INE GDINA DD OTC EINE MAG AG FROM 9 A. M. UNTIL 6 P. M. Piaget NEW AMERICAN ART GALLERIES EU ERNIED BLOCK OF MADISON AVENUE, 56TH TO 57TH STREET, NEW YORK ENTRANCE, 30 EAST 57TH STREET BEGINNING SATURDAY, DECEMBER 30TH, 1922 AND CONTINUING UNTIL THE DAY OF THE SALE THE PRIVATE COLLECTION OF THE CONNOISSEUR MR. MEYER GOODFRIEND NEW YORK— PARIS TO BE SOLD AT UNRESTRICTED PUBLIC SALE IN THE ASSEMBLY HALL OF THE NEW AMERICAN ART GALLERIES peereeee e NE AINE EOA LEER TBO ON THE EVENINGS OF THURSDAY AND FRIDAY JANUARY 4TH anp 5TH BEGINNING EACH EVENING AT 8.30 O°CLOCK ILLUSTRATED CATALOGUE OF THE VALUABLE PICTURES AY THE BARBIZON MASTERS THEIR CONTEMPORARIES THE FRENCH IMPRESSIONISTS AND MODERN FRENCH PAINTERS FORMING THE PRIVATE COLLECTION OF THE CONNOISSEUR MR. MEYER GOODFRIEND NEW YORK—PARIS TO BE SOLD AT UNRESTRICTED PUBLIC SALE IN THE ASSEMBLY HALL OF THE AMERICAN ART GALLERIES ON THE EVENINGS HEREIN STATED LA 3 U| 2. _{" > he LU 8Y4SUG THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSOCIATES, MR. OTTO BERNET AND MR, HIRAM H, PARKE, OF THE AMERICAN ART ASSOCIATION, Manacers ENTRANCE, 30 EAST 57rH STREET NEW YORK 1923 THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION cal. (8.0) EXT AND LY POGRAPHY INTRODUCTORY Mr. Goodfriend, the collector and owner of these pictures, would need no introduction in the business world in which he moves. Nor is he unknown in the art circles of Paris. He was born in New York within a few blocks of his present place of business in Fifth Avenue when—and it was not so long ago, as many readers not yet accepted as oldsters can testify and will readily recall—elements of the pas- toral life within the city were still near neighbors of that now cosmo- politan thoroughfare. He is a merchant of pearls and precious stones in New York, with an office in Paris. For thirty years he has been visiting France in the course of his business, and for his own personal delight has been buying pictures. It is not his boast, but his temperate admission, that he has seen, and within limits studied, all the Salon exhibitions from 1892 to date, with the exceptions of those of 1894 and 1895. But his collection is not a collection of “Salon” paintings ; far from it, happily. In early life he felt what is now called the “urge” to be an artist, but turned from it and gave his eye for color to gems, without aban- doning the love for art. A room of his office suite in Paris has at times been given over to an artist to exhibit his works. At one time in the course of his collecting Mr. Goodfriend had the idea that he might form a collection with the definite motive of presenting it to an American museum, ultimately, but the complex reasons for and against that object determined him otherwise. He bought to please himself, esthetically, and as time went on with a due consideration of the intel- ligent standards of art. In the meantime he went methodically and persistently to the museums of France, Belgium, Holland, Germany, Austria, Italy and England and studied their canvases. When he told me of it I was re- minded of two of the veritable experts in art that Europe has sent us: one, expert in paintings, who had followed the same course; one (still living) of a broader expert experience, who frankly declared that thus visiting the museums was the only way to expert knowledge. THE CoLLEcTION The collection of Mr. Goodfriend will speak for itself—it has already appealed to writers abroad, as will be seen later—and the fore- going personal notes have been set down merely because it may be frankly acknowledged his name has not been widely known as an art collector of New York. It will become so known to those who visit the exhibition of this collection, irrespective of the monetary value at which the veritable masterpieces, as well as the “studio delights,” of the collection may be appraised at public competition. Official recog- nition of the sincerity of contents of the collection may perhaps be in- dicated by citing a letter of July 13 last, from the Curator of the Museum of Decorative Arts, Paris, written from the Musée des Arts Décoratifs, Palais du Louvre, Pavillon de Marsans. It says: Dear Mr. Gooprrtenp: As the Second Empire Exposition, organized under my care at the Museum of Decorative Arts, is about to close, I take it upon myself to express to you our thanks, as well in my name as in that of our President, M. Fran- cois Carnot, for the part that you have taken in confiding to us masterpieces of French painting of that epoch. The two sketches by Puvis de Chavannes which you entrusted to us are among the most beautiful of that master. (Signed) The Curator of the Museum, L. Merman. The pictures of the collection are modern—of the nineteenth and twentieth centuries—Barbizon painters and their contemporaries, im- pressionists and others of the third quarter of the nineteenth century, and a few of the newer men of the present (none of the “wild men”)— these are the painters represented, painters and poets. An article on a portion of the collection as exhibited at the Georges Petit Galleries, Paris, written by M. Roger-Miles, art critic, of Le Figaro, appears later on, and with the enthusiasm permitted writers in France records some of the effects produced upon the writer by some of the Goodfriend canvases. M. Roger-Miles did not see a Corot which was not then exhibited but is now in New York, an “In- > or expatiation would not have been denied; for in luminosity and charm it is compelling, at the same time that it térieur de bergerie,’ is uncommon as a production of Corot’s brush and as an example of the range of his work. Of Vollon’s work there is in particular one of his wonderful still lifes that seems to say all that paint can say on canvas in the elo- quence of its rich surface beauty. A Courbet presentation of the old mill near his native village is a remarkably fine example of this master. The sobriety of Ribot, the dramatic qualities of Isabey and the serious workmanship of Stevens claimed the collector’s attention, not to the exclusion of the chromatic affluence of Renoir in paint and of Lhermitte in his aerial pastels. A small but highly typical sketch by Henner was given by him to his friend and teacher, Ernest Hébert. Manet appears in a noteworthy canvas and also in an unusual water color; Millet, in a portrait of a friend and pupil which has been held in the family ; the Daumieresque Forain, in a figure group. René Ménard is here and Gaston La Touche, and Charles Cottet, man of many museums in Europe and North and South America; also Al- phonse Etienne Dinet, of many awards and Hors Concours at the Salon, and Lucien Simon, who presents a Breton interior with figures. Other artists not mentioned in Mr. Miles’ review—he saw only the portion of the collection exhibited at the Petit Galleries at the time— include some of the less known and the newer or more modern men, for whom in the course of his evolution as a collector Mr. Goodfriend developed a strong predilection, among them Albert Lebourg, about whom and whose work a book with reproductions is in preparation, with a sketch written by M. Léonce Bénédite, director of the Luxem- bourg Museum. His ‘‘Meuse a Dordrecht,” a sympathetic rendering of the river and the famous old church in a fog, is a veritable joy in paint. Also, Alexandre Jacob, “Painter of Winter,” whose works have been purchased by the City of Paris and by the State, some from the Salon des Artistes Indépendants. Another is Paul Renaudot, who died last year, after suffering in service in the World War, who was a fellow student with Matisse at the Ecole des Beaux Arts and who is represented in the Luxembourg and other French museums. An incident not without its personal inter- est links him with America. His father, a French sculptor in Italy, was the inseparable friend of Henri Regnault when the latter, as Prix de Rome winner, was at the Villa Médicis. Regnault’s model for his famous “Salomé,” now in the Metropolitan Museum of Art in New York, was the Italian maiden, then at the age of sixteen, who was to become the wife of the sculptor and the mother of the painter Renaudot. Cézanne and Gauguin are here—and there needs no mention beyond their names to indicate the further ranges of the collector’s spirit—but there remains to be said a word about two later painters of whom Mr. Goodfriend is very fond, so much so that he shows them in numerous examples; while he acknowledges the partiality of friend- ship, he is supported in recognition of their art by publications in Paris which speak of it with enthusiasm—Francois Charles Cachoud and Elie Anatole Pavil. Cachoud, a poet-artist, a dream-painter of moonlight, with actualities of mundane detail which are startling with- out disturbing the poesy, has been seen here; Pavil is a new-comer. Pavil, who was born in Russia (Odessa), is a French painter, a painter especially of Montmartre, its types, its life, its varied physical characteristics. Perhaps, to be brief, there might be quoted what amounts to a peroration in an article entitled “The Joy of the Eyes” by a writer in Clemenceau’s newspaper L’Homme Enchainé, as showing the reactions in at least one Frenchman’s mind to the work of Pavil: “Whether he expends with prodigality and an infinite languor all the wealth of his palette on the corners of Montmartre, where his feel- ings lead him in the leisure hours of twilight; whether he interprets in an admirable variety of tones the poetry that rises to his lips when to his eyes appears the provoking magic of the western skies; whether he evokes in furiously animated and brutal studies the passion of human beings in the smoking-bars or the dancing-halls—always lights burst forth and vibrate with intensity, as if to throw in spite of everything an enchanting gleam of the ideal before the blurred eyes of men.” Dana H. Carrout.. New York, November, 1922. LA COLLECTION MEYER-GOODFRIEND By Rocer-Mizes (Translation) Do you recall the aphorism of Jules Janin [Jules Gabriel’ Janin, 1804-1874; French critic] in his “Petits Souvenirs”? He said, speak- ing of the way artists were encouraged in the sixteenth century: “To buy a picture from a painter is paying a national debt.” That is indeed a pleasant prescription, and we should be happy if things were done that way. But not all amateurs are of the same mind, and it is necessary to classify them. Aside from him who requires the great orchestra of fame there is the amateur who quietly seeks out the artists whose talent moves him, there is the one whose choice falls only on certain names and certain works, and there is the one, of a select company, who, closing his door to importunities and indiscretions, knows the adorable pleasure of resting his eyes upon works he loves. It is to such an amateur that the aphorism of Jules Janin applies, and when we look upon the chefs-d’euvre of which we are about to speak we say without hesitation that M. Goodfriend is that amateur. His collection? He formed it not only to please the eye, but also with a definite aim: he wished by the assembling of masterpieces which are in fact an eloquent exaltation of nature in her varying aspects to show the effort of the French School of 1830—or better, the Barbizon School—and the effort of the School of 1863, called Impressionist ; he wished to mark the point of connection between those whose evolution was toward light and those whose evolution created itself by light. He told me this himself one day when we met at an exhibition before some canvases of which he had a refined comprehension. But he stopped at the threshold of neo-impressionism. Corot certainly had the love of this amateur; he alone occupies more than a third of the whole assemblage—and how Corot merits the favor! Corot whose soul was enthralled by the sweetness of morning lights, of which thought evoked idyllic dreams. * * * Nature showed herself to him not as an open book of figures and statistics, but as a mistress ever admirably young and beautiful and ever worthy of admiration. . . . Let us stop before the works of Corot which Monsieur Goodfriend was so fortunate as to collect. “Te marais” (“The Marsh’’), a peerless picture in which Corot re- membered the Italian picturesque. At the foot of a hill crowned with buildings the thickly grass-covered ground is marked here and there by narrow ponds. On the right a clump of trees seems to spring up from the rocks. On the left in the background a small tower sets up its gray shape against the blue sky in which bright clouds are passing. This picture is simply a delight. “Le gros arbre dominant la vallée aux environs de Boissy Saint Léger” (“Big Tree above the Valley in the Neighborhood of Boissy Saint Leger’). On the left of the tree two countrywomen have stopped, and they stand out in the atmosphere with such precision that they seem two living flowers under the vast sky of white clouds and azure. *‘La forét de Coubron—Les ramasseuses de bois” (“Wood Gatherers in Coubron Forest”). * * * Another marvel which explains Corot’s great renown. And again, “Le paturage sur le plateau en Picardie” (Pasture on a Picardy Plateau’), “La barque” (“The Barge”), “Le gros arbre au bord de létang” (“Big Tree by the Pond”’),—a page of poetry and of splendor. Daubigny figures here with two works, ‘‘Les laveuses au bord de VOise” (“Washerwomen on the Bank of the Oise”) and “Les bords de la Seine a Partijoie” (‘Banks of the Seine at Partijoie’’). And the transparent shadow of evening (in the latter) glides on whe delightful spot lke a song of peace after the hard toil of the day. Daubigny does not aim only at sensibility and poetry, but in his pictures the tones of sky, earth and water are in such accord that one truly has nature under one’s eyes. * * * We recollect the master wearing his velvet cap, sitting in his boat in the middle of the river, calm in appearance but raptured within with meditation; he listened to the stillness full of whispers. Beside Daubigny who sings in minor like a violin behold Troyon, full of robust strength, who fixes the most clamorous flourishes of light. From him, we salute “Les trois vaches dans un paysage” (“The Three Cows in a Landscape’”’) with a marvelous effect of light on the red cow while the white cow beside her remains in the shadow. Everything in the picture brings out the powerful throb of country life during the summer months. Note “La rentrée du troupeau, le soir” (“The Return of the Cattle—Evening”’) and “tLe troupeau au paturage” (“The Herd in the Pasture”). 'Troyon conceived and interpreted animals outside all conventions of his time. He differentiated races, understood in- stinct ; he wrote, so to speak, the animal psychology. None knew better how to make us interested in those silent beings whose life is so intimately bound to ours . . . showing them more patient than unconscious with their servitude. Diaz tells us of a sunset in Fontainebleau forest, ‘‘La mare dans la clairiére” (“The Pond in the Glade’). Jules Dupré takes us to the same forest in “Paturage dans une clairiére.” Dupré sought all his life to represent the drama of nature which is played above our heads in the sky and gives to the site below a special effect. Corot, who used to like to visit Dupré at Isle-Adam, said with exactness that he was the Beethoven of landscape. The collection includes two admirable pictures akin to the 1830 school, Boudin’s “Laveuses dans le port de Trouville” (“Washerwomen in Trouville Harbor”) and Jongkind’s “Le fort Rabot et P’Isére aux environs de Grenoble” (“Fort Rabot and the Isere near Grenoble”). Boudin—his delicate and sincere intimacy, his exquisite daintiness of shades, the penetrating charm of his chromatism, which is that of the true colorist, these are the qualities that carry a name through the ages. Jongkind paints with an impulsive power that is a true delight. Goncourt said in 1882: ‘One thing strikes me at the Salon, the influence of Jongkind—every landscape of value at this time proceeds from that painter.” The second part of the collection includes works by Sisley, Monet, Pissarro, Raffaéli, Henri Martin, Besnard and Lebasque, which seem to indicate that the amateur has found in these great artists the con- necting link between the School of 1830 and the school called so absurdly Impressionist—as if the object of the art of painting were not precisely to note impressions. I must confess that in my opinion Sisley is the best poet among the painters of his school, and the best painter of those who pretend to stand as poets of that school. * * * He could remain a painter with no exaggeration of sentiment and yet full of emotion. The three remarkable pictures belonging to the Goodfriend collection prove that his highly gifted soul and upright conscience rebelled stoutly against easy work and common expression. By Monet the amateur possesses a masterpiece, “Le pont du chemin de fer 4 Argenteuil” (“The Railroad Bridge at Argenteuil”). What Monet paints is not only spots of nature but moments of nature. By Pissarro we find here three first-class pictures, “Le troupeau de mou- tons dans un champ aprés la moisson,” “Le pont sur la riviére 4 Osny” and “Le moulin de Knocke” (“Sheep in a Field after Harvest,” ‘The Bridge at Osny” and the “Mill at Knocke’’). Pissarro, too, studied the sky in connection with the fleeting hours, and he tells us his vision with a delightful ingenuousness. A country- side under his brush takes an expression of truth all his own; he makes us believe that he understood it as a countryman. Country life in- volved in the endless course of seasons uplifted his soul with an emotion of kindness and beauty, and if sometimes he discovered in nature an atmosphere of sadness it is because there are moments when nature is enticed to the sweetness of tears. By Raffaélli, “L’arbre au Cap Martin” (“A Tree at Cape Mar- tin”). Raffaélli invented a word to express his art, caractérisme, and he remained faithful to that characterism during all his splendid career. He has been a painter of grayish suburbs, but he has also been a painter of large sea spaces and great sky screens—against which he set up here the magnificent and desolate figure of the tree. He revealed the soul of landscape. By Henri Martin, painter of mural decorations but also turning to easel pictures, the delightful “‘Pont de Saint Médard” (“Saint Medard Bridge’ )—imparting to us the lively song of ight on running water. Finally, I have now to speak of the figures by Besnard and Le- basque—by the former, “Fragilité” (“Fragility”), by the latter, “Sous Vombrelle” (“Under the Sunshade’) and ‘Femmes travaillant dans un parce au bord de la mer” (“Ladies Working in a Park by-the Sea”). A young and playful girl is holding in her hand a cup, of Venetian glass ; a nervous movement—and the cup will fall to pieces. And so it is with life. Besnard with such simple elements conceived and produced a masterpiece of daintiness and color. Lebasque is one of the latest comers among the painters whom success has rewarded. He does not seek his subjects for the difficulty of finding out their concealed meaning. What he wants is simple ideas borrowed from life that permit him a song of colors—a fine display of living flowers in the open air and the striking oppositions of sunlight, with the sunlight the irresistible mettewr en scéne (“scene-man”’). L.e- basque is one of our best painters, and his boldness is simply a delight. But I must stop. I have said enough about this remarkable col- lection of works, before which anyone with the sense of art cannot help being moved. RoceEr-Mites. EXTRACTS FROM AN ARTICLE ON THE COLLECTION GOODFRIEND By Lovis VauxcELLE “.. . If one throws a glance upon the romanticists, the landscapists of Barbizon, the naturalists, the impressionists—that is to say, upon Delacroix, Corot, Millet, Courbet, Manet, Cézanne, Pissarro, Renoir, Puvis de Chavannes, Paul Gauguin—and these are the names, with those of Cazin and Lebourg, that you encounter at every page of the catalogue of the Goodfriend Collection—one remarks that these authors, whose works to-day bring large prices, were persecuted by their comrades, by criticism, by the great public—that in their home environment they had but a limited support of the elect. “|. . The impressionists have superior representation in Mr. Good- friend’s collection. Manet triumphsin the water color‘l’? Amazone’ and the ‘Femme indienne fumant la Cigarette’ (from the Degas Collection) . . . ; Gauguin in the famous ‘Bonjour, Monsieur Gauguin,’ and a landscape of Pont Aven. In the ‘Bonjour,’ reminiescent of an illustrious work by Courbet, you see the painter wrapped in a cloak, advancing toward a young peasant woman. The Breton scene is of a touching softness. “*. . . May I not, while writing of these two pictures, recall the emo- tion experienced by all the artists when we saw them (before their departure for America) on the wall of the Galerie Barbazanges at Paris, among thirty then unknown paintings by Gauguin? One can then comprehend the place occupied in the history of art by the master of Pont Aven and of Tahiti. “*. . . One can, then, to sum up, consider the collection of Mr. Good- friend as highly representative of the directing tendencies of contempo- raneous art in France in the nineteenth century from Corot to Cézanne. And diverse as the works may be, they signify nevertheless the unity and the excellence of the independent school. . . .” CONDITIONS OF SALE _ 1. Rejection of bids: Any bid which is not commensurate with the value of the article offered or which is merely a nominal or fractional advance may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. II. The buyer: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. III. Identification and part payment by buyer: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address. Payment at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so purchased may at the option of the auctioneer be put up again and re-sold. IV. Risk after purchase: Title passes upon the fall of the auctioneer’s hammer, and thereafter neither the consignor nor the Association is responsible for the loss or any damage to any article occasioned by theft, fire, breakage or any other cause. V. Delivery of purchases: Delivery of any purchases will be made only upon pay- ment of the total amount due for all purchases at the sale. Deliveries will be made at the place of sale or at the storage warehouse to which purchases may have been removed. Deliveries at the American Art Galleries will be made only between the hours of 9 A. M. and 1 P. M. on sales’ days and on other days—except holidays, when no deliveries will be made—between the hours of 9 A. M. and 5 P. M. Deliveries at places of sale other than the American Art Galleries will be made only during the forenoon following the day of sale unless by special notice or arrange- ment to the contrary. Deliveries at the storage warehouse to which goods may have been sent will be made on any day other than holidays between the hours of 9 and 5. Deliveries of any purchases of small articles likely to be lost or mislaid may be made at the discretion of the auctioneer during the session of the sale at which they were sold. VI. Storage in default of prompt payment and calling for goods: Articles not paid for in full and either not called for by the purchaser or delivered upon his or her order by noon of the day following that of the sale will be turned over by the Association to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and storage will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. NOTE: The Limited space of the Delivery Rooms of the Association makes the above requirements necessary, and it is not alone for the benefit of the Association, but also for that of its patrons, whose goods Ahad would have to be so crowded as to be subject to damage and loss. VII. Shipping: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. VIII. Guaranty: The Association exercises great care to catalogue every lot cor- rectly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will be set aside on account of any incorrectness, error of cataloguing or imperfection not noted or pointed out. Every lot is sold ‘fas is” and without recourse. Every lot is on public exhibition one or more days prior to its sale, and the Association will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot as catalogued or make mention of the opinion of such expert, who thereby will become responsible for such damage as might result were his opinion without foundation. ; IX. Buying on order: Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph or telephone will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale except that, in the event of a purchase of a lot of one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale and the purchase money will be refunded if the lot in any manner differs from its catalogue description. q Orders for execution by the Association should be written and given with such plainness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit should be sent or references submitted. Shipping directions should also be given. Priced Catalogues: Priced copies of the catalogue or any session thereof, will be furnished by the Association at charges commensurate with the duties involved in copying the necessary information from the records of the Association. AMERICAN ART ASSOCIATION, New American Art Galleries, Block of Madison Avenue, 56th to 57th Street, Entrance, 30 Hast 57th Street, New York City. INTELLIGENT APPRAISALS FOR UNITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES AND CATALOGUES OF PRIVATE COLLECTIONS APPRAISALS AND CATALOGUES. Together with the increase in its exhibition and sales rooms, the American Art Association will expand its service of furnishing appraisements, under expert direction, of art and literary property, jewelry and all personal effects, in the settlement of estates, for in- heritance tax, insurance and other purposes. It is prepared also to supplement this work by making catalogues of the contents of homes or of entire estates, such catalogues to be modelled after the finely and intelligently produced catalogues of the Association’s own Sales. The Association will furnish at request the names of many Trust and Insur- ance Companies, Executors, Administrators, Trustees, Attorneys and private individuals for whom the Association has made appraisements which have not only been entirely satisfactory to them, but have been accepted by the United States Revenue Department, State Comptroller and others in interest. THE AMERICAN ART ASSOCIATION AT ITS NEW AMERICAN ART GALLERIES THE BLOCK OF MADISON AVENUE, 56TH To 57rH STREET ENTRANCE, 30 EAST 57TH STREET NEW YORK CITY CATALOGUE FIRST EVENING’S SALE THURSDAY, JANUARY 4, 1923 IN THE ASSEMBLY HALL OF THE AMERICAN ART GALLERIES BEGINNING AT 8.30 O'CLOCK Catalogue Numbers 1 to 61, inclusive THe AMERICAN ART ASSOCIATION MANAGERS SALE AT THE AMERICAN ART GALLERIES VA eee PICTURES OF THE FRENCH SCHOOLS Collection of MR. MEYER GOODFRIEND Evenings of January 4 and 5, 1923 To save time and to prevent mistakes each Purchaser will oblige the Managers by filling in this slip and handing it to the Record Clerk or Sales Attendant on making the first purchase. Purchaser’s Name ; 2 Ne Address in Full Amount of Deposit ALEXANDER THEODOR WEBER GERMAN: 1838— 1_MARINE (Panel) Height, 74% inches; length, 10% inches Tue spectator looks straight down the entrance of a made harbor to the green open sea; jetties at right and left, and a white lighthouse at the jetty’s end on the left. The tide is low, and in the foreground and middle distance at right and left boats are lying on the gray sands, and sail are visible in the distance. At the horizon a summer haze, and in the blue sky creamy and grayish clouds. Signed at the lower left, TH. WerseEr. Purchased from Tedesco fréres, Paris. JEAN BERTHOLD JONGKIND Dutrcu: 1819—1891 2—PAY SAGE: ENVIRONS COTE ST. ANDRE (Water Color) Height, 714 inches; length, 1244 inches On the left a cream-white and grayish cottage with its tiled roof rust- colored and gray, and darkened by persistent vegetation, and before it a peasant figure with an expansive shoulder-burden, trudging toward the spectator. To right a varied landscape, green and whitish and gray, and near the foreground the cottage well. Signed at the lower left, 15 Mars, Jonexrinp. From Michel Collection, Paris. Purchased from Tedesco fréres, Paris. pe 3 £90 JEAN BAPTISTE CAMILLE COROT Frencu: 1796—1875 83—“VUE DOLORON” (Canvas mounted on panel) Height, 9 inches; length, 15 inches dy x 0 A Pyrenean landscape, with the mountains dim in the distance under a white sky, and in a sunny middle-distance valley of deep green grass, numerous houses and buildings of classical suggestion, and here and there tree-clumps, deep green, as seen partly against the light. A gray stream crosses the picture, and at its edge in the foreground a woman is walking. Signed at the lower left, Coror. From Arnold & Tripp, London. Purchased from the Galerie Allard, Paris. LOUIS EUGENE BOUDIN Frencu: 1824—1898 4—“LAVEUSES DANS LE PORT DE TROUVILLE (Panel) Height, 914 mches; length, 13 inches In the foreground several women on their knees and facing the spec- tator, busily washing linen at the border of the water, and in the middle distance other women similarly engaged and equally industrious, with their backs to the spectator, at the edge of another arm of the water. Beyond them some boats hauled out, and low buildings on the sandy and grassy and treeless dunes. Signed at the lower right, EK. Bounty, 796. Purchased from the Georges Petit Galleries, Paris. CHARLES FRANCOIS DAUBIGNY Frencu: 1819—1878 5—PAY SAGE: PRINTEMPS fp ves (Panel) Height, 6 inches; length, 111% inches Spring in the fulness of its verdure, a landscape of greens both deep and fresh, with hints of the brown earth in a field road and small hill- side outcroppings. Green hills, green fields and green trees, at left and right, under a sky whose white clouds almost conceal its blue. Signed at the lower left, Dausicny. From the Marcel Sauwvaige Collection. Purchased from the Galerie Allard, Paris. JEAN BAPTISTE CAMILLE COROT Frencu: 1796—1875 6-—CH ATE AU-THIERRY Height, 7 inches; length, 13 inches 14, 3% £ Yoo BETWEEN low green banks a silvery-gray stream traverses the picture from left to right, a confluent emerging from a wooded background and joining it near the left, where a house is seen. Other houses appear in the distance on the right, beyond fields where farmers are at work, while on the hither bank in the foreground are two fishermen at the water’s edge. Signed at the lower left, Coror. From the Stevens Collection, Brussels. Purchased from the Galerie Allard, Paris. f345 NARCISSE VIRGILE DIAZ DE LA PENA Frencu: 1808—1876 7—MARE DANS LA FORET (Panel) Height, 434 inches; length, 814 inches Roveu plains of an open forest stretch afar under a blue sky filled with banks and billows of white and smoky clouds. Low trees are seen at intervals, notably three short and bushy ones near the centre of the landscape, which cast their reflections from the bright sky for- ward upon the water of a rambling pool. On the hither side of the stream, in the deep grass of the foreground, a red doe is lying down, with head erect, and near by a stag appears. Signed at the lower left, Dtaz, 757. Collection Montgermont, Paris. Collection Comtesse de Béarn, Paris. From the Galeries Georges Petit. Purchased from the Galeries Simonson. NARCISSE VIRGILE DIAZ DE LA PENA Frencu: 1808—1876 8—PAYSAGEH AVEC MOUTONS ET BERGER (Panel) Height, 64% inches; length, 914 inches SUNSHINE on a day of midsummer with creamy-white vaporous clouds mounting from the horizon, and tenuous gray shower-clouds drifting away above them in a blue sky. Yellow-green grassy fields of a level land, and beyond a meadow pool in the foreground an aged shepherd and his dog, looking toward the flock of sheep grazing at a little dis- tance in the balmy air; and beyond them a clump of trees, with sun- shine in their leafage and shadows at their base. Signed at the lower right, N. Diaz, 64. Purchased from Tedesco fréres, Paris. fs oS JEAN BERTHOLD JONGKIND ; Durcn: 1819—1891 9—BATEAU AMARRE Height, 141% inches; width, 9 inches Tue afterglow of a softly golden sunset below mackerel clouds in a turquoise sky; in light silhouette a church tower and thick green trees on the farther bank of a Dutch river or canal, and the masts and one sail of a heavy Dutch working boat moored against the bank. On the ruffled surface of the stream reflections of the sky lights, and to left in the foreground a man poling his way ashore in a punt. | Signed at the lower right, Jonexinp, 61. Collection St. Albin, Paris. Purchased from the Galerie Allard, Paris. NARCISSE VIRGILE DIAZ DE LA PENA Frencu: 1808—1876 10—BOHEMIENS (Panel) Height, 1584 inches; width, 94% inches Beneatu the shade of a bifurcate tree, members of a gipsy family are standing, a young mother facing the spectator as she looks upon a sturdy infant held in her arms, a man equally interested in the child looking at it across her shoulder, and back of the mother a young girl- whose interest wanders. They are in garments low yet rich in tone, and flashes of sunlight accentuate the figures of mother and babe and glint through distant rifts of foliage. Signed at the lower left, N. Draz, 748. Collection of Baron Schickler, Paris. Purchased from the Galerie Allard, Paris. p Iys #975 CHARLES FRANCOIS DAUBIGNY Frencu: 1819—1878 11—ENTREE DE VILLAGE (Panel) Height, 934 inches; length, 12% inches Unper a blue sky with a light veiling of clouds, a green hill rising from the left circles forward on the right and in the foreground exhibits huge broken and purple-gray rocks. Within the sunlit elbow of the encircling hill a sunny and creamy roadway passes along a gray village wall on the left, to an entrance gate where trees shelter a modest cot- tage. Peasantry, women and children, enliven the scene at their tasks and sports, and sheep are seen near the rocks. Signed at the lower right, Daunteny. From Boussod, Valadon et Cie. Purchased from Tedesco fréres, Paris. CHARLES FRANCOIS DAUBIGNY Frencu: 1819—1878 12—LISIERE DE FORET (Panel) V4 TLS Height, 7% inches; length, 10 inches Art right the border of a forest of slender trees, and bordering the wood a field road along which in the middle distance a peasant girl is walking. At the left rough fields and green herbage, and in the distance a river and bridge and a thatched farmhouse, the whole in a soft light under a sky of grayish tonality, and in an air balmy and sweet. Signed at the lower right, Daunieny. Collection Clapisson, Paris. Purchased from Tedesco fréres, Paris. poys JULES DUPRE Frencu: 1812—1889 13—VACHES A L-ABREUVOIR (Panel) Height, 1134 inches; length, 15% inches Wirurn encircling knolls which are threaded by gentle hollows and suggested ravines lies a pond, its still surface a mirror of the greens of the surrounding grasses and trees, of the autumn colorings of sec- tions of the plenteous leafage, and of the warm coats of cows that are standing in the cool water. Sunshine from the left floods the farther foliage and verdure on the right, makes foliar lacework of the leafage in partial shadow, and in reflection from the greenish-turquoise sky dapples the surface of the pond with silvery lights. Signed at the lower right, JuLes Dupre. From the Galeries Georges Petit, Paris. Purchased from Tedesco fréres, Paris. JEAN BERTHOLD JONGKIND Dutcu: 1819—1891 14—ENVIRONS DE ROTTERDAM fo eer Height, 934 inches; length, 1234 inches In the brilliant and diffused light of a low sun all but concealed in nebulous masses of light creamy clouds in a bluish sky, green and flat and sandy fields of Holland spread afar; in the distance a wind- mill is visible. Nearer at hand a horse and cattle are seen, and trees near a group of farm buildings, and an abandoned small boat hauled ashore from the verge of a foreground inlet. Signed at the lower right, Jonextnp, 1868. Jongkind Sale, Paris, 1891. Herz Collection, Paris, 1907. Purchased from the Galerie Allard, Paris. ALFRED STEVENS Beucian: 1828—1906 15—LA LISEUSE ROSE (Panel) Height, 1034 inches; width, 81% inches Iw a flounced and spreading gown of palest old-rose lightening with reflections to a soft pinkish-buff, a young woman with an abundance of blond hair dressed behind her shoulders is seated at the end of a sofa, leaning lightly on its arm, her hands loosely clasped in her lap. She is observed nearly at full length, figure slightly to left, and face in profile to left, as she reads or leisurely examines some pages lying on a table beside a brilliant vase of flowers. Signed at the upper right, AS (monogram). Collection Dutoict, Brussels. Purchased from the Galerie Allard, Paris. a ps ‘Re sft Z, / Wude Cr uf oite Da. le te Gree yo. Wietstlted . SMA C4 EY ~ a 4 ¢ ( AUGUSTIN THEODULE RIBOT Frencu: 1823—1891 16—LE DEJEUNER DU CUISINIER 4 YS Height, 18 inches; width, 15 inches Tue cook at his breakfast, a youngish man in white blouse and apron and cap, and dark trousers, with bare feet thrust into kick-slippers. seeks to make friends with the haughty and somewhat sceptical gray cat, tendering it an offering from his dish of wufs sur le plat. The group in a full but bland light against a sombre background. Beside the cook’s bench his brown cruchon and a partly emptied glass of red wine. Signed at the lower right, A. Risot, 1862. Purchased from the Galerie Allard, Paris. psy LOUIS EUGENE BOUDIN Frencu: 1824—1898 17—LE PORT DU HAVRE Height, 15 inches; length, 21% inches Mornine light in a slightly creamy sky, in which the fleecy cloud patches are bluish to the spectator’s eye, comes over the ruffled harbor waters and pitches them in a silvery key. The waters fill the fore- ground, and extend back to a low bluish shore; buoys mark them, and early-bestirring mariners are active in their small-boats, while in-shore at left and right are moored square-riggers with canvas furled. Signed at the lower right, E. Bovnry. Collection of J. A. Fernandez of Buenos Aires. Purchased from the Galerie Allard, Paris. fins 4 Se ELIE ANATOLE PAVIL Frencu: 1875— 18—LA RUE LEPIC, PLACE BLANCHE, A PLUIE (MonTMARTRE) Height, 15 inches; length, 1814, inches Creamy buildings on the left at the border of a place, and extending down the street to the distance, and on the right of the street other varied buildings and tall blue roofs. The sky is lightening on a showery day, and its light glistens on the pavement of street and square, which are filled with hastening pedestrians dimly seen in the mist. Signed at the lower right, Exuie Pavit. Purchased from the Artist direct. JEAN BERTHOLD JONGKIND Dutrcu: 1819—1891 19—LE FORT RABOT AU BORD DE 4 a LISERE, ENVIRONS DE GRENOBLE Height, 13 inches; length, 2214 inches Tue Alpine heights are white in the distance under a cream-veiled blue sky, and a bright morning light illumines the fortification on the left, the blue river softened and brightened with the cloud and mountain-top reflections, and the tree-lined quai on the right, where some men are seen. In the stream a raft of logs. Signed at the lower right, Joncxinp, 1885; inscribed at the lower left, GRENOBLE, 2 Jury, 1885. Purchased from the Georges Petit Galleries, Paris. JEAN BERTHOLD JONGKIND Dutcu: 1819—1891 20—LES QUAIS DE LA SEINE BUS Height, 13% inches; length, 1734 inches In the foreground at left a creamy sandy bank topped by a few dwarf trees, and figures seated on the slope or engaged in loading a barge. Near the barge, in the stream, a rowboat with other figures. In the background a bridge leading to the river’s farther shore, where occa- sional steeples and chimneys rise above a mass of green tree-tops. Signed at the lower left, Joncxinp, 1865. Collection Saint Albin, Paris. Purchased from the Galerie Allard, Paris. THEOPHILE DE BOCK Dutcu: 1850—1904 21—_LANDSCAPE AND FIGURE Height, 21 inches; width, 1614 inches Unpver a blue sky in which vaporous clouds are suspended, green trees and some trees all but bare of leaves stand at left and right of a by-road whose sandy reaches are dappled with sunshine and shadow. At a turning in the middle distance the standing blue-clad figure of a peasant woman in a white cap. Signed at the lower right, Tu. pe Bock. From Goupil & Co., The Hague. Purchased from the Galerie Allard, Paris. CHARLES COTTET Frencu: 1863— 22 FEMME DANS UN PARC Height, 2444 inches; width, 17 inches Ix the foreground a tall young woman walking somewhat away from the spectator, her face turned in profile to the right. She wears a white summer dress of light material, with a black lace shawl draped over her arms, and a gracefully flowing Leghorn hat trimmed with black, the wide brim partially shading her features. She is in the formal path of a park and in partial shade, and in the background in sunshine a hospitable building appears with a gathering of persons suggested about the steps. Signed at the lower left, Cu. Correr. Purchased from the Artist direct. poe pe ALBERT LEBOURG Frencu: 1849— 23—LA MEUSE A DORDRECHT Height, 15 inches; length, 24 inches In the foreground the river and marshy shallows, and in the middle distance a line of typical Dutch boats extending back and toward the left, their sails and pennants blowing to right in an easy breeze. In the distance on the right, houses and a windmill, and the notable and noted old Gothic church, in a murky haze or the fog of a passing shower,—above which the golden sun struggles forth, coloring clouds with chromatic refractions, which are reflected below in the surface of the stream. Signed at the lower left, A. Lenourc, 1895. Purchased from the Georges Petit Galleries, Paris. ae ms i ELIE ANATOLE PAVIL Frencu: 1875— 24 CHARENTE LANDSCAPE: NEAR ANGOULEME Height, 18 inches; length, 21% inches In the background, houses and other buildings of a city or considerable town, and from amidst them emerging a river, which curls into the foreground, sparkling with the reflections of the buildings and their red roofs, and of the green trees which in the middle distance rise high on the river’s farther bank. Against its nearer bank, in the fore- ground, some punts are drawn up, and in the grass a small figure is seated, looking out over the water. Signed at the lower right, EK. A. Pavit. Purchased from the Artist direct. PAUL RENAUDOT Frencu: 1871—1921 25—LE TIROIR (Board) Height, 2134 inches; width, 1814 inches Factne the observer, standing, and bending to her left over a small dressing or work table, from which she has pushed forward a drawer, a dark-haired young woman in a reddish négligé house gown leans upon the table and with one hand reaches into the drawer. Her gown is open at the throat, and the girl’s head is inclined forward as she looks downward for what she seeks in the drawer. Signed at the upper right, P. Renavupor. Purchased from the Artist direct. pire pin ALEXANDRE JACOB Frencu: ConTEMPORARY 26—BORD DE RIVIERE: UN PECHEUR Height, 18 inches; length, 21% inches From the left, slanting sunshine touches the gray gable of a brown- thatched cottage and the red gable of its neighbor, and illumines in the distance a green hillside and its thick trees, which show autumnal color. Between the cottages and the wooded hill, a silver-blue river which fills most of the foreground and shows reflections of a robin’s-egg sky in which mauve cloud billows roll serenely away. Near the stream’s bank a fisherman in his boat, fishing a la ligne. Signed at the lower right, A. Jacos. Purchased from the Petri Galleries, Paris. HENRI LEBASQUE Frencuo: NINETEENTH CENTURY 27—FEMMES TRAVAILLANT DANS UN PARC Height, 1814 inches; length, 24 inches In bright sunshine, in an informal park bordering a cobalt sea, two women are seated in chairs, the elder sewing, the younger with work or a book on her lap, and both wearing Leghorn sunshade hats. One in a blue-white dress striped with black, her companion gowned in rose. In the environment green trees and bushes. Signed at the lower right, LEBASQUE. Purchased from the Georges Petit Galleries, Paris. ELIE ANATOLE PAVIL Frencu: 1875— 23—LE QUAI NATIONAL: LES : DERNIERS RAYONS DE SOLEIL pro Height, 1814 inches; length, 24 inches Tue broad gray quay occupying the foreground and running back on the left under the green and gold-tipped branches of overhanging trees 1s broadly patched with golden lights, under the influence of the setting sun. Stray and idling figures are seen on it, and against it at right are cargo barges and other craft, many-hued, drawn up in the pale-blue river, which in the distance passes under a gray bridge of several arches. Sunset iridescence tints the sky, over distant chimneys and the green trees of the farther bank of the stream. Signed at the lower right, Exim Pavit. Purchased from the Artist direct. ALEXANDRE JACOB Frencu: CONTEMPORARY 29—BORDS DE LA CANCHE: HIVER Height, 18 inches; length, 21°4, inches : gp S50 Wrnter’s white pall, yellowing in warm sunshine, and faintly bluish- green where the sunlight is screened, lies over flat fields bordering the stream which courses down the centre of the composition, and over the gable roofs of cottages and barns on the stream’s bank and far afield. Near the cottages to right are short scraggly trees and taller poplars, leafless or nearly so, and in the background is a low, darkly wooded hill. Signed at the lower right, A. JAcon. Purchased from the Petri Galleries, Paris. P5]s CONSTANT TROYON Frencu: 1910—1865 30—LANDSCAPE WITH CATTLE AND FIGURES (Pastel—Oval) Height, 19 inches; width, 154 inches Unper a soft summer sky of robin’s-egg blue, massed with clouds pink- ish-buff and mauve, a rambling and varied valley extends afar between high hills, its centre broken by mounds and bluffs and clumps of green trees. In a meadow patch in the foreground cows are grazing in the sunshine, and near them some figures are seated in a group on the grass, at the foot of a cluster of ragged trees whose foliage shows tinges of autumn coloring. Signed at the lower left, C. T. Purchased from Tedesco fréres, Paris. LOUIS EUGENE BOUDIN Frencu: 1824—1898 31—ST. VALERY SUR SOMME Height, 1414 inches; length, 23 inches B 4s Gray the skies on a grayish but very light day, the veiled yet dif- fused sunshine penetrating even beneath the trees on the low hillsides bordering on the right and left and in the distance the bend of the river which, issuing from the left, expands to occupy most of the foreground. To left the bank shows trees, a solitary figure on its slope, and in a boat at the water’s edge other figures. Along the right are square-riggers at the foot of a primitive quai, along which, a bit higher up, are houses and the waterside buildings of commerce. Signed at the lower right, K. Bounry, 90 (with place name not wholly legible). Collection St. Albin, Paris. Purchased from Tedesco fréres, Paris. LEON AUGUSTIN LHERMITTE Frencnu: 1844— 32—LA LECON DE COUTURE ( Pastel) Height, 18 inches; length, 221% inches L400 WrrHIN a spacious cottage room an old woman and two younger ones are seated near a window on the right and about a drum-shaped stove, the younger women sewing. An open door in the left background reveals another large room, the whole simple and plain but with a quiet charm of color. Signed at the lower left, L. Lurermirre. Collection Chaperau, Paris. Purchased from Tedesco fréres, Paris. pss LEON AUGUSTIN LHERMITTE Frencu: 1844— 33—_LA MESSE A ST. BONNET, BOURGES (Pastel) Height, 2144 inches; length, 251 inches Cross section of the interior of a handsome church, looking toward brilliant and beautiful stained glass windows; at right the altar with priests and acolytes, at left the worshippers facing it, and in the left foreground the organist playing, his back to the spectator. Signed at the lower right, L. LHERMITTE. Purchased from the Artist direct. HENRI HARPIGNIES Frencu: 1819—1916 %. 34— LANDSCAPE WITH FIGURES Height, 191% inches; length, 2534 inches Unover a fair blue sky filled with fleecy white clouds a green pastoral landscape, broken by trees and an occasional house. In the foreground a stream, light with cloud reflections and shadowed by clumps of trees and reeds, and on its green grassy bank two girls in blue, seated, one of them fishing with rod and line. (Nieces of the Artist.) Signed at the lower left, H. Harpicnres, 1883. Collection Gurt, Paris. Purchased from Tedesco fréres, Paris. Is piso LEON AUGUSTIN LHERMITTE Frencu: 1844— 35—PELERINAGE POUR L’ENF ANT MALADE: EGLISE DE PLEIN-PIED, BOURGES (Pastel) Height, 2534 inches; width, 2144 inches Ar a shrine within a Norman church of soft and rich coloring, with the light of a bright day plenteously illumining the spacious interior, a family in trouble have come for divine relief. A little girl kneeling burns a candle, the father standing bows his head in prayer, the mother raises and supports the head of her stricken son who has been laid on the chancel step. Humble folk all, in clothing drab and plain. Signed at the lower left, LHERMITTE. Purchased from the Artist direct. HENRI LEBASQUE Frencu: NINETEENTH CENTURY ps 36—BRODEUSE ASSISH SUR L-HERBE Height, 2814 inches; width, 25 inches Ar left the end of a garden wall capped by a jar of flowers, and beyond it steps leading down to right to a sandy path. In the middle distance a plump young woman in white, with broad hat concealing her features, seated on the slope of a green bank and working at her embroidery in the bright sunshine. Signed at the lower left, H. Lepasaue. Purchased from the Georges Petit Galleries, Paris. psso p yo0 EUGENE GABRIEL ISABEY Frencu: 1804—1886 37—_LA PLAGE Height, 1614 inches; length, 26°4 inches FisHERMEN in colorful and picturesque garb, and bare-legged, in the foreground at the left are laboring to push their boat down the slope of a sandy shore to the sea which ripples lazily on the right. Lying still aground but within the ripples of the slowly rising tide, on the right and in the middle distance, are several working boats, with pen- nants flying from their masts and their sails still furled; and boats under repair or in building are on higher sands in the distance. Signed at the lower right, K. Isanery. Beugniet et Gérard Collection, Paris. Purchased from Tedesco fréres, Paris. FRANCOIS CHARLES CACHOUD Frencu: 1866— 388—_LA MAISON BLANCHE: NUIT CLAIRE Height, 24 inches; length, 2834 inches Srars glisten in an evening sky over a white French farmhouse and its neighboring buildings, which beyond a line of slender trees stand forth in brilliant moonlight, moonlight that marks foliage shadows on walls and grass and on a stack of hay. An unshuttered window glows golden with the light of the room within. Signed at the lower right, F. Cacnovup. Purchased from the Artist direct. CHARLES COTTET Frencu: 1863— F Ys 39—_SOLEIL COUCHANT, VENISE Height, 291% inches; width, 231% inches In a Venetian roadstead placid but still rippling with the ceaseless motion of the sea, several heavy working boats with sails still up are lying, hulls and canvas in strong silhouette against a flaming sunset sky whose reflections encrimson the green surface of the water. In the distance at left a low point of land with buildings. Signed at the lower right, Cu. Cortet. Purchased from the Artist direct. 150. ELIE ANATOLE PAVIL Frencu: 1875— 40—JARDIN PITTORESQUE, PARIS Height, 23% inches; length, 28%4 inches SunsHINE and the shadows of fresh green and yellow foliage dapple a broad and formal path which extends straight away from the eye through a park or garden to an indefinite distance. On right and left, lines of slender trees and of thick bushes border the path, and away at the left rises a confused mass of city buildings. On and near benches are maids seated, and children at play, and a small carriage stands near the group of figures. Signed at the lower right, E. A. Pavit. Purchased from the Artist direct. EUGENE GABRIEL ISABEY Frencu: 1804—1886 41—LE CHATEAU-FORT: LE DUEL Cg Height, 2114 inches; length, 2834 inches Hicu on a rugged hill on the left a stern yet graceful gray chateau, many-towered, and before a gate in an outer, older castle wall a goodly number of horses from which the cavalrymen have dismounted. On green and rugged slopes within the ramparts, in the central foreground, cavaliers in gay colors standing in a group in full sunshine, awaiting the progress of a duel. Below on the right, the city which the chateau dominates, its towers rising above the settling valley haze, below a heavily clouded yet light sky. Signed at the lower left, E. Isanry, *63. Collection of M. L. de Villequetone, who had it from the Artist direct. Purchased from the Galerie Allard, Paris. f igo ALBERT LEBOURG Frencu: 1849— _42—LANDSCAPE WITH FIGURE Height, 29 inches; width, 20 inches Ar left a brook bending into the foreground from green meadows, and bordered by slender poplars, and following the stream’s course at right a broad footpath. In the path a young woman in blue skirt and pink waist, strolling, coming slowly toward the spectator. The hour is the end of day, and the clouds in the sky are a blaze of sunset splen- dor partly subdued, streaks of their still effulgent glow showing reflec- tions in the sparkling brook. Signed at the lower left, A. Leznoura (with a place name, and date). Exposition for benefit of Blind Soldiers, Paris, 1916. Purchased through Galerie Georges Bernheim, Paris. ANTOINE VOLLON Frencu: 1833—1900 G sts 483 —NATURE MORTE: FLEURS ET FRUITS Height, 29 inches; width, 20 inches On a table of tapestried covering in soft colors, a large bunch of luscious black grapes is lying beside a gray globular jar which at one side reveals dark blue decorations, and near the jar stands a goblet of golden-amber wine. The jar, or vase, holds a multicolor bouquet of asters and other flowers, large and small, interspersed with their various leaves. Collection Dhainaut, Paris. Purchased from Tedesco fréres, Paris. ETIENNE DINET Frencu: 1861— 44—PAYSAGE ALGERIEN Height, 3014 inches; width, 25% inches Wirn rays of the setting sun from the left still warming the features of the landscape, and tinging with rouge a few cloud tufts seen above a distant barren hilltop, the crescent moon appears silver-white in the sky where evening planets already glow. In the middle distance and foreground masses of white architecture stand out from a setting of palm trees, and amid tomb-like ruins two figures appear, hooded and in deep red. Signed at the lower right, K. Diner. Purchased from the Galerie Allard, Paris. FRANCOIS CHARLES CACHOUD Frencu: 1866— 45—ST. ALBAN DE MONTBEL: NUIT CLAIRE Height, 251% inches; length, 32 inches Licur from a moon unseen at the left illumines the foliage of a few pollarded trees, and casts their shadows and the shadows of trees not themselves visible upon flat, grass-covered land in the foreground, which leads to a line of cottage buildings of the Savoy village, the buildings lying in a receding line toward the left distance. In the central cottage an open door shows the interior warm and cheerful with a brilliant light. Signed at the lower right, F. Cacuoun. Purchased from the Artist direct. ETIENNE DINET Frencu: 1861— 46—REPOS DE LA BAIGNEUSE: ALGERIE Leo Height, 32 inches; length, 39% inches In a rocky garden rich in greenery and blossoming plants, a bright- eyed bronze-hued young woman of a certain quality is seated on the ground beside a pool, nude within a fanciful drapery and facing the spectator, the sunshine glinting from shoulder and one flexed knee. Face and breast, arms and legs are sparingly tattooed with simple designs in green, and she wears numerous bracelets and anklets, and gaudy jewelry. Content in freedom, she eyes the observer quizzically. Signed at the lower right, K. Diner. Purchased from the Artist direct; from the Galerie Allard, Paris. FRANCOIS CHARLES CACHOUD Frencu: 1866— 47—_LA ROUTE DE NOVALAISE, SAVOIE: SOUS LA LUNE Height, 2514 inches; length, 31°4 inches MoonutenrT in its full, soft brilliance bathes a landscape of green trees and brush, through which a creamy-gray road runs from the right foreground to lose itself in a bend toward the left in the distance. The moon itself is not visible to the spectator, its ight entering the picture from the left and casting the shadows of the trees across the road. Cumuli drift in the sky and above them stars appear. A landscape of peace and beauty in a countryside undisturbed by man or habitation. Signed at the lower right, F. Cacnovup. Purchased from the Artist direct. Pym ANTOINE VOLLON Frencu: 1835—1900 48—STILL LIFE Height, 2114 inches; length, 25%4 inches Me.tow and bright in their golden ripeness large luscious pears lie amid glistening white and black grapes on a gold-toned standing dish, which they share with plums with their delicate purple bloom unmarred. Beside these, peaches glow on a drapery of emerald and gold. Back of them a highly ornamental covered jar and a tall standing cup with fascinating tones and reflections stand forth against a background of richly mingled hues. Signed at the lower left, A. VoLuon. Collection Cabruja, Paris. Purchased from the Galerie Allard, Paris. y"4- Kewhewn JEAN BAPTISTE CAMILLE COROT Frencu: 1796—1875 49—INTERIEUR DE BERGERIE Height, 19 inches; length, 2814 inches A sHEEPFOLD with no darkness, no dusky corners shown, but the roomy interior well lighted from two windows in the wall on the right, the light softened by the effect of the gray walls and timbers and the warmer yellowish notes of the straw lying thick on the floor. Feed racks and troughs, and two placid and lonely sheep, and in the centre a shepherd boy pitching loose the straw covering of the floor and intently watched by his dog. Signed at the lower right, 1874 Coror. Collection St. Albin, Paris. Purchased from the Galerie Allard, Paris. FRANCOIS CHARLES CACHOUD Frencu: 1866— 50—NUIT DETE SUR LA ROUTE, EN SAVOIE Height, 251% inches; length, 3124 inches Moonuicut and starlight on a quiet country road in Savoy, on a summer night peaceful and still; no leaves stirrmg. The road, narrow and winding, runs from the foreground and curves out of sight in the distance, a narrow strip of grass bordering it on the right. On the left in the middle distance a white cottage with brown thatched roof, one window aglow from a light within, and back of it farm buildings. Before it a few detached trees, the shadows of their sparse foliage dappling the road. Signed at the lower right, F. Cacuovup. Purchased from the Artist direct. FRANCOIS CHARLES CACHOUD Frencu: 1866— 51—COIN DE VILLAGE Height, 2334 inches; length, 28%4 inches Aw edge of a retired hamlet observed in the quiet of a moonlight night, with stars silver-white in the sky, the level sward of the foreground patched with the foliage-shadows both of seen and of unseen trees. In the middle distance, at right and left of the grassy way, cottages whose green-white walls beneath their brown roofs are also marked by the shadows of the branches of their neighboring trees. Through the doorway of a cottage on the right a light shows the friendliness of habitation. Signed at the lower right, F. CacHoup. Purchased from the Artist direct. $409 HENRI LEBASQUE FrencH: NINETEENTH CENTURY 52—“SOUS LOMBRELLE: LA CHIROMANCIENNE” Height, 3914 inches; width, 3134 inches Own lavender-blue steps before pink and orange walls three young girls of exotic type are seated, one in a gipsy-red and beflowered dress, over whom a youngster holds a green and white parasol, having her palm studied by the third member of the group—who is engagingly posed, with back to the observer, and is simply clad in a light waist and a short canary-colored skirt. Signed at the lower right, LeBAsQvE. Purchased from the Artist direct; from the Galeries Georges Petit, Paris. GASTON LA TOUCHE Frencu: 1854—1913 583—LE RAPPEL L§0 (Panel) Height, 311% inches; width, 3014 inches One of the theatre series, picturing the recall of a favorite player, a young woman with reddish-blond hair wearing a décolleté gown of fluffy white material trimmed with blue, and adorned with pink roses. In profile to the right she bows to the audience, a few of whom in the boxes are visible to the spectator, and back of her at the side of the stage several men and a woman are seen. Signed at the lower right, Gaston 1a Toucue. Prwvate collection of Mme. La Touche. Purchased from the Galerie Allard, Paris. JEAN FRANCOIS RAFFAELLI Frencu: 1850— 54—I’ ARBRE AU CAP MARTIN Height, 2584 inches; length, 341 inches Tue foreground the top of a yellow-sandy bluff; beyond it a pale turquoise-blue sea stretching to the white horizon. At the edge of the bluff and at the centre of the composition, a single tree, of feathery foliage and rambling branches, graceful in its serene isolation; the shadow of its trunk falling toward the spectator and the left. At its side, to right, a peasant woman laden with fagots, followed by her dog. Signed at the lower left, J. F. Rarraéuu. Purchased from the Georges Petit Galleries, Paris. FRITS THAULOW Norwecian: 1847—-1906 55—RIVIERE A AUDENARDE Height, 29 inches; length, 3614 inches Woops and detached trees at right and left in the background, their autumn foliage illumined by the softened sunshine of a lightly clouded sky, the shadows of slender trunks marking a green meadow at right and wavering on the rippled surface of a river which expands over the whole foreground. Here ducks are swimming, at left, within the cool shadow of a projecting point of greenery. Farther away a train cross- ing the valley on a viaduct trails its vaporous streamer of smoke and steam. Signed at the lower right, Frirs THautow. Collection Manatcheff, Paris. Purchased from the Galerie Barbazanges, Paris. prs FRANCOIS CHARLES CACHOUD Frencu: 1866— 56—LA FERME A LA LANTERNE Height, 2334 inches; length, 28%, inches In the foreground a farmyard, with scattered trees and two closely set haystacks, and in the middle distance a small cottage and a large barn, the whole observed on a night of soft moonlight. Emerging from a broad doorway of the capacious barn into a gray, well worn path, a farmer coming forward, carrying a lighted lantern. Signed at the lower right, F. Cacnoup. Purchased from the Artist direct. ETIENNE DINET Frencu: 1861— 57—“LE RETOUR DE LOUED” Height, 251% inches; length, 3914 inches Two bare-footed women of bronze complexion, dressed in purple-red and enveloped in white mantles flowered in purple, are walking toward the right in a sunny valley, preceded by a boy and girl of similar type and followed by an old woman who is carrying a shoulder burden. Be- yond them barren mountains rise above the picture limits, and the tops of palms and of other trees appear in a deeper ravine of the valley. Signed at the lower right, EK. Driver. Purchased from the Artist direct; from the Galerie Allard. MAURICE BOMPARD Frencu: CoNTEMPORARY 58_VENICE xp 240 Height, 28 inches; length, 434 inches Looxrne down the blue water of the Grand Canal toward the Lagoon; a solitary gondolier manceuvring his laden market boat in midstream; the buildings on the banks indefinitely put in, with neutral colors. The domes of the Salute and the Dogana on the right; the Ducal Palace hinted at on the distant left. Signed at the lower left, Maurice Bomparp. Collection. Scheu, Paris. FRANCOIS CHARLES CACHOUD Frencu: 1866— 59 CLARTE LUNAIRE PIS Height, 2514 imches; length, 32 inches In the brightness of moonlight a large cottage, greenish-white under its red-brown roof, stands forth under a greenish and starlit sky. iA f) 7 2 } or Fe : "> ron 7 ; z - : Ss a 7 + -_ 7 } Le yee . ~~ » a = si a “ =~ b ya iy oe Pole —_ 2 7 ‘aq ~ 7 65 rc] , ie? a we PT ‘ LIST OF ARTISTS REPRESENTED AND THEIR WORKS BESNARD, Paut ALBERT Fragilité BOCK, THEroPHILE DE Landscape and Figure BOMPARD, Maurice Venice BOUDIN, Louts Eucenrt ‘“Laveuses dans le Port de Trouville” Le Port du Havre St. Valery sur Somme CACHOUD, Francois Cuaries La Maison blanche: Nuit claire St. Alban de Montbel: Nuit Claire La Route de Novalaise: sous la Lune Nuit @Eté sur la Route, en Savoie Coin de Village La Ferme 4 la Lanterne Clarté lunaire Au Village du Guiget par la Nuit claire La Fumée rose: Nuit de Neige Le Retour a la Ferme CAZIN, JEAN CHARLES Paysage des Environs d’Equihem CEZANNE, Pavut La Chaumiere dans les Arbres CATALOGUE NUMBER 81 86 CATALOGUE NUMBER COROT, Jran Baptiste CAMILLE Vue d’Oloron 3 Chateau-Thierry 6 Intérieur de Bergerie 49 Village au Bord de la Mer 67 L’ Etang 70 Bord de Riviere 73 La Gardeuse de Vache: Paturage en Picardie, sur le Plateau 74 Gros Arbre au Bord de l’Etang 77 Etaples 78 Ramasseuses de Bois dans la Forét de Coubron 95 Le Marais: Souvenir d’Italie 98 Le gros Arbre dominant la Vallée: Environs de Boissy St. Léger 100 Paysage de la Campagne italienne d’ Albano 103 COTTET, Cuar.tes Femme dans un Pare 22 Soleil couchant, Venise 39 Les Cochons 116 COURBET, Gustave Paysage avec Biches 61 La Cascade: Moulin a Kau aux Environs d’Ornans 120 DAUBIGNY, Cuartes FRANCOIS Paysage: Printemps 5 Entrée de Village 11 Lisiere de Foret 12 Lavandiéeres au Bord de I’Oise (0 Portijoie 97 CATALOGUE zs NUMBER DIAZ DE LA PENA, NarcissE VIRGILE Mare dans la Forét t Paysage avec Moutons et Berger 8 Bohémiens 10 Enfants au Lézard 68 Foret de Fontainebleau, la Mare: Coucher de Soleil 102 DINET, ETIENNE Paysage algérien 44 Repos de la Baigneuse: Algérie 4.6 “Le Retour de ?OQued” 57 DUPRE, Jures Vaches a] Abreuvoir 13 La Chaumiére 64 Coin de Ferme 75 Paturage dans une Clairiere 96 FORAIN, Jean Louis Maternité 93 GAUGUIN, Pau Landscape with Figures 91 “Bonjour, Monsieur Gauguin” (with Paysage de Pont Aven) 107 HARPIGNIES, Henri Landscape with Figures 34. HENNER, JEAN JACQUES Madeleine 62 CATALOGUE NUMBER ISABEY, EuGrEnr GaprieL La Plage 37 Le Chateau-fort: Le Duel 41 La Péche 118 JACOB, ALEXANDRE Bord de Riviere: Un Pécheur 26 Bords de la Canche: Hiver 29 JONGKIND, JEAN BERTHOLD Paysage: Environs Cote St. André 2 Bateau amarré 9 Environs de Rotterdam 14 Le Fort Rabot au Bord de lIséere. Environs de Grenoble 19 Les Quais de la Seine 20 Canal en Hollande: Effet de Nuit 66 LA TOUCHE, Gaston Le Rappel 53 LEBASQUE, HeEnrti Femmes -travaillant dans un Pare 27 Brodeuse assise sur |’Herbe 36 “Sous ’Ombrelle: La Chiromancienne”’ 52 LEBOURG, ALBERT La Meuse a Dordrecht 23 Landscape with Figure 42 L’Kelise St. Hilaire 4 Rouen 85 o CATAIOGUE NUMBER LHERMITTE, Lton Avucustirx La Lecon de Couture 32 La Messe a St. Bonnet, Bourges 33 Pélerinage pour ?Enfant malade: Keglise de Plain-pied, Bourges 35 Pécheurs sur la Marne 105 Retour des Champs 119 MANET, Enovarp “L’ Amazone” 63 Femme indienne fumant la Cigarette 114 MARTIN, Henri G. Le Pont de Saint Medeére, Aveyron 60 MENARD, FE. Reni Nu a St. Tropez 94 MILLET, Jean Francors Les deux Bergeres 69 Portrait du Peintre Marolles (Friend and ; Pupil of Millet) 99 MONET, CraupE Bords de la Seine 87 Le Pont du Chemin de Fer a Argenteuil 110 PAVIL, Envir ANATOLE La Rue Lepic, Place Blanche, a Pluie (Montmartre ) 18 Charente Landscape: Near Angouléme 24 Le Quai national: Les Derniers Rayons de Soleil 28 Jardin pittoresque, Paris 40 Danseuse endormie 12 CATALOGUE NUMBER PISSARRO, CAMILLE Portrait of Mademoiselle Murer 80 La Route: La Maison a Toit rouge 84 Le Loing 4 Moret 88 Le Pont sur la Riviere a Osny 90 Troupeau de Moutons dans un Champ apres la Moisson 108 Le Moulin de Knocke 113 PUVIS DE CHAVANNES, PIERRE Marseille: Colonie Phocéenne 121 Marseille: Porte de lOrient 122 RAFFAELLI, Jzan Francois L’Arbre au Cap Martin 54 RENAUDOT, Pau. Lev Tiror 25 RENOIR, Firmin AUGUSTE L’Enfant au Polichinelle 82 La Blanchisseuse 109 RIBOT, Aveustin THEODULE Le Déjeuner du Cuisinier 16 SIMON, Lucien Intérieur breton 117 SISLEY, ALFrrep Le Barrage de la Machine 4 Marly 79 Route en avant de Village: Seine et Marne 83 Moret sur Loing: Temps fluvieux 89 Les Noyers, Effet de Soleil couchant: Premiers Jours d’Octobre LI CATALOGUE NUMBER STEVENS, ALFrEep La Liseuse rose 15 THAULOW, Frits Riviere 4 Audenarde 55 TROYON, Constant Landscape with Cattle and Figures 30 Vache et Moutons 72 Trois Vaches dans un Paysage 101 Rentrée du 'Troupeau a la Ferme: Effet du Soir 104 VAN MARCKE, Emu La Mare aux Canards 76 VOLLON, ANTOINE Nature morte: Fleurs et Fruits 43 Still Life 48 WEBER, ALEXANDER THEODOR Marine 1 COMPOSITION, PRESSWORK AND BINDING BY . . | 5 | . : ’ 3 . J —— a =. la aa en i i te. lee ae