His pencil is alike chaste and living, 
 true and tender, and many of his smaller landscapes are gems of 
 
 quiet, yet salient beauty.’”—A7t Journal, August, 1875. 
 
 A corner of a New England pasture, shaded by verdure in its richest dress 
 bathed in the light of a faultless day of Indian summer, and made sumptuous 
 in color by-the fruition of the ripest season of the year, is what Mr. Hart pre- 
 sents to us in this canvas. All of the elements of nature that have invited him 
 to his most noteworthy work are present in this subject. The composition is 
 one of great natural charm; the scenery has a friendly and familiar character, 
 and the execution is worthy of the artist in the ripeness of his powers. The 
 cattle are painted, as is usual with the artist, with a breadth and vigor of 
 touch that render them, while enlivening the landscape, a picture in them- 
 selves, and one which even in these miniature dimensions has the force of a 
 
 large canvas. 
 
60 iE SLAW A COLGLEE CL LON, 
 
 es ee ee G New York 
 
 Born at Waterford, Conn., 1854. Self-taught. Landscape and 
 Marine Painter. 
 
 ‘““A Winter Gale on the Jersey Coast” 
 
 27 X 36 
 
 The rough north winds have left their icy caves 
 To growl and group for prey 
 Upon the murky sea ; 
 The lonely sea-gull skims the sullen waves 
 All the gray winter day. 
 —ELIZABETH STODDARD. 
 
 The rough north winds have not only left their icy caves in Mr. Smith’s 
 Picture, but have found gallant prey as well. The good ship, battling with 
 the merciless and irresistible powers of the tempest, has sailed her last voyage 
 and found a resting place for her doomed hulk upon the lee-shore that seamen 
 dread with such ample reason. Whelmed by the waters of the murky sea, 
 shaken and racked by the fury of the bellowing blast, every surge that sweeps 
 her fated deck assists in the work of inevitable destruction. The roar of the 
 surf, whose titanic assaults shake the frozen shore as if they would batter it to 
 pieces like some frail thing of human workmanship itself, drowns all the 
 sounds of human distress or terror. Death and destruction ride abroad upon 
 the gale, and earth and ocean are theirs until their work is done. To-morrow 
 the sun may shine again, but its beams will warm to life none of the actors in 
 this tragedy of the billows and the blast. 
 
THE SHAW COLLECTION. 61 
 
 No. I91 
 
 AUGUSTE HAGBORG 
 
 Born at Gothenburg, Sweden. Pupil of the Academy of Fine 
 Arts, Stockholm, and of Palmaroli, Paris. Medal, Paris, 
 1879. 
 
 “A Passing Flirtation ” 
 
 30 X 40 
 
 LOE majestic stature, with a handsome and characteristic head, 
 one recognizes in him at once the strong man and the artist, the in- 
 defatigable fighter and worker, whose eyes, flashing with inspira- 
 tion and spirit, have in them still that tenderness which belongs to 
 the Swedish eye, tinted with the beautiful blue of the sea. Every- 
 thing is robust and vigorous in the talent which confirms him as one 
 of the masters of the future.”’—Auguste Hagborg, by A. M. DE 
 
 BELINA. 
 
 It is a mere interchange of empty badinage and the rude wit of the shore 
 that passes between these sturdy fisher-lasses and the lusty lad whose path 
 on the wide wet sands has crossed their own—a flirtation as capricious and as 
 free as the breeze that stirs the sea and sweeps the sky. There is no malice in 
 such coquetry as this to leave a sting. Men and nature are alike in that gray 
 North that Hagborg paints so well; frank, bold, self-reliant, honest to them- 
 selves and all the world, they preserve in their simple, healthful and straight- 
 forward lives much of the unconscious dignity of that older civilization which 
 modern refinement has polished out of existence in less primitive and more 
 advanced and artificialized communities, 
 
62 THE SHAW COLLECTION. 
 
 No. 192 
 JEAN GEORGE MEYER VON BREMEN (deceased) 
 
 Called, from his birthplace, Meyer von Bremen. Born October 
 28, 1813. Pupil of Sohn. Member of the Amsterdam 
 Academy. Gold Medal of Prussia, 1850. Medals at Berlin 
 and Philadelphia. 
 
 “The Artist’s Studio ” 
 32 X 16 
 
 ‘‘When young Jean George Meyer emerged from the Diisseldorf 
 
 _ Academy in 1842 to install himself in the dignity of a studio of his 
 
 own, it was asa painter of religious works of the largest size that he 
 aspired tofame. It was not long before he discovered that his talent 
 had mistaken its direction. His heart was not in these academic and 
 artificial compositions, while all around him nature—and above all, 
 human nature—invited him to more congenial fields. So the painter 
 of tradition soon became the painter of fact, and his exquisite little 
 cabinet pictures of domestic scenes and homely episodes of every-day 
 life were not long in securing favor. One of the earliest and most 
 successful of his efforts in this new direction was an interior scene 
 
 in his own studio, which possesses the additional charm and value of 
 
 . presenting portraits of himself and family in the naive and attractive 
 
 grouping of a picture.’—HEINRICH CARL VON LIEBENAU. 
 
 It is of this picture that the distinguished German critic and essayist writes 
 so appreciatively. In his studio, irradiated by a pleasant glow of sunlight, the 
 artist is seated at his easel. His wife, in the freedom of complete and perfect 
 sympathy and confidence, criticises and suggests upon the work on which he is 
 employed, while his children complete at once the composition and the family 
 group. The portraiture is said to be excellent. The picture, mellow in color 
 and rich in the variety of its accessories, has ali the attractiveness of an imag- 
 inative work, as well as the more intimate and personal interest associated 
 with a glimpse of the home life of one of the great artists of the century. 
 
THE SHAW COLLECTION. 63 
 
 No. 193 
 ETIENNE PROSPER BERNE-BELLECOUR, Paris 
 
 Born at Boulogne June 29, 1838. Pupil of Picot and F. Bar- 
 vias. Medals, Salon, 1869, 1872, 1878. Legion of Honor, 
 1878. Honorable Mention, 1886. 
 
 “The Embarkation” 
 
 21 X 32 
 
 “ Berne-Bellecour is not one of those painters of battles whose 
 field of experience is the studio. Up to 1870 he was a painter of 
 anything—everything—but war. But when the war of 1870 broke 
 out, he promptly returned from Algiers, where he was painting, and 
 enlisted in the Francs-Tireurs of the Seine. He had for comrades 
 Jacquet, Leloir, Vibert, Jacquemart, and Le Roux. The rigors of 
 the service were relieved by the pleasures of the pencil. When he 
 had not to shoulder his musket his sketch-book was in his hand. 
 Between sketches and skirmishes life took flight with him like the 
 smoke of the battle-field before the breeze, until the fight at Mal- 
 maison. Here the artists distinguished themselves. The sculptor 
 Cuvelier was killed ; Le Roux had a leg smashed by a cannon ball ; 
 Berne-Bellecour, untouched, received for his gallantry the military 
 
 medal of honor.” —SAVARY: ‘‘Art Under Arms.”’ 
 
 Times have changed since a movement of troops to the front meant long 
 forced marches, in which were wasted precious hours and days upon which 
 the fate of a nation oftenhung. The railroad has simplified matters nowadays, 
 and reduced the calculation of time from the embarkation to the arrival to an 
 exact computation of minutes and seconds. They can, no doubt, tell you at 
 the War Office just when M. Berne-Bellecour’s regiment is due at the line of 
 battle, and at what hour of the clock its chassepots should be giving an account 
 of themselves at the enemy’s expense. It is to be noted that this picture, for 
 character of composition and the number of figures in it, is one of the most 
 important that has left the artist’s easel. 
 
64 THE SHAW COLLECTION. 
 
 No. 194 
 
 JEAN JACQUES. HENNER..............-. ve nbaris 
 
 Born at Bernwiller (Alsace) 1829. Pupilof Drilling and Picot. 
 Won the grand Prix de Rome, 1858. Medals, Paris, 1863, 
 1865, 1866, 1878; Cross of the Legion of Honor 1873 ; Officer 
 of the same, 1878. 
 
 “Tdeal Head ”’ 
 
 10x 8 
 
 ‘‘This powerful master has ever loved to paint youth, beauty, 
 woman in all of her that is seductive and charming, maidens whose 
 adolescent forms are full of grace, nymphs with skins of milk, and 
 
 £ 
 
 goddesses with flesh of ivory. He has been compared to Giorgione, to 
 
 -Correggio, to Rembrandt, to Philippe de Champagne ; but he remains 
 
 always himself, serene and unapproachable. In his brilliant artistic 
 career Henner has never sacrificed his individuality for a moment, 
 and never relaxed his quest for the ideal, whose search he has marked 
 
 with a succession of masterpieces.” —A. M. DE BELINA. 
 
 Seen in profile, framed in simple drapery against a background equally 
 simple and equally rich in color, the artist presents to us one of his ideal 
 female types in all the brilliancy of that dazzling purity of complexion which 
 is the keystone of his fame, and which Roger Ballu compared to a white 
 camellia, opening in the sun. Next to the charm of color itself one must 
 admire the firm and yet delicate modelling of the face, conveying as it does the 
 suggestion of the substance and roundness of flesh, without an obvious effort, 
 and the broad and vigorously efficient rendition of the textures in drapery and 
 background. Henner’s characteristic technique, like his color, possesses an 
 individual charm, 
 
THE SHAW COLLECTION. 65 
 
 FM Ls ReAUr oo Wee ine ete 
 
 Born in Dresden, 1858. Pupil of Pohle. Went to Munich in 
 1879, and became a pupil of Alexander Wagner and Linden- 
 schmidt. Since 1883 he has pursued an independent career. 
 Diploma of honor in Berlin, 1886, 
 
 “A Village Beauty” 
 
 26 X 20 
 
 ‘* Among painters of peasant life and character Emil Rau attracted 
 attention in Berlin by his ‘ Light Cavalry.’ The subject represented 
 a bold and insolent cavalier who, returning from the dance with his 
 sweetheart and her friend upon his arms, aroused the jealousy of the 
 former by his flirtation with the latter. The figures were in the size 
 of life, somewhat flashy and cold in color, but conceived in such a 
 healthy and humorous spirit and executed in such excellent character, 
 that the composition did its creator credit and fairly won for him his 
 
 diploma of honor.” FRIEDRICH PECHT: “ History of Munich Art.” 
 
 She is one of those coquettish beauties over whom the jovial but fiery moun- 
 taineers of the Bavarian and Austrian Tyrol so often come to blows that are 
 not seldom reinforced by resort to the bludgeon and the sheath-knife. They 
 form a race by themselves, these sirens of the highlands, and one that is well 
 known to the artists of Munich, whose seasons of summer study bring them 
 into familiar contact with them, and whose canvases, in every exhibition, 
 record their healthy and substantial charms. The original of Rau’s vivid and 
 life-like subject is, according to the artist’s attestation, the daughter of an inn- 
 keeper in the Salzkammergut, whose captivations of person and capriciousness 
 of temper have created more trouble in the district of her nativity than would 
 be caused by a political revolution. 
 
 5 
 
THE SHAW COLLECTION. 
 
 No. 196 
 Roly bab KGe ly Ves ere es os one aw ae ew aris 
 
 “ At the Review” 
 
 18 X14 
 
 ‘*Here is a newcomer in the painted field of war. Shall we see 
 more'of him? He begins well, at least, and experience will do the 
 rest. He has ideas and the courage to utter them.”—JEAN AUBLET: 
 
 *« Les Peintres Militaires.” 
 
 A scene at a military review. The group of officers, posted on a height of 
 observation, includes military representatives of various nations. The uni- 
 forms are to be discovered of German, English, Austrian, Italian, Spanish and 
 Russian officers, as well as of the French, who act as hosts. They are contem- 
 plating the movement of the sham fight in an agreeable amity which the next 
 turn of the political wheel may convert into the bitterest and bloodiest inter- 
 national hatred. 
 
THE SHAW COLLECTION. 67 
 
 ALBERT CHAK PUN on eer pirne eens era te gals 
 
 Born at Grasse in the Alps. Pupil of Daubigny. 
 
 “Under the Willows” 
 
 22 X 30 
 
 ‘* Although a pupil of Daubigny, Charpin’s pictures suggest more 
 strongly the influence of Corot. There are times when, in his land- 
 scapes, one can almost detect the hand of the master. He adopts 
 the same method of treating light, in a subdued brilliancy and clear- 
 ness of tone, and handles his landscapes in harmony with this 
 method. He studies nature and represents her well.”--ARMAND 
 
 SILVESTRE. 
 
 In a group of dwarf willows a flock of sheep is gathered, filling the fore- 
 ground. At the edge of the grove are the shepherd and his dog. The middle 
 ground shows a low lying meadow-land, moist with the overflow of ditches 
 andthe settlement of rains. The distance is traversed by astream. Spring- 
 time freshness of color and coolness of atmosphere invest the composition. 
 The sky is bright without glare. The landscape is treated broadly, but with 
 close observance of its character, the details are competently suggested and 
 the local color so well preserved that one might place the locality of the 
 scene by it alone. Thesubject is drawn from the upper regions watered by 
 the river Oise, Daubigny’s own field of life-long labor and Charpin’s chief 
 ground for sketching and study. 
 
THE SHAW COLLECTION. 
 
 No. 198 
 "WILLIAM®M, BROWN. cee... Piet ares ae ae New York 
 
 Born in Troy, N. Y., 1827. Painted portraits for a time, but 
 in 1850 turned his attention to landscape. In 1865 began 
 panting fruit, in which he has made a distinguished 
 
 reputation. 
 “Winter on the Mohawk” 
 
 12 Xx 18 
 
 ‘“Wm. M. Brown is one of a not inconsiderable number of Ameri- 
 can artists whose reputation is largely local. He was a good 
 portrait painter when, at the age of 23, he turned his attention to 
 landscape. He was a good landscape painter when he commenced, 
 in 1865, to paint fruit, in which class of still life it was reserved for 
 him to win his most distinguished consideration. Little known to 
 the public away from his native city of Troy and the adjacent dis- 
 trict of this State, his works have been absorbed into private collec- 
 tions as quickly as they were completed, and have found a wide 
 
 distribution.” —A merican Art Journal. 
 
 Mr. Brown is here represented by a characteristic work of his second period. 
 It is a midwinter landscape, after one of the heavy snowfalls once commoner 
 to the interior section of New York State than they have been of late years. 
 The historic Mohawk wasa favorite and fertile sketching ground with this 
 artist, and he painted it at every season and under every variation of effect : 
 in the fresh bloom of spring, the opulence of midsummer, the fruitfulness of 
 autumn, and in all the dreary picturesqueness of its winter sleep, always witha 
 patient devotion to facts and a painstaking realization of the scene 4s it pre- 
 sented itself for realization by his brush. 
 
THE SHAW COLLECTION. 69 
 
 HENRY? Sito ee REC RAT PME A RNAS 
 
 Born in Waterford, Conn., 1854. Came to New York at the 
 age of 13. Ls self-taught in art. 
 
 ‘“ Landscape: Connecticut Valley ” 
 
 14 X 12 
 
 “* There is a beautiful spirit breathing now 
 Its mellow richness on the clustered trees, 
 And from a beaker full of richest dyes 
 Pouring new glory on the autumn woods.” 
 
 —H. W. LONGFELLOW : ‘‘ Autumn.” 
 
 The season of fruitage has arrived. In the wheatfield the reapers (are at 
 work, and the sheaves are being bound and stacked. A mellow glory of color 
 enriches all the scene. The woods show a touch of russet. The distance lies 
 fertile in the sun. The river reflects in its unruffled mirror a sky as soft and 
 tender asa dream, and the long afternoon lingers as if loath to blot out the 
 beauty of the picture. There is no more delightful treasury of purely rural 
 scenery in America than certain sections of New England. The artists dis- 
 covered this fact long ago, though not all of them realize it as attractively and 
 as faithfully to itself as does Mr. Smith in this thoroughly characteristic can- 
 vas. The artist was born among such scenes as this, and their spirit enters 
 into his brush when he depicts them. 
 
ee | 
 ah ae 
 
 THE SHAW COLLECTION. 
 
 No. 200 
 
 PBOLOED SCHINIUREZ bbe == Munich 
 
 Born in Bavaria. Pupil of Munich Academy. Medals at 
 Munich, 1883, 1885. Member of the Royal Academy, 
 Munich. 
 
 “Practising ” 
 
 i x16 
 
 “* Her fingers shame the ivory keys, 
 They dance so light along ; 
 The bloom upon her parted lips 
 Is sweeter than the song.” 
 —JOHN GREENLEAF WHITTIER. 
 
 It is awfully dull work practising. Who thathas essayed the mastery of thq 
 piano’s keys has not found this out? From the days when the spinet was what 
 is to-day the parlor-grand, the story has ever been the same—the hours of 
 study are never hours of ease. Consequently M. Schmutzler’s pretty student 
 of the harmonies can well be pardoned for lifting her eyes from her instrument 
 at the sound of an intruding step. Of course it is 42s step—whose else could 
 it be, to stir the sparkle in those bright eyes or part those lips into such a 
 smile? The piano will be troubled no more to-day, that is evident. To-mor_ 
 row? Well, perhaps, if ze does not call too early, with his special version of 
 the same old story that is ever new. 
 
THE SHAW COLLECTION. 71 
 
 No. 201 
 GEORGES HAQUEIIN =... APR ERE EAD Paris 
 
 Born at Paris. Pupilof Adolph Millet and of Cabanel. Medal, 
 1880. 
 
 “The Fisherman’s Pride” 
 
 30 X 22 
 
 ‘“‘Haquette, a child of the town, became by accident only a 
 painter of the children of the coast. A chance visit to the seaside 
 laid the foundation of his choice of subjects. The discovery of a 
 picturesque old fishing boat did the rest. His models he sought at 
 the seaside. His boat he transported to Paris, where he painted it in 
 every aspect, position and condition of effect. A legitimate success 
 attends M. Haquette in his representations of maritime life. To 
 Pollet, that picturesque quarter which makes Dieppe two distinct 
 cities, the painter retires during ten months of the year, to study 
 
 on the spot the physiognomies he depicts.”—L’Art Contemporaine. 
 
 The hard life of the humble toiler who subsists by the harvest of the sea is 
 in nothing harder than in the bearing his perilous avocation has upon his do- 
 mestic existence. It has well been said that the French fisherman takes his 
 life in his hand whenever he pushes off from the shore, and that he puts him- 
 self in the balance of chance against every fish that he entangles in his net. 
 Times of much labor and of little ease are lived by him and his dependants. 
 His own career has the excitement of battle to support it. The wife and child, 
 left behind in doubt and constant dread of the worst which experience has 
 taught them to expect, find their only moments of rest and peace when the 
 husband and father is with them, and when his presence renders certain the 
 fact that the merciless and greedy ocean has not yet claimed him as its prey. 
 
THE SHAW COLLECTION. 
 
 No. 202 
 
 pee WNL Walaa a coerae eens le ye Aes New VY Ork 
 
 Born in Indiana, 1840. Studiedin Cincinnati. First exhibited 
 at National Academy, 1868. Elected A.N.A., 1885. 
 
 “Sleeping Pets” 
 27 X 30 
 
 “It is in his pictures of children that Mr. Witt is exceptionally 
 happy. He seems to enter into their lives with a fine appreciation 
 of their sentiments and a sympathy with them that are reflected upon 
 the canvas to which he transfers his impressions. He is a draughts- 
 man of sterling merit, a good colorist, refined without weakness, 
 and as a technician exhibits directness and force. His fidelity to 
 facts is that of a student who finds in nature his best model, and it 
 
 places him among the foremost detail painters of the day.” —‘‘ Repre- 
 
 ” 
 
 sentative American Artists. 
 
 Puss and her little mistress, tired out together, are napping in a cozy corner. 
 From their close contiguity to each other it is easy to see that they are as good 
 friends asleep as awake. Secure in the confidence of well-protected childhood, 
 the baby sleeps without a dream, while the four-footed pet exhibits a placid 
 surrender of all the natural watchfulness and care of her race, which augur 
 favorably for the indulgence allowed her. The picture is an admirable speci- 
 men of the artist in the sweetness of its conception, the sentiment with which 
 itis realized, and the excellence of the technical treatment of the canvas, in 
 which the painter’s best and most popular qualities are reflected. 
 
THE SHAW COLLECTION. 73 i 
 
 No. 203 
 WILFRED C. BEAUQUESNE rf a 
 
 Born at Rennes. Pupil of Vernet and of Lecomte. 
 
 “The Honors of War” 
 
 22 X 33 
 
 “‘In Beauquesne we have the Doré of our battle-fields. He sees Hl 
 with a quick eye and records his observations with a rapid hand. ! 
 War is to him not a matter of detail, but a terrible and tragic i 
 whole, and he builds his pictures on this basis. He has the genius 
 of his master, Horace Vernet, and the spirit of our own time, and i 
 among the painters of battles he will hold a perpetual place.”— 
 
 EMILE LANSYER. 
 
 It is the end of a battle—the end of a victory. Success has crowned the 
 eagles of France, but at what cost! The remnants of a victorious sortie return 
 to the fortifications, triumphant in the fight, but with bowed heads, for their 
 leader has fallen in the fight. His corseis borne upon the stretcher shouldered 
 by stalwart guardsmen, His charger, that shall never feel the pressure of his ik 
 spur again, is led by his orderly in the van of the cortege. The procession iif i 
 has the measured solemnity of a death parade. The soldiers march with Bi 
 drooping heads. The delvers in the trenches doff their caps. There are no 
 cheers here to salute the triumph of the hour. Over the brilliancy of victory if 
 death casts a grim shadow, although the sun is shining and the day is fair. 
 
 The painter has given life to an episode of war that commonly exists only in : 
 the cold and methodical descriptions of the reports from headquarters. He has Hy 
 made living to the eye one of those inevitable incidents of battle which are 
 
 generally left to the imagination alone, 
 
74 THE SHAW COLLECTION. 
 
 Walle RTs Vises Ks RSACVing ar ae Saar eae Seek eee Vienna 
 
 Born at Berlin. Spent some time in Rome and Venice, then 
 settled in Vienna. Professor in the Royal Academy at 
 
 Vienna, 
 
 “The Water-Nymphs’ Prey” 
 30 X 42 
 
 ‘* The boat rocked soft on the idle tide, 
 The moon’s kiss whitened the waters wide, 
 The fisher-boy slept in the silver glow, 
 While fate wove his web in the depths below : 
 Wove his fate of the golden hair 
 Of naiad and water-sprite, false and fair.” 
 
 —WaALTHER V. ALBERSBERG. 
 
 Kray has constituted himself the chief and most graphic of artistic perpetu- 
 ators of the quaint old German legends of the water-fairies. From gentle 
 Undine and the deadly Lorelez down to the sprites that even tradition pro- 
 vides no name for, he has given the naiads a tangible and fascinating form on 
 canvas, and a fixed and definite place in art. Here we see the indolent fisher- 
 lad of the old song taken by surprise at his neglected task by the water-nymphs, 
 who deepen his slumber with the spell of their unearthly melody and seduce 
 him, still dreaming, into the fatal depths from which he shall never return. 
 Always graceful in composition and striking in effect, with female types of 
 the greatest purity and elegance of form, Kray’s pictures have gained wide 
 acceptance for their decorative value as well as for the intrinsic interest of 
 their stories and the artistic excellence of their execution, 
 
THE SHAW COLLECTION. Ts 
 
 No. 205 
 
 JOSE FRAPPA 
 
 Born at St. Etienne, France, in 1854. Learned the trade of a 
 designer for silks. In 1874 went to Paris on his savings, 
 
 and became a pupil of Pils. He later received instruction 
 Srom Charles Compte and Vibert. 
 
 “Over the Garden Wall” 
 
 28 x 18 
 
 ‘It was in 1879 that his Salon picture, ‘ Les Queteurs,’ gave José 
 Frappa the place in the estimation of the Parisian public which he 
 still enjoys. The scene was the court-yard of a country house. 
 Perched on the shoulder of one mendicant friar, against the house- 
 wall, another begging brother reached up to kiss, at the window, the 
 hand of a pretty girl who was about to reach him a contribution for 
 his haversack. The tribute might pass with the devout as one of 
 gratitude to charity. The cynical smiled to see in it a tribute of the 
 Church to the boudoir, and Frappa’s fortune was made.”—PavuL 
 MAHTz. 
 
 It is possibly on account of his early good fortune with the Church for a 
 motive that Frappa still adheres to it in his subjects. Since his first Salon 
 exhibit, in 1876, the monk has been a part of almost all his pictures. Here the 
 figure his clerical hero cuts is that of a marplot. Two lovers in a quiet garden, 
 whose bowers invite confidence and mutual rhapsodies, have been exchanging 
 their vows. In the full heat and fervor of their reciprocal passion the thread 
 of sentiment is rudely snapped. Over the wall above them appears the scep- 
 tical face of a jovial friar who has been tending the fruit trees in the adjoining 
 orchard garden of his convent. The startled pair spring to their feet. Ina 
 moment more their eavesdropper will leave them to themselves, no doubt, 
 with an ironical apology for his intrusion. Meanwhile, however, the element 
 of disturbance has done its work and Cupid, for the nonce at least, has taken 
 flight beyond the reach of pious Paul-Pryism. 
 
 Saar 
 
70 THE SHAW COLLECTION. 
 
 No. 206 
 
 PREDERICK<SEHUCHARD) [Re scscanas New York 
 
 ) Born in New Vork, 1886. Studied under William Morgan and 
 J. G. Brown, 1875-78. first exhibited at National Acad- 
 
 emy of Design, 1877. 
 “A Cold Day” 
 
 32 X 20 
 
 “‘Schuchard is a pupil of Brown who shows the influence of his 
 master rather in the selection of his subjects than in their presenta- 
 tion. His color’is less vivid and vital, but his pictures are excel- 
 lent in spirit and frequently inspired with a pleasant and thoroughly 
 human humor that lends them a distinctive character.” —American 
 
 Art Journal, 1886. 
 
 There has been a heavy snow-fall during the night. The city streets are deep 
 in a white covering of banked and drifted crystals, and the leaden sky suggests 
 a present addition to their burden. The little street musician is an early riser. 
 He has come abroad with the cheerless dawn and fiddled his salute under 
 windows behind which comfort still blinks at the world with crowsy eyes. 
 His face is good humored and gay with the careless light-heartedness of boy- 
 hood. Like the sparrows harvesting in the snow he trusts to fortune for the 
 sustenance of the day, and does not find his confidence misplaced. His philos- 
 ophy is sounder than his shoes, and in his contentment he is richer in his rags 
 than Midas, turning every useful thing he touches into useless gold. 
 
THE SHAW COLLECTION. 77 
 
 No. 207 
 
 CAMILLE MAGNUS 
 
 “Greek Girls in the Forest ” 
 14 x 18 
 
 ‘* That an art critic should be an artist at heart is but just. That 
 he should be an artist in fact is less common. In Gautier we have 
 an example of the painter turned critic. In Camille Magnus we 
 know the critic becomes a painter. ‘The inclination was born in him. 
 His educational course caused him to gravitate naturally to literature. 
 His choice in literature was the chronicling and the criticism of art. 
 Contact with the artists did the rest, and we behold this writer of 
 conceded power developed into a painter of no mean ability, whose 
 pictures are prized for the double merit of intrinsic value and of curi- 
 osity as exploits of a man who was constant to his theories that one 
 should be able to practise the art which one assumes the privilege 
 
 to criticise.” —AUGUSTE VITRE, 
 
 Although the art of Magnus is largely eclectic, being based upon a sympa- 
 thetic study of the works of many men, the influence of Diaz, who was his 
 close friend and principal artistic adviser, is most perceptible in his pictures. 
 That he was a mere imitator of Diaz it would be unfair to state. He painted 
 in the same vein because his sympathies were of the same order. Both in his 
 landscapes and his combinations of the figure and landscape he evidences a 
 command of color that falls little short of thatof his master. His ‘‘ Greek 
 Girls” is a charming group that shows him at his best as a colorist of power 
 and a technician of the first order, free and firm of touch and frank in his 
 expression of facts, transposed rather than translated, according to his own 
 poetic mood. 
 
THE SHAW COLLECTION. 
 
 No. 208 
 
 FRANCOIS MIRALLES 
 
 Born at Valencia, Spain. Studied at L’Ecole des Beaux Arts, 
 Paris. Member of the Academy of St. Luke, Rome. 
 
 “The Bull-Fighter off Duty” 
 
 10 x8 
 
 ‘He sat a little apart, watching the progress of the sport. He 
 was perfectly at his ease, though evidently fully conscious that the 
 attention of half the enormous audience was divided between him 
 and the fight. He had the aspect of a popular actor, to whom popu- 
 lar adulation was a matter of course. For perfect self-possession, 
 complete self-satisfaction and the serenity of conscious eminence, 
 I had never seen his presence equalled in the experiences of a life- 
 time spent in wanderings of the world.”—MonxkuurRsT : “‘ Spanish 
 Types and Manners.” 
 
 Modern art has made of the bull-fighter almost as pronounced a character as 
 have the customs of that Spanish life in which he isso important a figure. He 
 is the idol of the nation, worshipped alike by the mob and by the élite ; by the 
 classes with whom the sports of the bull-ring are the only diversion, and by those 
 to whom the doors of the playhouse and the salons of society are open. He 
 wins laurels and amasses fortunes. His amatory conquests rival those of a 
 great tenor, and his appearances in public are accompanied by an amount of 
 attention that would not be misbestowed upon a successful soldier, a conqueror 
 of nations. In his spirited character study Miralles has painted him to the 
 life, gorgeous in his-vestments of office and magnificent in his superb accept- 
 ance of the honors due to his skill, his intrepidity and his preéminence as the 
 chief factor‘in the amusement whose cruel picturesqueness has become as much 
 a part of his nation’s existence as its religion and its laws. 
 
THE SHAW COLLECTION. 79 
 
 No. 209 
 LUDOVIC “MOUGHOT ate oc ee aris 
 
 Born at Poligny, France. Pupil of Cabanel, 
 
 “The New Anthem” 
 
 27 X 30 
 
 ““Mouchot is another of the painters of monks, but he does not 
 satirize them. He takes them seriously, and they owe him a debt of 
 gratitude for the excellent representations he makes of them at their 
 
 duties.”’--MARTIN BLAISEGOFFE. 
 
 The convent choir is assembled to rehearse a new composition, composed for 
 some special and important occasion. The music-master of the monastery acts 
 as leader. Three of the brethren, seated before their scores, represent the 
 tuneful contingent of the place, and sing under his direction and dictation. 
 The scene is one of the sparsely furnished rooms characteristic of conventual 
 edifices. The stone wall is panelled at the base, but bare above. A hanging of 
 tapestry separates the apartment into two spaces. There are some books of 
 music scattered about, and for the rest the composition depends upon its 
 human adjuncts for interest. The expression of the singing monks and the 
 seriousness and intentness of their leader are notably expressive features of 
 the picture. The scene is an interior in one of the historical convents of Paris, 
 and it is a faithful reproduction of the spot. 
 
DLE SLAW a COLMA CIMOINE 
 
 No. 210 
 j oP MOR BIL 
 
 ‘““The Tambourine Girl” 
 
 38 X 29 
 
 “*T love my little native isle, 
 Mine emerald in a golden deep ; 
 My garden where the roses smile, 
 My vineyard where the tendrils creep. 
 How sweetly glide the summer hours 
 When twilight shows her silver sheen, 
 And youths and maids from all the bowers 
 Come forth to play the tambourine.” 
 —Mackav: “ The Tambourine Girl of Procida.” 
 
 The painter shows us his tambourine girl among her’native bowers at rest; a 
 rustic beauty, strong in health, and with the pensive loveliness that invests the 
 Latin races with an unique charm. The tambourine, whose origin is lost in the 
 mists of antiquity, is to this day the popular instrument of the Biscayan and 
 Italian peasants. It figures in their festivities as importantly as the banjo with 
 the American negro, or the castanets and the guitarin Spain. The skill with 
 which it is performed upon by those to whom its use is, so to speak, second 
 nature, is beyond all powers of verbal description. It is capable of many inflec- 
 tions of sound that can be made harmonious, if not melodious, and its thrilling 
 effect upon the nerves, when adroitly performed in chorus, is doubtless its 
 title to the popular favor it enjoys. Itis a sharp spur to the dance with which 
 the Italian peasant is ever ready to conclude the most laborious and exhausting 
 labors of the day. 
 
ee IS sorexeenins : SE en SEE EEE SS SEE ES EEE BY 
 
 THE SHAW COLLECTION. SI 
 
 No. 211 
 CHARLES -T." PHELAN... 5.0sges ee eb New Vork 
 
 Born in New York, 1840. Landscape painter. Pupil of Rondel. fees i 
 
 “Midsummer” 
 
 16 X 22 
 
 ‘* Midsummer days, when pastures rich and green, 
 Decked in the robes of Nature’s richest sheen, 
 Smile to the sky, and when the drowsy bird, 
 Deep in the covert, is not seen nor heard ; i | 
 Days when the sun rules with a power supreme i 
 The panting life of every rustic scene.” 
 
 —ROBERT BLOOMFIELD. 
 
 The uncompromising glare and the uniform color of midsummer have not 
 made it a favorite subject with American landscape painters, who by preference 
 seek their subjects in the spring and autumn seasons. Mr. Phelan has, how- | 
 ever, assailed his task fearlessly and carried it to a successful result. Undera | 
 blazing sky the landscape swoons in an ecstasy of heat. Even the stream inthe 
 foreground reflects the glare of the firmament with no promise of refreshing 
 coolness in its waters. A few sheep and lambs linger listlessly on its marge, 
 too drowsy in the scorching noonday to either browse or drink. Into the burn- ei 
 ing distance stretches a rolling upland, dotted with farms, and a few trees on 
 the farther bank of the stream provide a shadow that is refreshed by no breath 
 of breeze. The artist has evidently felt the influence of midsummer in this Bi 
 picture as well as studied its superficial indications. 
 
 6 
 
THE SHAW COLLECTION. 
 
 PEER © sD LAOQUE > eee ee Paris 
 
 Born at Madrid. Studied with his father, Ricardo C. Diague. 
 
 “An Interrupted Interlude ”’ 
 
 28 X 36 
 
 ‘Among these painters of studio interiors Diaque is one of the 
 most interesting. He gives us the usual studies of still life, it is 
 true, but adds to them always a certain human interest. His color is 
 always good, and he never fails to seize upon what sentiment the 
 
 subject may hold within itself.’”—HrEnri BELLENGER. 
 
 It is the idle hour in the coziest corner of the studio. The palette has been 
 laid aside and the fair sitter, whose charms the hand of art has been transferring 
 to the canvas, is given an interlude of idleness. She has fluttered over the last 
 file of the Petit Yournal pour Rire, and having smiled at its satires and 
 exhausted its dowble-entendre and its witticisms, has tossed it aside to seek in 
 Le Figaro some matter of current interest in the gossip of the town. Time 
 slips by unnoted under such circumstances, and in the midst of the most inter- 
 esting passage the click of the opening door warns her that her recess is 
 over and the hour of the pose again at hand. M. Diaque tells his story with- 
 out effort or exaggeration, and the varied accessories of his scene he paints ' 
 with equal ease and skill. His still life plays an important part in the picture, 
 but is completely subordinated to the graceful figure whose unconstrained 
 beauty it furnishes a background for. 
 
THE SHAW COLLECTION. 83 
 
 MAURICE BEUM 32 ue, Pemiiatacn ence <n 
 Born at Lyons. Pupil of Picot and of Lugene Delacroix, 
 
 “The Master” 
 
 Io x 6 
 
 “A painter of decorative pieces. Not without spirit and an appre- 
 ciation of character. He gives to his little panels a sparkle of color 
 and excellent drawing and technique. At the Salon he occasionally “ 
 shows more ambitious work, well executed.”—PELADIN: ‘‘ The 
 
 Lesser Salon.” 
 
 The music-master is imparting a lesson on the mandolin to an unseen circle 
 of pupils. All that the artist shows us is the master himself, standing and 
 twangling the strings of his instrument. He isan elderly gentleman of a mild 
 aspect and a rapt expression that shows his whole heart to be in his work. 
 His respectable dress is an augury of a profitable cizentele. While the sober 
 black of his breeches, stockings and hat relieve him from any charge of unpro- 
 fessional foppery, his fawn-colored coat lends him a certain spruce air sugges- 
 tive that the fair sex is not without representation among those scholars which 
 We can see with our mind’s eye outside the limits of the frame in which his 
 portrait is enclosed. 
 
84 LEE SHAW? COLLECTION. 
 
 No. 214 
 ER RE MARE Sp AGE, 42sec eiieears ee cas cars 
 
 Lorn at Lyons, 1838. Wasa house-painter, but was assisted by 
 the designer, Philippon, and his first picture was admitted to 
 the Salon in 1867. Medais, 1881, 1887. 
 
 “Booby Rock” 
 
 I5 X 22 
 
 ““O wild gray rocks! O weed-green rocks! O white rocks wet with 
 spray ! 
 
 By happy waters washed all night, by sunbeams kissed all day,— 
 
 Among your rifts a little wave has strayed and lost its way.” 
 
 —-M. C. GILLINGTON. 
 
 When Pierre-Marie Beyle ran away from his home at Lyons to join a roving 
 band of mountebanks whose free and easy life had captivated his boyish fancy, 
 nothing was, probably, farther from his mind than that he should ever become 
 a painter. But the artist was in him and he made his debut as a caricaturist in 
 Paris, whither he had wandered, under the guidance of the inimitable Philip- 
 pon, in due time. In the intervals of his satirical and humorous work, which 
 enjoyed a marked degree of success with the public, he cultivated the higher 
 art of painting. His pictures of fishermen and women, of the life and homely 
 romance of the coast, commenced to attract an attention which every annual 
 exhibition added force to, and his reputation was confirmed by a large and im- 
 portant work, representing the return to his home of the body of a drowned 
 fisherman, borne by his sorrowing comrades. But he did not confine himself 
 to tragic and melancholy subjects, and his lighter and more cheerful studies of 
 coast scenery and characters are full of nature and justly and highly esteemed. 
 
THE SHAW COLLECTION. 85 
 
 No. 215 
 
 FRANCOIS LEONARD JEAN MOORMANS (dec’d) 
 
 Born at Rotterdam, 1831. Died 1873. Pupil of the Academy at 
 Antwerp. Medals in various European Exhibitions. Pro- 
 
 fessor in Academy at Amsterdam. 
 
 “Luncheon Time” 
 
 14 X 10 
 
 ‘‘A Dutchman of Belgian schooling, in whom, however, the tra- 
 ditions of his race had not entirely expired ; such was Moormans. 
 He painted interiors in a style that would have done credit to a 
 pupil of Van der Meer or of Pieter de Hoogbe, and there are times 
 when his figures have the quality of these masters. He has a unique 
 
 place in the art of the Netherlands in the Nineteenth Century.” 
 
 ——ERNEST CHESNEAU. 
 
 In a Dutch interior of the Sixteenth Century an old lady, clad in black and 
 seated at a table, is being served with a simple refection by a young woman 
 whose rich attire proclaims her a companion or daughter of the house rather 
 thana menial. The furnishings of the apartment are characterized by the un- 
 ostentatious richness of Dutch luxury of the period. Through an open door 
 in the rear of the room a glimpse is obtained of a sunlit garden. The coloring 
 is ripe and strong, and the picture is held together by a fine harmony of tone. 
 It fully justifies the high encomium passed on the artist by the distinguished 
 French critic, and the exalted reputation which all Europe accorded the 
 
 painter during his lifetime. 
 
SHAW COLLECTION. 
 
 No. 216 
 JEAN BAPTISTE ANTOINE GUILLEMET...Paris 
 
 Born at Chantilly. Pupil of Corot and of Oudinot. Medals, 
 1874, 1876. Chevalier of the Legion of Honor, 1880. 
 
 *“* Landscape ” 
 
 14 X22 
 
 “ Guillemet is a painter who does not pursue chimeras. He paints 
 nature in her grandeur, sincerely and with a religious horror of 
 exaggeration. Well educated in the classics as a doctor of the 
 Sarbonne, one never hears him discourse in the affected jargon of 
 the studios. He introduced himself to the illustrious Corot and en- 
 joyed the benefit of his counsels. Through Corot he made the 
 acquaintance of Barye, of Daumier and Vollon, who were his friends 
 and advisers. In 1869 he profited by the wise hints of Courbet, and 
 his very debut, thanks to these advantages, was brilliant and note- 
 
 worthy.” —BELINA : Vos Peintres, 1883. 
 
 Although to acertain extent a pupil of Corot, Guillemet has been fortunate 
 in possessing an original strength of mind that preserved him from falling 
 slavishly into the master’s tracks. The best of Corot, the quest for perfection of 
 tonality, he acquired and developed. When, in one of his pictures, the tones 
 and values have fallen into their true relations, he considers the work complete 
 and sets it by without elaborating it with encumbering detail. One of the 
 first pictures he exhibited, “‘ Bercy in December,” was considered of such an 
 order of merit that the government acquired it for the Luxembourg collection, 
 in 1874, and in 1880 his artistic merit won for the artist the coveted decoration 
 of the Legion of Honor. 
 
THE SHAW COLLECTION. 87 
 
 WILLIAM FERON...... ARS at ree Bieieee aris 
 
 Born at Stockholm, Sweden. Studied at the Academy of Fine 
 Arts of Stockholm, 
 
 “Low Tide: Boulogne” 
 
 28 X 20 
 
 “With a soft, slow, gentle motion 
 Swings the ebb tide to the sea; 
 Swings the slow tide hushfully 
 
 > 
 
 To the distant, restless ocean.’ 
 
 —WILLIAM SHARP. 
 
 The fishing boats and the tide are out together. The long reaches of sand 
 gleam wet and yellow in the summer sunlight. The brightness of a fair day 
 flashes in ripples of reflected gold upon the treacherous sea. Ashore the old 
 and feeble, the women and the babes alone are left, while all who can pull 
 rope or handle oar are off to wrest a living from the deep. There is nothing 
 uncommon in this desertion of a French fishing village by all its able-bodied 
 denizens. Often, indeed, at certain seasons, the women too are away, and the 
 chance traveller finds the cabins inhabited only by the blind or palsied grand- 
 sire and the babe in its untended cradle. The fisher girl in this picture is for 
 the present anidler. She has carried her knitting down to the shore, there to 
 await the return of the boats which will bring back to hera lusty sweetheart 
 and a tasx in helping him unload his finny spoil. The fair sky carries no threat 
 of danger to her heart, and so she knits and sings in the sunlight, happy in the 
 thought that he is safe to return to her when the day’s work is done, 
 
THE SHAW COLLECTION. 
 
 No. 218 
 
 THEODORE ROUSSEAU (deceased) 
 
 Born at Paris, 1812. Pupil of Lethiere. Showed himself a 
 naturalist from the first, and for thirteen years was ex- 
 cluded from the Salon by an Academic jury. First exhib- 
 ited in 1834. Medals, 1834, 1849, 1855. Chevalier of the 
 Legion of Honor, 1852. One of the Light Grand Medals 
 of Honor (Exposition Universalle), Paris, 1867. Died, 
 1867. Diploma to the Memory of Deceased Artists, 1878. 
 
 “ Twilight ” 
 6X 12 
 
 ““He excelled Corot in combining with a thorough draughtsman- 
 ship a rich scheme of color. In 1857 Edmond About wrote: ‘ For 
 twenty-five years Theodore Rousseau has been the first apostle of 
 truth in landscape—above all, a colorist.” His genius transformed 
 the commonest aspect of nature into a poem; he could paint the 
 storm as well as the smile of nature. He was intensely French, and 
 to his love of landscape was added the love of his native land. He 
 painted many pictures of sunrise and sunset, in which he illustrated 
 the principle which he expressed in saying: ‘Light spread over a 
 work is universal life; without light there is no creation.’”-— 
 STRANAHAN : ‘‘Ziistory of French Painting.” 
 
 There are no tenderer or more poetical productions of Rousseau’s brush 
 than his studies of the glory and the mystery of departing day. The enormous 
 power of color that he possessed found in these subjects opportunities for a 
 full display of itself, while his own mental bent was in harmony with the pen- 
 
 siveness and solemnity that attend the death of day. He gave to these pictures 
 a dramatic—often even a tragic character, where in Corot they had the charm 
 
LAE SHAW \ COLLECTION. 89 
 
 of dreaminess and peace. Theophile Thoré relates of him that he would arise 
 at night from his troubled sleep, and by the uncertain light of a flickering 
 lamp perpetuate on the canvas his memories of the splendor of an evening 
 sky seen from his garret window, and made magnificent by the reflection of 
 the dreams in which the picture of his mind had haunted him until it became 
 atangible thing. During the years he had spent at Barbizon, even the simple 
 villagers learned to call an exceptionally splendid and colorful sunset a 
 ‘*Rousseau sky.” 
 
GE IN 
 
 TTT