era ie oamriaata : az ase ERNE PONS THE SEC RE Tah COLLEC Fig CATALOGUE OF The Celebrated Collection of PAINTINGS BY MODERN AND OLD MASTERS AND OF Water-Colors and Drawings FORMED BY Mr. E, SECREDAIN WHICH WILL BE SOLD BY AUCTION AT CHARLES SEDELMEYER'S GALLERIES PEAS + FReU, Eee doer LAROCHEFOUCAULD IN PARIS On Monday, first of July 1889, and following days AT TWO O'CLOCK PRECISELY UNDER THE MANAGEMENT OF MM. BOUSSOD, VALADON & ( | M. CHARLES SEDELMEYER g, rue Chaptal, 9 6, rue de Larochefoucauld PUBLIC AUCTIONEERS M’ Paul CHEVALLIER | M*’ Paul AULARD Io, rue Grange-Bateliére 6, rue Saint-Marc PARIS — MDCCCLXXXIX This Catalogue may be had BARTS = wee: At MM. Boussod, Valadon & C°, 9, rue Chaptal. = 2, place de l’Opéra. = 19, boulevard Montmartre. = At M. Charles Sedelmeyer, 6, rue Larochefoucauld. LONDON. ... At MM. Boussod, Valadon & C, 117, New Bond Street. (Goupil Gallery). — .... At MM. Ths. Agnew & Sons, Old Bond Street VIENNA.... At M. H. O. Miethke, Plankengasse, 2. BERLIN..... At MM. Boussod, Valadon & C’, 28, Franzdsische Strasse. — ..... At M. Edouard Schulte, Unter den Linden, 4 2. THE HAGUE.. At MM. Boussod, Valadon & C°, 20, Plaats. ST-PETERSBURG.. At M. A. Beggrow, 4, Newsky-Perspective. NEW-YORK. . At MM. Boussod, Valadon & C°, 303, Fifth Avenue - ... At MM. Knoedler & C, 170, Fifth Avenue. “— eto” SAL M. S. P. Avery, 368, Fifth Avenue. — ... At W™., Schaus, 204, Fifth Avenue. BOSTON.... At MM. Noyes, Cobb & C’. PHILADELPHIA At Chas. F. Haseltine, 1416, Chestnut Street. CHICAGO... .. At The office of the Art Institute. CONDITIONS OF THE SALE The lots bought to be paid cash. Purchasers are to pay 5 per cent above the price at which the lots have been knocked down at the sale. 18780. — Printed-by A. Lahure, 9, rue de Fleurus, Paris. PREFAG It is areal pleasure to me, to present Mr. Secrétan’s collection to the American amateurs, in this English Catalogue, which the ma- nagers of the sale have specially made forthem. Since long lowe to the Americans my expression of gratitude for the kiad reception, they gave to my articles on the collection of the Cent chefs-d’ceuvre. I know that this publication has a wide circulation across the Atlan- tic; and Iam greatly flattered by this generous hospitality, given to a work which is dearto me. I have also before my eyes, the Catalogues of some American Collections, where the titles of the paintings are sometimes accompanied by quotations of the sen- timents which these paintings had suggested tome. ‘or these va- rious tokens of sympathy with the art-critic, I had always a desire to thank the greatAmerican people, who have given such a beau- tiful satisfaction to my career as a writer. Thesale of the Secrétan Gallery offers me that opportuny, I had so long looked for. I do not believe, that I can show, in a better manner, my gratitude to the Americans of good taste, than by presenting to them another series ot chefs-d’euvre, this time united in a single Collection. The Secrétan Collection will be talked of, long after it has ceased to exist. The auctioneer may knock down these magnificent works a u THE SECRETAN COLLECTION. one after another, but he cannot dispel the remembrance of this radiant ensemble of art, formed by Mr. Secrétan. The surround- ings were worthy of the paintings. The mansion of Mr. Secrétan, situated in the heart of Paris, surrounded by a magnificent park, afforded the visitor to his collection the joy of being able to con- template these beautiful objects, without being disturbed in his meditations by the noise of the streets, or by crowds of people. The authorization to visit the Collection, was not given to everybody. The amateur seemed to be anxious to screen the Masters from the gossip of those, who are led by idle curiosity, and not by the love of art. In order to form such a gallery, it is not enough that an amateur should want to do it; nor is money always a sufficient agent. It requires a concomitancy of circumstances, by which the works become open to purchase. Paintings of this quality are not sold every day; unless some unforeseen event take place, they never leave the Collection which they embellish. Their possession is, in a manner, a title of nobility for the fortunate owner; and a ray of these Masters’ glory illustrates the amateur, whocherishes and retains them and lives in communication with their ideas. The influence of the surroundings, in which we live, always makes itself felt; and of all the agents of civilization, Art is the most precious one. Few men are born with the instinct of Art; at any rate, it is an exception. Generally, the taste for fine works is but slowly deve- loped; its progression may be easily observed. It is rare that a collector unites, at once, under his roof, such a magnificent choice as Secrétan’s Gallery. Art is not a mere luxury, as those people think who do not go to the bottom of things. They are quite wrong in believing, that it is enough to be rich, in order to form a collection. True, money, that great factor in our life, has its importance. But it serves only as a starting point in introducing in the dwelling of man, the art which transforms him and elevates his soul. I have known amateurs who, at starting, made collections more in order to follow the fashion, than from instinct. They were hang- ing up those works which their wealth had procured them, as a JPIRID IE ANC IS, IIL necessary or enviable luxury. And then, by dint of contemplating the Masters, the profane became initiated. The works which they had before their eyes, not only shed upon them the radiancy of their glory, but they also formed their taste. Now they look at them, not merely with their eyes, but with their very souls. What origi- nally only was a millionnaire’s fancy, becomes a passion for the beautiful. The beauty of these works being unravelled to them, they not only appreciate, but also love them. Soon the paintings become the companions of all their life, and they could not do any more without them. ‘Their removal not only would leave a void on their walls, but also in their hearts. We get attached to Art, for the pleasure it affords and the consolation it spreads about it. Art alleviates our heartsin the worry of life; it is the ideal centre which appeases our mind; with its revelations and teachings it carries us away, as by enchantment, from the trivialness of our existence to the elevated regions of thought. The prolonged study of the individualities of a certain race or civilization, is often less efficient for our education, than the work ofa Master. What book with all its developments, could tell us the history of an epoch with the precision and conclusiveness of a painting of Peter pe Hoocue, Van per Meer, of Delft, or Metsu. It suffices to contemplate attentively the ‘‘In/érieur Hollandais” of Peter pe Hooaue, in order to be carried away to a removed century; far from the stirring turmoil of the present, into the intimacy of a time, buried in oblivion. I had certainly known already the genius of Peter de Hooghe, but never had it appeared to me so considerable as when, at the sale of the Na- rishkine collection, I beheld for the first time that absolute master- piece. Inthe midst of so many rare paintings, this work of the exceedingly great artist, attracted and fascinated with the ra- diancy of a most noble art. It is by their peerless Masters, that nations keep their rank before posterity, even after their political power has been destroyed. Greece, for instance, is reduced to a minimum of influence in the so-called European Concert; but how it revives, grand and admirable, in the works it has bequeathed to us! Aliso the Netherlands, reduced in power, still preserve IV THE SECRETAN COLLECTION. their greatness by their Art and compel us to admire them. Rusens, Rempranpt, VAN Dyck, Frans Hats, pe Keyser and Teniers re- present, in the Secrétan Collection, the unperishable glory of a nation, that has lost its political importance. Whilst the warriors ot the Netherlands only exist as a remembrance of a faded splendour, their Art still shines in all its majesty. ‘That time has vanished, when a Dutch admiral could boast, that he would sail up the Thames with a broom attached tho the top of the mast, as a symbol of the Dutch power, intending to chastise England. But the master-painters are always there, proudly defying the whole world, that is compelled to bow down before their genius. The Secrétan Collection had the rare good-luck of possessing the ancient masters in their highest expression. Among the paint- ings of Frans Hats, there may be some of greater importance in their development; but nowhere is the freedom of his brush perceived with greater vigour, than in the picture ot ‘‘ The Man with the Cane” —smiling, satisfied, exuberant with lifeand health. I do not know any of pe Keyser’s works, superior in quality, to his portraits in the Secrétan Gallery. No Museum contains any more serene pictures of Van peR Meer or Detrt, this rare Master, who only has made about fifty paintings, none of them superior to the ** Lady and the Servant”, or to the ‘‘ Billet doux”’. The sale of the celebrated San Donato gallery, which took place in 1863, was the most considerable that had ever been seen so far. The total proceeds amounted to four millions and a half of francs. Such a thing had never been seen before; and it was thought that the lke would not happen again inthis century. Indeed, it could not be foreseen, that one day a sale would take place, that wiil yield at least twice the above amount. In Mr. Secrétan’s Gallery we meet again with some of the finest works ofthe former collection; for instance : ‘‘ The Man in Armour”, of Rempranpt, which is simply marvellous; ‘‘The Horses of the Stadtholder’, of Paut Porrer; ‘‘The Interrupled Game’’, of OstaneE; and ‘‘ The five Senses”’, of David ‘Tenrers. The San Donato Collection had such a renown, that any work of art was, as it were, consecrated anew by its entering there. And soit will be with thepaintings, which compose Mr. Se- PREFACE. v erétan’s Gallery; they also will enjoy a reputation of their own. We must say in justice to Mr. Secrétan, that he did not restrain his taste to a definite epoch, as is often the case. It mattered little to him, whether the artist’s glory had been confirmed by the lapse of centuries, or only went back to the epoch, when our great painters carried the art of our century to its climax. Mr. Secrétan never asked, from what country a masterpiece came, or from what parti- cular civilization it had sprung; nor did he keep them apart in his gallery. Here the illustrious Flemish fraternized, on the walls, with the illustrious French and, in faith! they lived happily toge- ther. Never had the prominent masters, called the men of 1830, asserted their genius more brilliantly, than in this redoutable centre, where they had to contend with the ancient masters. Be- sides, were they not in their right place, in the midst of their ancestors, whose peers they also were? Ruisdaél, the great land- scape-painter of the 17th century, (however beautiful his ‘‘S/uzce” may be) has not produced any work of art, more complete and more intense, than the great French, who have risen in the first half of the roth century, and whose glorious names are now for ever inscribed in the golden book of immortality. But why make comparisons, in order to assert the brilliancy of Art in the past? [t would be almost ridiculous, considering the veneration with which itis surrounded. Or should comparisons be made in order to still more set off the artists, who have hardly disappeared trom our midst, or who still live among us? It would be a superfluous task; for those who understand Art, have already formed a permanent opinion on that subject. I only wanted to state, en passant, thatin this blending of ancient and modern paint- ings, there could not be a question of inferior Art; for alle these works mark a superiority. There are not two Grand Arts; there is but one; it may come from Italy, Greece, Spain, Holland, Ger- many, England, or France; it is always the same. It only differs in its expression, bearing the impress of the painter’s soul, that we devine in his work. Wherever the vibration of the soul does not make itself felt in a painting, this one will remain in an inferior region, however great the virtuosity of the painter may be; whilst VI THE SECRETAN COLLECTION. the grand Art arrives at its complete intensity in all those works, which reveal the vibration of thought. It is certainly on account of this, that quite a small picture of Hans Memrina, as ‘‘A Religious Subject’, suffices to reveal to us the serene heights of art; the same as Claude Lorrain, having come two centuries later, fascinates us with his ‘* Seéting Sun”. The grand Art shines forth in ‘David and Abigail” of Rusens, an important work of a masterly ordonnance and admirable coloring; but it also radiates in the small panel of Metsu: ‘‘ The Breakfast” , which is a complete work, serene, of a magnificent character, although it only contains the figure of an old woman eating her soup; for there a first-class painter has expressed an intensity of life and that sweet retirement, which is so dear to old people. We also discover the grand Artin the admirable painting of Canaetro, one of the treasures of the Secrétan Gallery. Beside the pendant of this painting, at the Louvre, there is nowhere to be found such an important work of the same master. After this rapid review of the ancient masters, which give such a lustre to the Secrétan Collection, we will sum up the no less im- portant part of the French painters of this century. The Americans, being a young nation, cannot have a past with regard to fine arts. But by the prodigious development of their industry and their extensive trade, they have felt, like all civilized countries, the necessity of surrounding themselves with works of art. I assisted, when still a lad, at the arrival in Europe of the first painters of American origin. I perfectly well remember Leutze, the painter of ‘‘ Washington crossing the Delaware”’, which, I think, is at the Capitol. I knew this work before the Americans did; for I saw it being painted at Dusseldorf, and I was a juvenile witness of the enthusiasm, which it roused at that epoch. Leutze was the founder of the American colony, that came over in order to pene- trate the secret of German Art. Since then, the current of American art-students has been turned toward Paris. For many years I have, with a lively interest, watched these American painters, who are forming a nucleus, from which, sooner ar later, will rise the national Art, tne Americans do not yet possess. But to him that observes PREPAC. VIL the current of ideas, it is no longer doubtful, that the New World, whilst waiting for its individual art, has its artistic com- prehension. Numerous and important collections are there to prove this. Perhaps, at bottom, we had, more than once, a certain spite against the people, that carries away from us apart of our French renown. But, at any rate, this sentiment is mitigated by the pride we feel, when witnessing the hospitality given by a great people to our national art. Yes, I admit freely that, when seeing so many masterpieces of our great artists leave for America, some bitterness was mingled with the satisfaction I felt at the thought that, with the admiration for the great artists who are our glory, there must necessarily spring forth a profound sympathy with the country that has produced them, and of which they represent one aspect of its multiple genius. Although it may be odious to speak of one’s self, [ may be allowed to add, that this emigration of our Art had to vex repeatedly the art-critic, who had the rare fortune and the great honour of living in the intimacy of some of these masters. M. Jules Dupré (of whom the Secretan Collection contains a painting, impressed with such a power of conception, that renders him an equal of the greatest landscape-painters of all times) has taught me, by his narrations, to love the others, whom I only knew by their works. — I also have seen Coror, bending over his ‘‘Brpris”, to which the old master, ever young in mind, has imparted the best qualities of his art, so that, although it was his last work, it might bear the date of 1865, like his admirable, poetical painting : ‘‘Mornine”, where Nymphs and Cupids are playing about beneath the large trees. Although his glory was already solidly established, Corot was a little grieved, because he was not appreciated, according to his valour, beyond the Ocean, where his friends and art-companions : Millet, Rousseau and Diaz, were triumphing; together with Delacroix, Troyon and Decamps. Yet, for this noble man it was not a question of money; for besides being already originally well-off, piles of money were pouring upon him towards the end of his life; but he threw the large sums heedlessly into the drawers of his writing-desk, if he VIII THE SECRETAN COLLECTION. did not employ them for charitable purposes. Many a time, laying down his Frush, Corot used to say to me: ‘‘ Don’t take umbrage at the leaving of so many beautiful objects for America. Art is made to be seen and to be spread about. Do you count for nothing the honour, foreigners do us in appropriating our works? Let them go on, and don’t be alarmed by so little. There will always remain glory enough in our own country, that it will never be forgotten ? Thus spoke this admirable old man, in his serenity of mind which he preserved to his end; and I am bound to confess that he was right. I know, the Americans have learned to like Corot, whom they now consider justly as one of the greatest geniuses. Artists of Corot’s stamp always have a fertile brain. The labours of those who stand in the foreground of Art, seem to be inexhaust- ible. Thus were the great masters of past centuries; and the illustrious artists of the colossal pleiades, called the men of 1830, had inherited from them that fecundity in producing, which asto- nishes us as much as their genius itself. Except Giricautr (of whose powerful art the Secrétan Collection has a sample in ‘‘ The Starting for the race at Rome”), whose life had been so short, being snatched off at the age of thirty, all the great French artists of this century, have accumulated in their career an astounding number of first-class works. Like a privileged soil, thats yield several crops in the course of a year, the fecundity of gifted painters knows no standing-still. Thus we see DeLacrorx; he has hardly completed one painting, when he already begins another one. Now he makes a historical painting, of marvellous colouring, like the “Return of Christopher Columbus”; and then again he paints “The Tiger surprised by the Serpent”, with a perfection, that no painter of animals has reached before him. ‘The brush of Rousseau begets masterpieces without cessation. ‘The Secrétan Collection possesses a masterly canvas of this peerless artist : ‘‘ The Coalmen’s Hut”; and another of his most beautiful works : ‘‘The Farm in the Wood”. Heisas precise as Hobbema, whenever he wants it, and as ardent as Ruisdael, when such is his pleasure. It was really touching to hear the great Corot speak, with so sin- PREFACE. IX cere emotion and so great admiration, of the great Rousseau. Be- sides, the whole group of important painters, had the same vene- ration for Rousseau. His name was continually on the lips of Diaz, whenever we conversed about that development of painting, which has carried, in this century, the French renown to its acme, and marked the most surprising epoch of art, which a nation may be proud of. The American reader, for whom | write this introduction to the English Catalogue, does not need my recommendations, in order to know, what he has to think about the works of these colossal painters. But perhaps these details, relating to their intimate life, which I here jot down, will afford him some pleasure. | may say, that I was an attentive and wondering admirer of Diaz, and that he did me the honour of being my friend. He was already in the decline of life, but not of his art, when I had the good fortune to interest him sufficiently, so.as to become my venerable companion. Although we were different in age, I completely shared his enthu- siasm for Rousseau. In my conversations with Dupré, I detected occasionally a remi- niscence of his distressed youth; but never in my chats with Diaz. He spoke as he painted, with an exhaustible abundance and persuasive warmth. He was indeed a man of his own mak- ing, this astounding improviser of ‘‘ The Descent of the Gipstes”, the exquisite painter of ‘‘ Venus and Adonis” and *‘ Diana the Huntress”, whose marvellous colorings are imbued with the grace of Corregio. I have seen many collections since the time I am a passionate admirer of arts — and my hair, turning grey tells me, alas! that this passion is not dated from yesterday. But never have I seen a gallery, the ensemble of which made a better appearance than that of Mr. Secrétan. It may be said that if all the Masters are there, they are all represented by superior works; a proof of Mr. Secré- tan’s excellent taste and his rare comprehension of Art. I have not the honour of knowing him personally; but on account of the works he loves, and which I adore, my sympathy goes straight to him at this moment, when he is compelled to part with his marvellous b Se THE SECRETAN COLLECTION. Gallery. It is there that we meet with the ‘‘ Angelus” of Mutter, this matchless masterpiece, which expresses the Religious Idea by the silent prayer of two humble beings, in the midst of grand and beautiful Nature, wrapped in the poetic mystery of twilight. One of my first essays on art had been devoted, more than thirty years ago, to this majestic work, which then was passed un- heeded. The enthusiasm which it roused in my youthful heart, has not subsided with the flight of years— on the contrary. Every time one sees the painting, surpassing all others, one renders a still more profound homage to this greatest of artists. I know quite well, that America has the great honour of having done justice to his genius, when the critique of his own country lost its time in discussing about him. It was the American, Mr. Hunt, a pupil of Millet, who first drew the attention of Mr Quincy Shaw, of Boston, to this important art, which France still disdained. So it turned out, that two thirds of Millet’s works are now in America, and that in Mr. Shaw’s Collection alone, there are more than thirty pictures of the great artist, whom this distin- guished connoisseur was the first to comprehend and to love. Last year, when we organized an exhibition of Millet’s paintings, in order to erect at last a monument to his memory, we found out, that a very large number of his most important works were on the other side of the Atlantic. But, with many other beautiful works that remained among us, we still possessed his great masterpiece : “The Angelus” .’ Where will it be to-morrow? In the history of Art I do not know a more brilliant page than this one. Its contem- plation detaches us immediately from all the agitations of modern life and distils, as by enchantment, a balm into our troubled minds. Oh! what matchless masterpiece is this! Unfortunately, I cannot enter here into long details. A large volume would not suffice, if I wanted to analyze all the works, without any exception, of Secrétan’s Gallery. Each of the paint- ings of our great masters would require at least several pages. But I deem it superfluous, to dwell upon the subject beyond measure; for those who do me the honour to read this preface, are perhaps as well informed as I am. America possesses such a PREFACE. XI great number of the works of our illustrious painters, that we may well assert, that our great French artists are quite as well at home beyond the Ocean, as they are in their own country. What information could I still impart to my readers? — They know as well as I do, that Daupiany is one of the greatest Jandscape painters that ever existed. His broad style and power- ful colouring, his insight into Nature and the emotions he felt before her, have never been better revealed, than in the magnificent painting : « The Relurn of the Flock », which gives us an im- pression of Evening, when everything is wrapped in twilight, when the moon, already in full splendour, has not yet quite effaced the fading lights of parting day. The painting is intensely poetical in its realness, and shows us the Master having attained perfection. If somebody were still discussing the question, whether Drcamps be a great master in the widest sense of the word, I would advise him to visit Mr. Secrétan’s Gallery. Decamps is complety represent- ed there, both with his aspirations after the great historic art, and in the paintings, where he studies the beasts, or where he avails himself of the monkey, in order to pour out his irony. The “Expert Monkeys” must have been producedat a time, when the great artist wanted to avenge himself of the disdain of amateurs ; and the painting has become a masterpiece of observation, truth, humour and colour. The painting ‘The Bull-dog and Scotch Ter- riers” is likewise a real marvel. In these pictures the great artist attracts and retains us by the charm of their execution. In the ad- mirable aquarelle ‘‘Jesus among the Scribes”, Decamps rises to the region of historic art; and also in ‘* Joseph sold by his Brothers” he exhibits the highest qualities of style. All those who are in possession of paintings, know what brill- iancy TRoyon imparts to art galleries. The art which he has car- ried to such a perfection, that of the animal-painter, is realistic in its very essence, as the master is so from inclination. But noth- ing is common in Nature, and the search of the Real could not be an excuse for those, who lower themselves to vulgarity — whichis the negation of every art. Troyon is realistic in his own manner, XII SECRETAN COLLECTION. which is the good one. He does not pursue the real to the preju- dice ofgood taste. Inthe thorough study of animal life, he is quite precise in physical observation, but he also shows that elevated feeling, which Nature always rouses in the heart of those who are able to contemplate her and submit to her influence. From this ” point of view, ‘‘ Fording the River” isa pure masterpiece. It may be ranked among the most beautiful pictures of this great animal-painter who, at the same time, is also a great land- scape-painter. There are seven of Troyon’s paintings in the Se- crétan Gallery, and if they are not equally important, they show is a masterly page ? at least the same quality. His great ‘‘ Sedler’ in the simplicity of the subject; the same as his “ Cow in the Pas- ture”, his “‘Poultry-yard” and his ‘‘ Norman Pasturage” are exquisite in their truth and clearness, every part of them showing the mark of the master. Mr. Secrétan’s Collection contains a notable part of Mr. Mersso- nier’s works. He was extremely fond of this great artist who, in our century, has renewed the intimateness of the Flemish art, va that had ceased with these illustrious masters. The same as Metsu, for instance, retains us with the simple fi- gure of an ordinary woman, whose character he has scrutinized to the very bottom of her soul, so does Meissonier, in his ‘‘Reader in rosy dress”, or the ‘* Three Smokers” confiding their secrets to each other, tell us the history of their whole life. The great art of Mr. Meissonier does not derive its only value from the irreproachable drawing and seductive painting, without any visible effort; but it retains and fascinates us chiefly through the psychological study of its figures. Let us take, for example, ‘‘ The Reader of the Manu- script” showing usayoung manreading a writtendocument. Eve- rything, not only in his features, but also in his attitude, in his least gestures, in the manner in which he holds his pen to his lips, — everything reveals the state of his mind. What a great sincerity is likewise expressed in the simple ‘‘Smoker’’, who caresses his clay- pipe, while his thoughts are wandering. The observation of Nature could not be carried farther, not merely endearing her to us at the surface; and it is there, that Meissonier’s art is so great, by giving PREFACE. pain expression to the characters, which he everywhere knows so well to analyze. At the Museum of Amsterdam exists a painting of Metsu, re- presenting an old woman reading the Bible. ‘The innermost sentiments: devotion, faith, the consolations of religion, are ex- pressed there with such truth, that this little painting is impressed atonce, and forever, on our memory. We think of it, every time we see an old woman absorbed in reading. Meissonier’s works have more than once, produced the same effect on me. Whenever I see a young man reading a letter, with which he seems to be en- grossed; or when Isee another, leaning on a window-sill, his looks wandering, in a vague preoccupation with an undefined subject : immediately | am reminded of Mr. Meissonier’s art. This is so, because the great master expresses most often a general state of mind, which does not belong to a determined epoch, but subsists at all times, as asummary of mankind, that changes its exterior, ac- cording to the age, but whose soul is immutable and reveals itself always in the same manner. Thus for instance, the costume Louis XV (of which Mr. Meissonier is fond, because the painter finds in it a resource for his palette), is only an accessory, of little importance, in his works, that derive their high value, not from what the artist represents, but from what he expresses. Mr. Meis- sonier pursues the study of character, even in his figures of the smallest dimension; as for instance in the ‘‘ Vicar’s Wine” and the “Bowl-players at Antibes”, that are rendered to the greatest perfection, and yet keep a certain broadness of execution. The favour which Mr. Meissonier enjoys, his prominent position in the world of Arts in the 19 century, and the considerable prices his works have obtained, may thus be explained as the logi- cal consequence of the perfect impression this eminent painter endeavours to give to his art, and of the care he takes of his repu- tation, always avoiding a too hasty production. It is quite just, that this master should see himself placed, in the estimation of his epoch, ona rank which is generally reserved but to departed artists. With the beginning of the Second Empire, in whose history Mr. Meissonier had taken a large part, the artist entered upon ae XIV THE SECRETAN COLLECTION. what is called ‘‘ military” painting. The great works which ori- ginated at that time, are well known. America possesses, among others, ‘‘ The Charge of the Cuirassiers at Friedland”, in sight of the victorious Emperor. The Secrétan gallery, in order to be com- plete, had to own one of the most remarkable paintings of this genre: ‘‘ The Cutrassiers (1605)”. That picture appeared for the first time at the Universal Exhibition of 1878, and the enthusiasm it called forth, is still present in my memory. The regiment of cuirassiers is drawn up in a long file, where we hesitate what to admire most, the variety in the movement of the horses or the different attitudes of the horsemen. Nature itself has been trans- posed on the canvas with such an expression of truth, that no- where in the painting any traces of effort are visible. A gallery which counts thirty-one paintings of so great an artist, is already, for that simple reason, a very considerable one. We must re- linquish the endeavour of mentioning each of these gems separ- ately, although every one deserves to be spoken of lengthily; but their number is too considerable. Mr. Secrétan wanted to collect both the ancient masters and the great modern painters, without exception. In such a collection, Courser necessarily had to occupy a place, and in order to keep his rank in such a company, he had to be represented by a mas- terpiece. Itis beyond contest that Courbet's “« Roe-cover” is his principal work, where the marvellous talent of the colorist shines forth, as one of the most brilliant manifestations of the French School in this century. The work is harmoniously kept and of the most complete distinction. Nature has been reproduced di- rectly in allits freshness. It is more than a quarter of a century ago, that this painting had appeared at the Salon. Artists and connoisseurs unanimously applauded this capital work; even the most inveterate detractors of Courbet were compelled to admire it. To be placed in a Collection, is often a final and dangerous trial for a work of art; but it must be said of the * Roe-cover” that, far from weakening in the midst of the masterpieces, of which the Secrétan Gallery is composed, it received from them its final consecration. PREFACE. XV Fromentin could not be wanting in thiscollection. Nobody has better defined the Orient in its silvery tones, where the transpa- rency of the atmosphere envelops man and things. « Hawking » is justly celebrated among the paintings of this eminent artist; but according tomy opinion, “‘ The Chiffa Pass” is quite a match to it. Fromentin is, properly speaking, a charmer; he charms the connoisseurs and ingratiates himself with the general public. One is struck with the prodigious distinction of this art, which also reflects the character of the artist who, even outside of his art, showed quite a superior intellect. His literary works would have certainly procured him a seat at the Académie Francaise, if the Inséilut had not claimed him. Isapey naturally has his place in the midst of the greatest French painters of our century; and the Secrétan gallery owns in the « Wedding al the Church of Delft» one of the finest paintings of this fine artist. Thus is the Secrétan Gallery, sketched in large outlines. It would have been a pleasant task, to dwell on every one of the works, without exception; but my space is limited, and I was obliged to make a summary of the ensemble. The value of the paintings in this Gallery explainsits celebrity; there is not one painting, which does not bear in itself the proofs of the greatest talent. I must not forget “The Ballad-Singer” of Tuomas Couture, an excellent painting of this master who rose in the French School, in the middle of this century, applauded by the entire world. I also must mention : Fortuny, this magician with the brush, whom Spain had fur- nished us; INares who in his ‘‘Ozdipus and the Sphinx” pursued the classical Art of this century, when it was in its zenith; and Mr. Ziem, who descends in direct line from Canaletto. I cannot defend myself from a certain melancholy, whilst des- cribing these admirable paintings which have made of the Secrétan Gallery a considerable art centre, such as few amateurs have been able to constitute. With the joy I always feel when speaking of the masters whom XVI THE SECRETAN COLLECTION. I venerate, and with the satisfaction, given me by the opportunity of once more tendering them the tribute of my admiration, 1s mingled, at the end of this introduction, the grief of seeing the Secrétan Gallery going to disappear. If one is fond of Arts, having worshipped them passionately all through life, one does not assist with a light heart at the dismem- berment of a gallery that, in its ensemble, had procured us such a great delight. How many a charming hour have I spent in Mr. Secrétan’s Col- lection! I was somuch habituated to contemplate there the genius of the great masters, that, henceforth, I shall feel a void in my life. But Paris will also miss this centre, worthy of its pride; for a collection like this, spreads its rays beyond the walls, between which it is shut up; it becomes, as it were, a public treasure and imparts another greatness to our dear Paris which, without palaver, may be called the Capital of Arts. There is no city in the world that offers to the writer, attentive to artistic manifestations, a vaster field of observation. If all the masterpieces are not among us, we may at least assert, that the entire history of Art, from its very infancy,is represented by first class works, in our museums and private collections. But however beautiful that what remains to console us may be, the dispersion ot the Secrétan collection leaves a sad void in our affections. As far as I am concerned, | shall assist at the departure from France ot more than one of these considerable works, with an oppressed heart, as if taking leave from dear friends, whom I am not sure to meet again. Paris, June 1889. Abert WOLFF. Paintings Water-Colors and Drawings by Modern Artists Modern Paintings Srices €2z_ Sed prent Za Cherm? g (ce Tes CT BONINGTON (RICHARD PARKES) FL 29 yoo MUR Ex, 2 Dope Les HHI, _Der> 2 No. 4 On the Sea-shore. (SUR LA PLAGE) A vast expanse of sandy shore at low-tide, in front of high cliffs. In the fore-ground, which is vividly illuminated, we see a peasant-girl advancing to the left, in white bonnet and red hood, holding a basket in her right and. On her right, a pony is standing still, car- ‘ying a pack-saddle with two baskets. A rustic igure, apparently a fish-monger, is leaning against he pony, and talking with two fisher-~vomen, seated on the sand. Near the latter, are some baskets full with fish. In the distance, to the right, is the sea, where a arge schooner, with brailed sails, has stranded. Near the horizon we see a great many fisher- boats. A lovely sky with bright, luminous clouds. Canvas. 25 1/4 in. by 37 3/4 in- ee COROT (CAMILLE) No. 2 56, Ovo es AL S329? eo Morning. = @taseory (LE MATIN) Large trees with a greyish verdure, of warm, powerful tones, cover the painting almost entirely, affording only, to the left, a glimpse of a clear sky, and on the horizon, a vista of distant hills, bathed in the silvery mists of morning. n this poetic landscape, winged Cupids are luttering, like libellulas, among the flowers. A young nymph catches one of these flying Cu- pids and seems intending to hold him fast with a light woollen thread. Her head, seen in profile, Bu ln4les $25,000 is detached, beneath a luminous sky, from the back- #65 REP eround of silvery hills. She is dressed only ina light, short drapery, thrown behind and fastened : to the shoulders. Her hair is tied up with a red Chul. olse/7 ribbon. Vo.32., REP. Signed on the left: Corot, 1865. Canvas. 61 in by. 51 1/2 in. COROT (CAMILLE) No.3 SKVOVO Les uk AE Ofer Biblis. C3rettxe2les- (BIBLIS) Biblis is lying down on the verge of a wood-land, on a height which overlooks the sea. She is going to be changed in an inexhaustible spring. The meta- morphosisis beginning; the water is flowing already from her long dishevelled hai In the meadow before the wood, the remaining children of the nymph Cyanea come running in despair; but they arrive too late to save their sister. On the right, huge rocks on which some shrubbery 1s xrowing, and from which ivy and lichen are G) dangling. g On the horizon, a glimpse of the sea; evening sky, litup by the rays of the setting sun, and spotted, in its lower part, by opaline clouds. Canvas. 46 in. by 60 1/2 in. This picture is Corot’s last work. COROT (CAMILLE) No. 4 Jb 2202 fas tS Evening. (LE SOIR) In the fore-ground, a pond in which the lights of the setting sun are reflected. A fisherman draws, towards a clod, a boat in which another fisherman is sitting. The latter, cover- ed with a red cap, arranges his net and is about throwing it in the water. On the right, fore-ground of rocks, forming a grotto; and a few trees. To the left, a hillock surrounded with water and two inclined trees, detaching themselves from the sky, streaked above with large bands of clouds. Beyond the pond, a woody hill, in silhouette, stands out against the sky, gilt by the setting sun. Sky and hill are reflected in the pond. Signed below, on the right. Canvas. 13 3/4 in. by 20 1/2 in. COROT (CAMILLE) No. 5 Go /00 Kes” The Pond. (L°ETANG) To the left, in the back-eround, is the Pond, in which the luminous clouds of a bluish-grey sky are reflected, and which bathes the foot of a group of rocks, on which some trees and shrubs have grown. In the fore-ground, a meadow dotted with little flowers. On the left, a tree is delineated against the pond and the sky. A little to the right of this tree, a fisherman with a red cap, is sitting in his boat, which is fastened to the bank, among the weeds. Signed to the left. Panel. 7 in. by to in. COURBET (GUSTAVE) No.6 Shave sis Seep ore A Roe=Cover: (LA REMISE DE CHEVREUILS) In a large glade, shut in by vertical grey rocks, which are partly illuminated by the sun, four roes are on the edge of a limpid sheet of water, formed by the spring that issues from the rocks. On the left, in the fore ground, a cluster of smooth- trunked trees, rising along the rocks. At the foot of these trees, are two roes; one of them is lying down. On the right, beyond the sheet of water, is a large tree, and further-on to the right, a back-eround of wood, above which we have a glimpse of the Sky. At the bottom of the painting, are two more roes, one ot them crossing the sheet of water, whilst the other is drinking. Signed on the left : Gustave Courbet. Canvas 67 in. by 80 in. Exposition des Cent Chefs-d’ceuvre, 1883. COUTURE (THOMAS) SF 7G os No. 7 ee ees Les: The Ballad-Singer (LE TROUVERE) He is sitting on a stone, in an open country and, having laid aside his guitar for a moment, he re- cites asad ballad. His looks are inspired; his au- dience, and especially two young women, listen with the greatest attention. Among the crowd, in the middle distance, an old man holds his head between his two hands and weeps at the recital. Canvas. 67 in. by 55/12 in. From the Gsell Gallery, Vienna 1872. td DAUBIGNY (CHARLES) F2O cro No. 8 G2 Siser SEs The return of the Flock. (LA RENTREE DES MOUTONS) It is evening; the night approaches; day-light has almost entirely vanished. In the deep-blue sky, alittle above the hills, which are kept in the shade, the sparkling full-moon lights up with reddish tints the scarce mists that sur- round it. At the foot of the hill, the fog is floating over a brook and vividly reftects the light of the moon. In the fore-ground, a shepherd, followed and assisted by his two dogs, leads his numerous flock homewards, across a verdant plain. Signed to the left: Daubigny 1877. Canvas. 41 1/2 in. by 74 1/2 in. — 1]1—~— DAUBIGNY (CHARLES) No. 9 78, 70702 res: B Mite ern A Brook in the Forest (RUISSEAU DANS LA FORET) In the fore-ground: a pond, into which the water ofa somewhat higher situated brook is flowing, forming a little fall, and rolling over pebbles. To the right: on a small slope, washed by the water of the pond, isa group of two trees, with vi- gorous, dark trunks, leaning towards the left, co- vering the brook and framing-in the.back-ground of the painting, which represents a luxuriant coun- try, dotted with numerous trees and fenced-in meadows. (n front : a somber slope with large trees. To the left : two cows, illuminated by the sun. Through the branches, one perceives the grey, cloudy sky. A raven, perching on a branch, is set off against the sky. Signed on the left. Panel. 8 3/4 in, by 12 1/4 in, ae ee DECAMPS (ALEXANDRE) = No. 10 40, Serer Sos MI © Schrzezeesr Joseph sold by his Brothers. (JOSEPH VENDU PAR SES FRERES) In the fore-ground, a woman, dressed in a long blue tunic, is squatting down and leaning over a brook, issuing from a spring with grotto-like sur- roundings, made up of stone and earth. She seems to be occupied with filling some earth- en vessels, one of which is standing behind her. In the back-ground, acarayan of Arabs, in colour- ed costumes, with their camels, are delineated against an Egyptian landscape, arid, burnt by the sun of the East, that fills it with light. On the left, a group of Arabs, in charge of Joseph, who is entirely naked. — In the centre, an enormous camel detaches itself vigorously from the luminous sky. A little further-on, a camel is lying down, its neck and head stretched on the ground. .Behind, other camels, lying or standing. Very delicate and warm sky, in which vultures are soaring. — Golden clouds near the horizon. Signed to the left : Decamps 1838. Canvas. 37 1/2 in. by 51 in. 13 — DECAMPS (ALEXANDRE) No. 44 V2, OOO The Expert Monkeys. (LES SINGES EXPERTS) Before a painting on in a large, grey coat; looking attentively at covered with a black sil holds, behind his back, an easel, is an old amateur, he is leaning forward and the painting. His head is k cap; with his left hand he his cane and grey hat. 4 Three monkeys are on the left; one, standing, dressed in a large, black paletot with a fur collar, holds a painting under i umbrella under its righ Another monkey, sitt ts left arm, and a big green t one. ing on an arm-chair, wears a white wig and a jockey-cap with a large peak. It holds a magnifying-gla the painting, the old an ss, with which it examines nateur is contemplating. On that same arm-chair, th looking likewise at the e third monkey is standing, painting, with an eye-glass which it holds in its hand. Signed. Canvas. 17 1/2 in. by 25 in. hes’ —-4— DECAMPS (ALEXANDRE) eh ht No. 42 I2 ove ICS The Slinger. (LE FRONDEUR) A negro is standing in the midst of a ruin; he wears a red shirt and white drilling trousers; — a gaming-bag is hanging from his shoulders. He is leaning forward, watching an owl on an old wall, which he is about to kill by means of a sling. On his left, a young woman is sitting, hold- ing near her side a little boy, who is standing, Signed. Canvas. 26 in. by 31 1/2 in. Exposition des Cent Chefs-d’ceuvre 1883. = 15 = DECAMPS (ALEXANDRE) I3, 5009 No. 43 so, ses TCS Turkish Executioners. (BOURREAUX TURCGS) Three Turkish executioners are before a prison gate. The one to the right, is leaning against the wall, with the butt-end of his musket on the ground. He is wrapped in along bournous, the whiteness of which vies with that of the wall, both being illumi- nated by the rays ofthe sun. A red hood surrounds his dark face. The second one, an old negro, is squatting down before the prison gate. In his right arm he holds two Turkish pistols. His bust and arms are nude. His white turban and grey mustache are touched by the sunbeams. The third one is seated to the right, with out- stretched legs. With his right arm he leans on the lowest step of the stairs, and is turned towards the negro, with whom he speaks. The arch of the gate is covered with many-colour- ed mosaic work. Monogram to the left: D. C. 1837. Canvas : 23 in., by 25 1/2 in. DECAMPS | (ALEXANDRE) No. 44 Sb ODO fes- Bull-Dog and Scotch Terrier. (BOULE-DOGUE ET TERRIER ECOSSAIS) The one standing, muzzled, is seen in profile; the other is lying down, its head, (full front), leaning on the ground, between its paws. Both are looking at the spectator. Signed on the right : Decamps 1837. Canvas. 12 1/2 in. by 15/12 in. On a pi Armenian n are dres petal fly DECAMPS (ALEXANDRE) 2,700 Fes No. 45 ES 2 awe J Armenian Soldiers. (SOLDATS ARMENIENS) e of rocks, burnt by the Eastern sun, five soldiers are sitting or lying down; they ed in their picturesque, national costume ; their weapons are alongside of them. They chat tegether, while resting. The group of the three nearest soldiers, to the left, stand s out against the luminous horizon of a cloudy sky. Signed below, with the initials : D.C. Panel. 8 1/4 inch, by 10 inch. DELACROIX (EUGENE) No. 46 Iboue Fes The Return of Christopher Columbus. (LE RETOUR DE CHRISTOPHE COLOMB) Columbus ascends the grand stairs, which are covered with a blue carpet, and leading to the Palace of the King. On the top of the stairs, the King and the Queen, standing under a canopy covered with red drapery, wait for the great navigator who advances, followed 5y some natives, whom he has brought with him rom the distant lands, he has discovered. Behind, cavaliers, standards and the crowd, that is thronging around the Palace. At the foot of the stairs, to the right, is a monk in white garb. — In the distance, to the left, the City. Signed below, to the left: Eug. Delacroix, 1837. Canvas. 34 1/2 in. by 45 in. DELACROIX (EUGENE) IS, DCo. ss No. 17 S7 Sea ces. The Tiger and the Serpent. (TIGRE SURPRIS PAR UN SERPENT) On a green slope, at the foot of a hill, creeps a bloody tiger, about to spring upon a serpent which, in the midst of cactus, to the left, lifts its head in his direction. A piece of greenish blue sky, with a big, white cloud. Signed on the right: Eug. Delacroix. Panel. 12 1/2 in. by 15 1/2 in. From the John W. Wison Collection. 25) DELACROIX (EUGENE) No 18 1S 000 SCs Othello and Desdemona. (OTHELLO ET DESDEMONA ) Desdemona, with dishevelled hair, is kneeling before Othello, who curses and repulses her. Othello is dressed in a long red robe. To the left, a Moorish gallery, where two per- sons are appearing. On the ground, to the right, a feather-fan. Signed below, to the left. Panel. 15 1/2 in. by 12 1/2 in. DIAZ (NARCISSE) / No. 19 ThC00 Les | C0772, Cer-L- Cl 45 az | Diana the Huntress. (DIANE CHASSERESSE) Diana appears beneath a tree, whose dense foliage is detached from the blue sky. She holds a bow in her left hand. Cupid, on her right, holds up to her a fine rosy-coloured quiver, from which she takes an arrow. (dp) ne is depicted with full front. Her breast, arms and right leg are nude and brilliantly illuminated. A white and a red drapery are attached, beneath her breast, by a string of pearls, which passes over her shoulder. Over her right arm, a light, rosy-coloured drapery is thrown. Behind and around her are four nymphs, draped in different colours. The one to the right, caresses a dog. Further down, a dog springs forward. Signed on the left : N. Diaz 49. | Canvas. 46 in. by 22 3/4 in. Exposition des Cent Chefs-d’ceuvre, 1883. — 92 — DIAZ (NARCISSE) No. 20 33.000 FCS. The Descent of the Gipsies. (LA DESCENTE DES BOHEMIENS) A crowd of Gipsies, men and women, dressed in picturesque, brilliantly coloured costumes, descend by a narrow pass, through the forest. On the top of the way, one perceives, between the trees, a piece of sky, illuminated by the lights of the setting sun. In the foreground, beneath a rock, is a spring, out of which two fine dogs are going to drink. To the left, a young woman is sitting, holding a child on her lap. The sun lights up the young woman, the dogs and a part of the caravan, descending the road. To the right, a yellowish slope, illuminated by the sun, whose rays also touch a few trunks of trees on the left. Canvas. 23 1/2 in. by 17 in From the MarmonteL and Laurent-Ricuarp Collections Exposition des Cent Chefs-d’ceuyre, 1883. DIAZ (NARCISSE) ns No. 24 S6C000 Fes. Venus and Adonis. (VENUS ET ADONIS) On a rosy-coloured drapery, which is thrown on a hillock, near some large trees, Venus, entirely nude, in a half sitting posture, is leaning on Cupid. To her right, Adonis is sitting, wrapped in blue drapery, and caressing his big grey-hound. The light shines full upon Venus, flashing on her skin and blonde hair. The whole group detaches itself from the very somber background of the forest. A naked Love is playing on the turf, at the feet of Cupid, another one directs his flight towards the forest, above the head of Venus. igned below, to the left : N. Diaz Ale o Canvas. 18 in. by 13 1/2. — Qh — DIAZ (NARCISSE) No. 22 V7. 800 Fes Venus and Cupid. (VENUS ET L’AMOUR) Venus is leaning against a grassy hillock beneath a tree, around which vines are creeping; the lower part of her body is half covered with a white dra- pery. With her right arm she is holding a Love, a winged child, that contemplates her with admi- ration. With her left arm she holds the white drapery. At her feet, Cupid is sitting, his quiver lying on the ground near him. He holds an arrow in his hand and seems to feel its point. Signed on the left: N. Diaz 1 Panel. 17 3/4 in. by 11 3/4 in. — 25 — DIAZ (NARCISSE) No. 23 OD Oecs The Pool in the Wood. (LA MARE SOUS BOIS) In the middle of the painting, is a pool with lim- pid water, entirely surrounded with trees. To the left, at the foot of some large trees with straight trunks, on a green path, litup by the sun, a woman is bending down, as if she wanted to gather herbs. She wears a red shawl, brilliant be- neath the sun, which also illuminates her white bonnet. To the right, on the border of the pool, are old gnarled trunks with barren branches. In the back ground, beyond the pool, the slope is lit-up by the sunbeams, which glide between the branches, touching here and there the trees of the forest. Signed to the left: N. Diaz. 60. Panel. S in. by 11 1/4 in. — 26 — DIAZ (NARCISSE) Cae No. 24 “Wyre Fes. The nude figure of a Woman. (ETUDE DE FEMME NUE) Only the head and the upper part of the body are finished. The lower parts of the legs, directed towards the left of the canvas, are merely outlined. This study was made by Diaz for his large paint- ing : « Les derniéres larmes, » which was exposed at the Paris Salon of 1855. Signed on foot : N. Diaz, 55 Canvas. 18 1/2 in. 11 1/2 in. Son a DUPRE (JULES) No. 25 Fo,0O0 Sscs Banks of a. River. (BORD DE RIVIERE) In the fore-ground, a river, reflecting a brilliant sky with some scattered clouds. On the right, a group of splendid trees, likewise reflected in the water. On the left, a fisherman in his boat; his white vest receiving the rays of the sun. Beyond the slope which borders the river, a mea- dow lit-up by the sun. Horizon of distant hills. Signed. (Canvas. 27 in. by 38 in. Oe FERRIER (GABRIEL) No. 26 Lig bey) mE EES be Spring. (LE PRINTEMPS) In a vernal landscape, coming out from a grove nymphes are throwing flowers. In the fore ground on the left an old man is seated, looking at them. Canvas. 11 ft. 5 1/2 in. by 7 ft. 1/2 in. This picture is exhibited at the ‘‘ Universal Exhibition” Champ de Mars, Paris, and will only be delivered to buyer after its closing. eee 9 ae FERRIER (GABRIEL) No,27 Hol sere. Salambo. (SALAMB 0) She is lying on a carpet, in a Moresque apart- ment. A serpent is wound around her body, its head being near her face. Canvas. 4 ft. 2in. by 7 ft. 4 1/2 in. This picture is exhibited at the “ Universal Exhibition ”, Champ de Mars, Paris, and will only be delivered to buyer after its closing. aes S00 == FORTUNY (MARIANO) No.28 “#300 4e5 Arab Fantasia. (FANTASIA ARABE) A crowd of people, with their chiefs in white bour- nouses, are gathered in front of a row of houses of Arab architecture, assisting at the mad J*antasia, executed by native soldiers, who, with gun in hand, go through all sorts of eymnastic performances and are firing in the air. Some spectators are sitting in the fore-ground. To the left, in the back-ground, a horseman, his face half concealed behind his bournous. The stamp of Fortuny’s sale is below, to the right. Canvas. 14 1/2 in. 18 1/2 in. FORTUNY (MARIANO) No. 29 3. 70r0> Kes: Field Exercises in the Presence of the Queen of Spain. (EXERCICE A FEU) The Queen, with a Princess at her side, is halt- ing, in her carriage, in a plain, at the foot of a high mount. The carriage is drawn by four splendid horses. On its right, stands an officer of high rank, explain- ing the movements of the troops to the Queen. — Behind it, we see a great number of officers of the Staff. On the left, in the fore-ground, is a battery of artillery, in front of the Queen’s carriage. Several battalions are manceuvring along the road which passes over the mount, from right to left. Skirmishers are scattered in front of their pla- toons and firing. — To the left, on the height, are several officers on horse-back. In the fore-ground, an officer on horseback; a little to the left, an outrider on horseback. Canvas. 9 ft. ro in. by 14 ft. 9 in. This Paintrnc had adorned the ceiling of the former Mansion of the Queen of Spar, in the Champs-Elysées, Paris. FROMENTIN (EUGENE) No.380 4Y%3.00n ex The Chiffa-Pass. (LES GORGES DE LA CHIFFA) A deep ravine, shut in by steep mountains, from which falls perpendicularly a limpid stream, into a clear sheet of water below, making the latter splash up. Arabs are halting in the ground, around the sheet of water. Their horses are let loose; some of them are drinking in the water. To the right, a white horse, with a long mane, has entered into the water and drinks. Signed on the right : Eug. Fromentin, 1874. Canvas. 47 in. by 41 in. ==39 = FROMENTIN (EUGENE) No. 34 Sf 20202, FCS Hawking. (LA CHASSE AU FAUCON) In the fore-ground, in a sandy plain, near a spring, are six Arab horsemen, dressed in pictu- resque costumes and mounted on horses of various colours, assisting at a hawking expedition. One of them, mounted on a superb white horse, holds his left arm stretched out towards the sky. On his fist perches a hooded falcon, which he will presenly let fly on a bird, that can be perceived high up in the sky. Further on in the plain, other horsemen follow the chase. The horizon is bounded by a succession of bluish hills. Very delicate blue sky, sprinkled with light, brilliant clouds. Signed. Canvas. 23 in. by 28 in. Exposition des Cent Chefs-d’ceuvre, 1883. on pe Payee FROMENTIN (EUGENE) No. 82 25700 +es An Alert. (UNE ALERTE) At the foot of a steep hill, four Arab horsemen, with bournouses and turbans, are galloping on their superb, high-mettled horses towards a descent, where other horsemen are disappearing in the dis- tance. One of the cavaliers, in the fore-ground, mounted on a white horse, wears a standard. Grey, cloudy sky, very fine, very luminous. Signed to the left: Eug. Fromentin. Canvas. 23 1/2 in. by 16 1n. —- 35 — FROMENTIN (EUGENE) Si. BS) Ve No. 33 AG Fee Fes Arab Horsemen. (CAVALIERS ARABES) In the fore-ground, an Arab horseman is halting, near a hillock, covered with brushwood. He is mounted on a white horse; his gun is thrown over his shoulder. He is turning around on his saddle, as if he wanted to speak with another horseman, who is on his side and almost entirely concealed by him. His grey-hound stands near his horse. On the right, in the back-ground, other riders water their horses. A glimpse of the evening sky, above, on the right. = Signed on the left: Eug. Fromentin. Canvas. 15 3/4 in. by 12 /12 in. = 96) = FROMENTIN (EUGENE) es No. 34 a i ore /-e 5 The Arab Children. (LES ENFANTS ARABES) On the border of a wood, on a sandy ground, a troup of Arab children, with light, variegated cos- tumes, are playing. They hold, in their hands, sticks that are bent at one end, and seem busy knocking some balls; one of them is lying on the ground, in their midst. In the fore-ground, to the right, a little girl has fallen and stretches her hand towards a boy, who is helping her to get up. Greyish-blue, cloudy sky. Signed, on the right: Eug. Fromentin; and on the left : Dated 67. Panel. 10 1/4 in. by 13 3/4 in. 587 at GERICAULT (JEAN-LOUIS) 2 * -.@& Cy No. 35 jf F- DBre-e Pes: i Starting for the Race, at Rome. (COURSES LIBRES, A ROME) On the right, at the foot of an elevated stand, decorated with red drapery and covered with spec- tators, we see a quantity of high-mettled horses, some otf them carrying their riders, the others held by valets. Kos: CH. male’ s A a = J Pet lctere The Cuirassiers (1805). CA ceretiltiz’) 7 MEISSONIER (JEAN-LOUIS-ERNEST) No. 40 44¢,800 Fes £ 7712. Cl» l- 2 s57* Playing at Bowls, ae Moats of Antibes. (JOUEURS DE BOULES DANS LES FOSSES D’ANTIBES) Several persons are playing at bowls in the moats ofa fort, whose walls are strongly illuminated by the southern sun. They are surrounded by a crowd of spectators. It is hot; most of the players have taken off their coats and play in their shirt-sleeves. In the centre, one of the players, with a straw hat, is about to throw the bowl; beside him, ano- ther player, in a sailor’s suit, with his arms akimbo, is watching him. To the left, is another large group of players. On a ledge in the wall of the fort, many spectators are seated. Furtheron, to theright, isa carriage, drawn by a bay horse, in which two ladies are seated, with whom twoof the players are conversing. ‘Two dogs are to the right, in the fore-ground. Signed, on the right : Meissonier, 1885. Panel. 17 1/4 in. by 30 1/4 in. Exposition des Cent Chefs-d’ceuvre, 1883. eee hs) MEISSONIER (JEAN-LOUIS-ERNEST) No. 44 The Vicar’s Wine. (LE VIN DU CURE) In a large dining-room, a catholic priest and a gentleman with grey coat and short breeches, are seated opposite each other, at a rustic table, covered with a white cloth. Breakfastis nearly finished ; the two table-compan- ions have begun the dessert, which is composed ot grapes, fruit and, chiefly, of some bottles of good old wine. The good priest, leaning upon the table, holds the stem of his glass between the fingers of his right hand and seems to call the attention of his partner on the quality of the golden liquor, which he is about to taste. The expression of the figures is admirable with delicacy and life. Signed on the right: Meissonier 1860. Panel. 4 1/2 in. by 6 in. lay, EXE) YY. Kez Zer> vs Tes 44 — MEISSONIER (JEAN-LOUIS-ERNEST) No. 42 63,100 Fes The Painter and the Amateur. (LE PEINTRE ET L’AMATEUR) A painter, with palette in hand, stands before a painting on an easel. He is dressed in a large, brown dressing-gown. On his side stands a gen- tleman, with his head bent to the left and looking complacen red doublet, yellow ¢ and rosy-coloured stockings. His head is covered with a large red wig a soft-felt hat of a yellow To the right, is a table covered with a red cloth. tly at the pa colour. inting. He is dressed in a ie) n reat coat, short breecl nd he holds in his hand a i=) Still more to the right, is a chair of carved wood, on which some big books are lying. Several paintings decorate the wall of the studio in the back-grou nd. Signed on the left: Meissonier. Panel. gin. by 7 1/4 in. oe ys MEISSONIER (JEAN-LOUIS-ERNEST) GS,30 TES No. 43 ae: ) snufi-box, held out by the second gentlemen, who ro) = is likewise going to take a pinch. — Both wea grey bobwigs. The gentleman on the left has a red dish costume. Heis leaning againsta table Louis XV, made of rose-wood, decorated with gilt brass-work and covered with books. The light comes from the right, giving a_brill- iancy to the costumes and to the exquisitely outlin- ed faces. Fine Carpet. — A large window in the back- ground. Signed on the left with the monogram, 4M. Panel. 4 1/4 in. by 2 3/4 in. 8 Fes = Se Ei ee MEISSONIER (JEAN-LOUIS-ERNEST) FAA fo Oo Fes: No. ‘56 Recital of the Siege of Berg-op-Zoom, (RECIT DU SIEGE DE BERG-OP-ZOOM) Two old men are seated on a stone-bench attach- ed to a wall, in the open air. They wear short breeches, white stockings, buckled shoes and black, flat hats of the epoch. The coat ofthe one is red, that of the other of a yellowish grey. The one to the right holds, in his left hand, a long, silver-headed cane, stretched out before him onthe sand. The other sits cross-legged, hugging Hi his knees with his hands. Hi The two old men talk together in a friendly manner. Round medallion, on wood. 1 3/4 inches in diameter, — 59 — MEISSONIER (JEAN-LOUIS-ERNEST) No. BT Sb, 200 Field-Exercise of a Battery of Artillery at Vincennes. (BATTERIE DARTILLERIE FAISANT VEXERCICGE A FEU A VINCENNES) * On a ruddy road, in the fore-ground, stops an ammunition-wagon. ‘Two artillery-men are mount- ed on the saddle horses. On the box in front, an officer is seated. His right arm is raised and his hand touches the peak of his kepi, as if he wanted to shield his eyes, so as to watch better the firing of a piece of cannon, to the right, in the middle distance, at the foot of a hill, which is managed by three artillery-men. Behind the ammunition-wagon in the fore-ground, an artillery-man, with his gun slung over his shoul- der, is busy taking out ammunition from a half opened caisson. In the back-ground, to the left, a second piece of cannon, managed by several artillery-men, is going to fire. Beyond the road are some trees, lost in the smoke. Above the trees and the hillock, is a grey, cloudy autumn-sky. Signed below, to the lert: M. 1860, Vincennes. Panel. 5 1/4in., by 7 in. = Fes. MEISSONIER (JEAN-LOUIS-ERNEST) Noss ///002 Fes Portrait of Madam X... (PORTRAIT DE MADAME X...) A young woman is seated, with full front, in a J ‘S] big, red arm-chair. She isin a low dress of white muslin, the body of which being ornamented with bows made of broad green ribbon. Her elbow is supported by the arm of the chair. Her hand is raised to her face, her fingers resting against the chin and right cheek. Her feet are on a cushion. She is leaning towards the left of the 5 painting, in a graceful and elegant attitude. to) ro) ro, ( hand is placed. n her lap is a large open book, on which her left The light comes from the right, almost in front, and sple illuminates the arm, the face and part of the ndid brown hair. The lower part of the dress and the back-ground are broadly outlined. Si ened on the right, with the monogram :, AM. Panel. 11 3/4 in. by 9 3/4 in, eG MEISSONIER (JEAN-LOUIS-ERNEST) IO Fes EO ASE MOE CS The Amateur of Paintings. (L7AMATEUR DE PEINTURE) An artist stands before an easel, on which a small painting is placed, with a brush in his right hand. He wears a grey coat, a lace collar and wide bree- ches. On his right, a young gentleman is seated, wearing a rich coat of yellow and red, a lace collar and red stockings. Inhishand he holdsa yellow hat of soft felt. The lightilluminates his costume on the left and the profile of his face, as well as the grey coat and the full-front face of the artist. The amateur and the Painter look attentively at the painting and seem to talk about it. At the foot of the easel, to the left, a large, brown grey-hound is lying down. The background and part of the painting, are merely outlined. Panel. 8 1/2 in. by 6 1/2. Sa Oe MEISSONIER (JEAN-LOUIS-ERNEST) No. 60 Goce Fes The Parting-Cup. (LE COUP DE VETRIER) A rider on a fine bay-horse, is halting at the gate of a city, on the border of a road. He holds the bridle of his horse with his left hand; with his right one, he lifts a glass which a girl, standing on the left and holding a glass jug in her hand, has offered him. He wears large, soft boots, a great-coat of a green-violet shade, a grey vest with flaps and a black three-cornered hat. At the horse’s feet are two dogs, broadly drawn, and indicated by lines, between the trunks of two green trees, the sombre foliage of which stands out Wi} against the blue sky above, with luminous clouds | towards the horizon. Part of the painting is in form of a sketch. Panel. 9 1/4 in. by 7 1/4 in. See MEISSONIER (JEAN-LOUIS-ERNEST) No. 64 76 00s Fey The Hussar. (UN HUSSARD) He is standing by his white horse, near a hil- lock of a yellowish tint with some spots of green, from which the group isdetached. His right leg is crossed over the left one, which bears the weight of the whole body. His right armis resting on the neck his of horse, and his leftone put akimbo. His knapsack is attached to his back by a long white strap. He is dressed in a rich greenish blue costume with white gimp, large boots with spurs, bree- ches with broad red stripes, which are stuck inside the boots, talpack of the same colour as his coat and with large white stripes. The sunbeams fall upon the head of the horse, to the left, and glide over the figure of the rider, illuminating his blonde mustache. Finished study; signed on the right, with the monogram : HM. Panel. 7 3/4 in. by. 5 3/4 in. a 6h = MEISSONIER (JEAN-LOUIS-ERNEST) No. 62 SCC Fes Figure of a Man. Study. (ETUDE DHOMME) A man, wearing a kind of a bere?, a red draping, which covers his breast, arms and half of his legs, yellow shoes and large gaiters. A large poniard, in its scabbard, is fixed to his belt. Red drapery under his left arm. With his right hand he holds a large stick on his shoulder. He stands out against a back-ground of houses, broadly touched off. Monogram on the right. Panel. 11 3/4 in. by 7 3/4. — oD) 18 S% — WES x % Le Scelcs MILLET ve Wilgesy ~ LEM Secgly thar Stcrelare Fe seatce ~ Wexx.yxx by Secseleer [5 feGtl (JEAN-FRANCOIS) Sought Oo MK X MX, : - we or “e No. 63 383. Ooo les: The Angelus. (Evening Prayer.) (L’-ANGELUS) The evening approaches. The sun has already sunk below the horizon, but still illuminates, with a warm, golden light, the lower part of the sky and the vast expanse of fields. We perceive already that mysterious calm which accompanies the parting day. In the fore-ground, a young couple has been busy harvesting the potato-crop. They have interrupted their work and stand there quietly, vigorously set- off against the luminous sky. The young man expresses in his inclined attitude a sweet sentiment of rustic piety. He has taken off his cap and holds it against his breast. The young woman, likewise | bowing, is holding her joined hands near her face. Both send, in silence, a fervent prayer to their Maker, whilst the bells are ringing the Angelus in the steeple of the village-church, which we see near the horizon, detached from the clear, golden sky. A deep, religious feeling is expressed in this paint- ing, which is said to be « the most beautiful paint- ing of the Modern School » and which is certainly Millet’s master-piece. Signed below, to the right. Canvas. 21 1/4 in. by 25 1/2 in. Engraved by Ch. Wattyer. Lithographed by Emile Verntmer for the Calcography of the. Louvre. J.-W.-Wirson’s Collection 1881. BGG) a MILLET (JEAN-FRANGOIS Wa 64 2a,boo Fes The Return from the Fountain. (LE RETOUR DE LA FONTAINE) In front of a grey stone-wall, crowned with vei- dure, is a young peasant-woman, on her way home, after having drawn water at a rustic well, which is seen in the background, on the left. She is clothed is a blue skirt and a coarse, un- bleached chemise, and her head is covered with a red kerchief. She carries her two pails, full of water. On the right, a shovel and a pitch-fork are placed against the wall. Signed on the right : J.-F. Millet. Panel. 10 in. by 7 in. — 67 — MOROT (AIME) No. 65 ol Solce —~ The Good Samaritan (LE BON SAMARITAIN). In an arid, stony region, an ill man is riding on a mule. The Good Samaritan is walking on his side and supports him. Canvas. 13 ft 1 1/2 in. by 6 ft8 1/2 in. This picture is now exhibited at the ‘‘ Universal Exhibition ”, Champ de Mars, Paris, and will only be delivered to buyer after its closing. — §8 — PRUD’HON (PIERRE-PAUL) Born at Cluny, in 1758. — Died at Paris in 1828. No.66 ~“74Oe Z~es Andromache. (ANDROMAQUE) The Trojan woman, dressed in white, extends her face towards her little son who throws himself in her arms. A young maid stands in front of her, pushing the child towards her. Her head is adorned with blue bandelets and her body covered with a sombre drapery. Behind, another woman, leaning in the back of her seat, is contemplating them. Finally, the messenger of Pyrrhus who surrenders Astyanax to the captive woman, appears in the back-ground, draped in red, his two arms stretched forwards. Canvas. 4 ft. 3 in. by 5 ft. 7 in. eee yes ROBERT-FLEURY (JOSEPH-NIGOLAS) No. 67 APae Fas, Reading of the Report. (LA LECTURE DU RAPPORT) In a large room, decorated with two paintings and with gilt wainscoting, Louis XIV is seated on a big arm-chair, not far from a chimney, where a good fire is burning. He has his long wig, and is dressed in a large morning-dress, ofa reddish colour; his feet rest on a blue cushion. He listens to the reading of a person, seated on a big stool, on the right. Another person, dressed in red, is seated at a table, covered with a green carpet; he his also listen- ing and is getting ready to write. Signed below, to the left. Dated 1860. Canvas. 3 ft. 1 3/4 in. by 4 ft. 2 1/2 in. — 70 — ROUSSEAU (THEODORE) TS. Sov SHS 62222 No. 68 eres, CS’. Bi lerkes le e The Hut of the Coal-men. (LA HUTTE DES CHARBONNIERS) Blue automn sky, with scattered clouds, which are getting more abundant towards the horizon and to which the sunbeams give a warm light. To the left, a vigorous group of old oaks with knotty trunks. Their dense foliage stands out in delicate silhouettes against the fine tones of the sky. To the left is a tree whose trunk seems to have been broken in two by lightning. In the middle distance, a woman is seated at the door of the coalmen’s hut. Her head and shoulders are covered with a white, brightly illuminated hood. To the right and left are grey rocks amidst the vegetation, which is already turning yellow. In the middle of the fore-ground is a little pool, the water of which is flowing off to the right. Signed below, to the left: Th. Rousseau. Canvas. 35 1/2 in by 45 1n. Exposition des Cent Chefs-d’ceuvre, 1833. — 71 — ROUSSEAU (THEODORE) No. 69 638.500 4es tor Cox-Corcere CLC Gezz The Farm in the Wood. (LA FERME SOUS BOIS) In the middle distance, on a green slope, stands a farm, or rather some huts, among trees. The sun illuminates the summit of the slope, the thatch- ed roofs, the white-washed walls, the trees which shelter the cottages and the road on the right, lost between the double row of trees, whose trunks are vividly touched by the rays. In the fore-ground, at the foot of the slope, is a little pool, where three cows are drinking and which reflects a part of the middle distance. On the right is a large oak-tree, with knotty trunk and distorted branches, on which the sunlight is _ also playing. — The ground of the forest 1s of a reddish colour, with some grey stones, scattered on the right. Signed below, to the right. Panel. 15 1/2 in. by 26 in. Exposition des Cent Chefs-d’ceuvre, 1883. — ROUSSEAU (THEODORE) a2 No. 70 Roo Tey Jean de Paris (JEAN DE PARIS) A bright, luminous landscape in the forest of Fontainebleau. In the fore-ground : young oaks with leaning trunks and rugose barks, on a verdant slope. They are lightly touched by the rays of the setting sun, which illuminate the summit of the slope. A shepherd-girl keeps her sheep, that are seen grazing under the trees, on the left. She is seated, dressed in blue; her bonnet and white kerchief are strongly illuminated. In the middle distance, appears, between the trees, a hill covered with luxuriant green, in full ight. Quite in the back-ground, the forest- rees. are detached from the clear, luminous sky of the parting day. Above the trees we see the deep blue sky, with a few slightly illuminated clouds. Signed to the left. Panel. 21 3/4 in. by 17 in. ROUSSEAU (THEODORE) No. 74 33 206, Fes Spring. (LE PRINTEMPS) Against a soft, blue sky, of a most delicate shade, stands off, to the left, and as far as the mid- dle of the painting, a cluster of large trees of ele- gant, finely drawn forms. In the middle of the back-ground, is a small pond, surrounded with trees, painted in very light tints, and forming nevertheless a contrast with the luminous sun-lit mists on the horizon, which are reflected in the pond. To the right: some trees and young plants, shooting up from the ground. Fore-ground : reddish heath in bloom. In the midst, a stair-like path of moss-covered rocks, on which a peasant-woman descends, holding a cow by a rope. Signed at foot, to the right : Th. Rousseau. Panel. 16 in. by 19 1/2 in. From the John SavuLnier Collection. ROUSSEAU (THEODORE) No., 72 <6 Bore 72 A Hamlet in Normandy. (UN HAMEAU EN NORMANDIE) Against a grey, stormy sky, which is clearing off towards the horizon, the trees, surrounding the hamlet, are delineated; nearly all the houses of the latter are thatched. The sun illuminates the blue walls of some cot- tages. To the left, among the trees, stands a house, the tiled roof of which gets a few sun-beams. In the centre, a peasant-woman, whose red bod- ice shines in the sunlight, is coming down a path, among green herbs and ruddy plants. On the horizon, one perceives the blue sea which contrasts with the luminous clouds of the sky. Signed to the right: Th. Rousseau. Panel. 8 1/s. by 12 1/2 in. Engraved by Martial. From the John W. Wizson Collection. No. 85 p= 3S OOKES:, Rabelais. (RABELAIS) He is sitting on a big arm-chair, near a table, covered with a cloth,on which his left arm is lean- ing; his right arm is resting on the arm-chair. He wears a long houppelande and a three-cornered hat. His legs are crossed, and he has sandals on his feet. Rabelais seems to meditate, what he is going to put on the paper. Drawing, signed on the right : Eug. Delacroix. 10 in. by 73/4 in. — 89 — DELACROIX (EUGENE) ALES Q a en . 86 No € Cogecélize >) Portrait of the Actor Regnier. (PORTRAIT DE LACTEUR REGNIER) The actor is leaning against a table, covered with a red cloth. He wears a blue close-coat and a pair of red, puffed breeches. One knee is bent on a blue foot-stool. He holds a pen in his right hand and is getting ready to sign his name. His uncovered head, turned to the left, stands ont in full light against the grey back-ground of the room. To the right, a black doublet is hanging on the wall. Painted in water-colors and signed, to the left : Eug. Delacroix. 10 1/2 in. by 7 inch. a 0) = INGRES (J.-A.-DOMINIQUE) No. 87 Yh, bee res: Portrait of La Fontaine. (PORTRAIT DE LA FONTAINE) La Fontaine is represented standing, with a smile on his face, in his long wig 4 la Louis XIV. His right hand is leaning on a long cane, in his left he holds a pair of gloves; his houppelande is thrown back over his arm. Signed on the right : J. Ingres f. 1864. Pencil drawing. 8 1/4 in. by 6 1/2 in. INGRES (J.-A.-DOMINIQUE) No. 88 ISe Fes Portrait of Poussin. (PORTRAIT DU POUSSIN) The great artist is sitting on a stool, his left foot reposing on a wooden basin. He isdressedin a large drapery, which is thrown around his shoulders. With his right hand he holds a big volume, that is lying on his knees. Signed to the right : Ingres, del. Pencil Drawing. 8 1/4 in. by 6 1/2 in. LAMI (EUGENE) No. 89 3, /e0 Fes: Louis XIV presenting the Dauphin to the Spanish Ambassadors. (PRESENTATION DU DAUPHIN PAR LOUIS XIV AUX AMBASSADEURS D’ESPAGNE) In one of the large halls of the Palace of Ver- sailles, Louis XIV advances, holding the young Dauphin by the hand and presenting him to the Ambassadors. The latter make a deep bow and one of them kneels down. To the right and le ft, we see a throng of grand ladies and courtiers; to the left, a cardinal. Painted in water-colors. 17 in. by 25 in. 99 = LAMI (EUGENE) No.90 “4%ee Fes The Meet. (LE RENDEZ-VOUS DE CHASSE) Horses and carriages are arriving in front of a square pavilion with Italian roof. The horses are either led by the hand or mounted by lackeys. All around, ladies in airy toilets and gentlemen in hunting-suits. Painted in water-colours. 11 1/2 by 16 inch. 5-99. ==: LAMI (EUGENE) No. 94 3200 ves Reception-Day at Versailles. (UN JOUR DE RECEPTION A VERSAILLES) At the foot of a grand, interior staircase in the Palace of Versailles, several grand ladies, followed by their pages, who are carrying the trains of their dresses, and accompanied by noblemen, are about to ascend, at the heel of other personages. Above, a broad peristyle, between the columns of which we perceive the blue sky in the distance, and to the left, the facade of the Castle. Painted in water-colors. 16 1/2 in. by 12 in. SS Hhes LELOIR (LOUIS) No. 92 xe The Serenade. (LA SERENADE) We see a nobleman in front of a Spanish house ; his cloak and hat are thrown on the ground; his sword is on his side, and in his left hand he holds 4 mandolin. He raises his head and arms towards two young women who appear among flowers, at the window ofa balcony in the front of the house. He looks at them amorously and speaks to them. To the right, a little further back, a band of mu- sicians, dressed in dazzling red costumes, play on the instruments which they hold in their hands. Above, to the right, a clock is fixed to the wall of the house. Signed, on the right : Louis Leloir, 1882. Painted in water-colors. 40 1/2 in. by 17 1/2 in. ae (G5 ee MEISSONIER (JEAN-LOUIS-ERNEST) No. 93 RZ 500 Fes MV. Mar 272092 a The Chess-Players. (LES JOUEURS DECHECS) Two gentlemen are seated in a room, to the right of a high window, which throws a bright light upon them. They are leaning on a table, on which a chess-board is placed. Both are dressed in a large houppelande. The one to the left, with a blonde wig, holding his chin with his left hand, seems to reflect profoundly and to hesitate about moving the figure which he touches with his right hand. The one to the right, wears a sword. He is leaning on his right arm and smiles feebly, whilst watching the play of his opponent. He stands out against a screen, placed near the table. — Tapes- try in the back-ground. Signed below, to the left : Meissonier 1857. Sepia. 8 1/4 in. by 6 3/4 in. — Oe MEISSONIER (JEAN-LOUIS-ERNEST) io I are) ProBwn—~ me: 98 Free Fas. A Bully. (UN SPADASSIN) He is standing, presenting himself with full front and having a bold, provoking look. His mustache is pointed upwards, his lips are slightly apart; he lifts his face; his hand resting on his rapier, he looks as if he wanted to pick a quarrel. His long hair is covered with a hat Louis XIII; he has a lace collar over his long doublet, shoes of the epoch, with spurs and soft gaiters. Monogram on the right, dated 1882. Sepia, set off with gouache. 12 1/4 in., by 8 3/4 in. ei ae MEISSONIER (JEAN-LOUIS-ERNEST) No. 95 6,500 Fes. A Trumpeter on horse-back. (TROMPETTE A CHEVAL) A soldier, with hat and coat Louis XIII, sits on a beautiful horse, in repose, and blows, with his face turned upward, a trumpet, which he holds in his right hand. A little flag, attached to the trumpet, is floating in the air. The impatient horse bows down its head and lifts its front left leg, as if pawing the ground. Signed to the left and dated 1870. Pen-drawing with touches of China-ink, and gouache. 13 3/4 in., by 10 3/4 in. == 08 ae: MEISSONIER (JEAN LOUIS-ERNEST) No. 96 6, 2o0e “cs. AGentleman: Time of Lewis XIII. (GENTILHOMME LOUIS XIII) Shoes with spurs; high leather gaiters; a soft hat, turned up on the right; a doublet, rolled up under his left arm; a sword on his left side. — He is standing before a building of an uncertain archi- tecture, which is broadly indicated. His head, turn- ed three quarters to the left, receives the light from the right, which gives a brilliancy to his lace collar. He holds a pair of gloves in his joined hands and looks towards the left. Signed below : Meissonier 1847. Drawing with China-ink, set off with touches of gouache. 8 in. by 5 1/4 in. == .99e—— MEISSONIER (JEAN-LOUIS-ERNEST) No. 97 70,/ 00 A Gentleman, curling his mustache. (GENTILHOMME FRISANT SA MOUSTACHE) In the embrasure of a large window, partly cover- ed by a green curtain, a young gentleman, with a costume Louis XIII, is leaning against the wall. The brim of his broad, soft hat is turned up on the left. He wears a yellow doublet with lace collar and cuffs, and grey breeches, tucked in his soft boots. His long, light curls flow over his shoulders. His head is bent backward; he curls his mustache between the fingers of his right hand, and is looking upwards, to the right, smiling and pensive. On his left we notice the broad, chiselled hilt of his sword, Monogram, on the right, dated 1880. Sepia, set off with aquarelle and gouache. 11 1/2 in., by 7 1/4 in. a? EGS — 100 — i MEISSONIER ° { (JEAN-LOUIS-ERNEST) No. 98 AO “es. Portrait of Corneille. (PORTRAIT DE CORNEILLE) The great poet is walking under a pcristyle, the pillars of which are in the rear. His head, seen in three quarter profile, turns a little to the right; his fine, pensive look is directed to the front. He has a large forehead; the crown of his head is covered with a small round cap, from beneath which his long hair is falling down over his shoulders. He is dressed in a long drapery, which is wound around his right arm, and he holds a book with manu- script in his hands. Signed, on the left, on the base of a pillar. Drawing with two crayons. 9 1/4 in., by 6 3/4 in. — 101-— MEISSONIER (JEAN-LOUIS-ERNEST) No. 99 900 FEe.s- Portrait of a Man. (PORTRAIT DHOMME) He is standing, his bare head slightly turned to the left. His hair, of a medium length, falls over his right temple and is brushed away from his left one. He is painted with full front. — In his right hand he holds some papers. Over his right arm passes a long drapery, which wraps him up entirely, from his shoulders downwards, as in a dressing- gown. The light, coming from the left, illuminates him and throws his shadow on the ground. There is a seal of red wax on the top, of the painting to the left. Drawing in blue-black. 10 1/2 in. by 7 3/4 in. — 102 — MILLET (JEAN-FRANCOIS) ee, Cw 0) Gp 26 , Fes. No, 100 A Peasant Watering two Cows. (PAYSAN FAISANT BOIRE DEUX VACHES) The sun is setting on the horizon. A peasant has been leading his two cows to the bank of a river. He is coming down from the sloping bank, with his stick in hand, and waits. Impression of silence and of the keen, brazing air of the evening. Pastel. 28 in. by 37 in. From the Gavet collection 1875 and C. Sedelmeyer’s sale 1877. — 103)—— MILLET (JEAN-FRANCOIS) seen 2S fe ao No. 404 ete %c5:. The Shepherd-girl (LA BERGERE) She is standing, leaning on a long staff. A houp- pelande, with a hood, is thrown over her shoulders. Her head, covered with a red madras kerchief, detaches itself vigorously from a clear, brigt sky, from where the sun, hidden behind a dense cloud, darts its rays towards the horizon. She is knitting, whilst her dog watches the flock of sheep, that are following her, browsing the grass on the meadow. Pastel. 14 in. by 18 1/4 in. Paintings by Old Masters Paintings by Old Masters BELLINI (Attributed to J.) No. 402 lOO Kes’ Portrait of a Venetian Nobleman (PORTRAIT D’UN SEIGNEUR VENITIEN) In half length, looking to the right; light beard. He wears a flat cap and a wide cloak of garnet velvet. Canvas. 27 in. by 23 in. BOUCHER (FRANCOIS) 1704 — 1770, Paris No. 103 The Sleep of Venus 3. Soo (LE SOMMEIL DE VENUS) The Goddess sleeps beneath a red drapery, which is held by two Cupids. Her chariot and doves are partly concealed by the rose-bushes. A third little Cupid sleeps on her side. Signed and dated 1754. Oval canvas. 41 in. by. 35 3/4 in. 4 4 8 ben res: — 108 — CANALE (ANTONIO) Venice 1697-1768). No. 104 63 000 Fes View of Venice (VUE DE VENISE) The sea is ploughed by gondolas and merchant- ships. In the centre are seen the Palace of the Doge, the Piazzetta, the domes of St. Mark’s Cathedral and the Campanile. On the leftis the custom-house, next to which is a man of war, the prow being the only part visible. This is one of the Master’s finest and most impor- tant paintings. Canvas. 4 ft. 7in. by 7 ft. 6 1/2 in. — 109 — CODDE (PIETER) (xvue Centu ry, the Hague) No. 105 A Dutch Family. //,0 OO (UNE FAMILLE HOLLAND AISE) The mother, is sitting at a table, covered with a green cloth, wearing and large frill, carefully plaited. yellow silk dress, is sta The father headed, with a black-fi her bonnet. cuffs, his right arm lea chair. Another figure, a black dress, white cap Her child, in a ading before her, holding is seated to the left, bare- rilled collar and muslin ning on the back of his wearing a large-brimmed hat and a yellow cloak, is leaning with his elbows on the table. Before hi rosy liquor. A maid-servant, standi a ewer. m is a glass, containing a ng farther back, is holding Divers Paintings are hanging on the wal. Panel. 9 3/4 by 5 3/4 in. arched on the top. Collection of the Baron de BEURNONVILLE. Engraved by MonGIN. b — 110 — COYPEL (ANTOINE) 1661-1722 Paris 35,0902 Ses’ No. 106 Rinaldoin the Gardens of Armida (RENAUD DANS LES JARDINS D’ARMIDE) The young hero, crowned with flowers, is lazily stretched out on the lap of the enchantress. Little Cupids flutter and play around them. In the second distance, on the bank of a stream, two naiads listen to one of Armida’s maids, who is playing on a lute. Canvas: 4 ft3 1/4 in by. 5 ft 3 in. — Ill — CUYP (ALBERT) Dordrecht 1605-1694. YY DIL O No. 107 res The Artist Sketching from Nature (CUYP DESSINANT D’APRES NATURE) An artist, supposed to be Alb. Cuyp, seated ona stone, seen from behind, is sketching a landscape. His valet, standing to his left, leaning on a cane, holds the horses by the bridle. Before them, a flat, far-stretching country. On the right, a hillock, with some houses on it; the sea in the back-ground. Fine, precious painting; admirable harmony of tones. Panel : 10 1/2 in by 7 1/2. Supplement of Smith’s Catalogué p. 655, No 18. Collection of Lorp GRANVILLE. Collection of Joun W. Wirson, 1881. Engraved by GusTavE GREUX. — 112 — DOW (GERARD) Lorn at Leyden in 1598; — Died 1674 (or 1680). No. 408. SO, ZO Fes? An elderly Woman, looking at some Valuable Objects (FEMME AGEE (REGARDANT DES OBJETS PRECIEUX) ep he 1s seen through the window, sitting in her room, with her head in three quarter view towards the spectator. She holds a vase, made out of a shell and mounted on agilt foot. On her shoulders is a garnet-coloured velvet cloak, lined with fur. In front of her is a table, covered with a green cloth, on which are placed a gold vase and a small bottle with liquor. In the back-ground is a window; a painting on the right. A fine, precious painting; signed in full. Panel. 6 1/4 in. by 4 3/4 in. = 113 — DROUAIS (FRANGOIS-HUBERT) 1727-1779, Paris. No. 4109 47S 2 FES Portrait of Lewis Philip, Duke of Chartres (PORTRAIT DE LOUIS-PHILIPPE) Painted in half length, turned to the right; — the three-cornered hat under his arm. His cuirass is partly concealed by his red coat. He wears the ribbon of the Grand Order of Saint-Sulpice, saltire- wise and a white scarf is tied to his belt. Canvas. 45 1/4; by 34 1/4 in. DROUAIS (FRANCOIS-HUBERT) EB) SE. PE Re No. 4140 7 = Portrait of a Young Man (PORTRAIT DE JEUNE HOMME) Painted down to the waist, in a sitting posture, in three quarter view. Light hair, slightly powder- ed; white cravat and greyish dress. His hand ‘is in his waistcoat. Oval Canvas ; 28 1/2 in. by 22 in. 15) — 114 — DROUAIS (FRANCOIS-HUBERT) No. 414 36. 500 Yes Portrait of the Countess Dubarry. (PORTRAIT DE MADAME DUBARRY) Represented with the attributes of a Muse, holding a lyre and some wreaths. She is seated, with full front; her hair is powdered, she wears a white dress, with a blue gold-fringed belt. around her waist. About her is a red silk drapery. At her feet is a book, a palette anda marble bust, upset. To the left, in the middle distance, perfumes are burning near a stone column. This important portrait is known as one of the finest works of the artist. Canvas. 6 ft. 8 3/4 in. by 4 ft. 7 in. DROUAIS (PRANCOIS-HUBERT) > No. 442 I4,, Jeo res: Portrait of a Child (PORTRAIT D’ENFANT) Powdered hair, tied together with a ribbon; che misette, leaving the shoulders bare; garnet man- tle, lined with ermine. Oval canvas. 17 1/4 in. by 14 1/4 in. — 115 — DYCK (ANTHONY VAN) Born at Antwerp, in 1599. Died at Blackfriars, near London, in 1641. No. 443 14, 8020? FES’ Full-length Portrait of Cesar Alexander Scaglia (PORTRAIT EN PIED DE GESAR-ALEXANDRE SCAGLTA) Bare-headed; long hair; turned-up mustache; dressed in a black cassock and a cloak of the same colour, which he lifts a little with his left hand. His right elbow is leaning against the pedestal of a pillar. —On the right, a chair, behind which a yellow curtain. Canvas. 6 ft. 2 3/4 in. by 3 ft. 8 1/2 in. Engraved in half-length, by Paul Pontius. Collection of the Baron bE BEURNONVILLE. — 116 =— DYCK (ANTHONY ,VAN) JL OOo Fas No. 144 Portrait of Ann Cavendish, Lady Riche. (PORTRAIT DE LADY CAVENDISH) She is standing, painted in full-lengthand life-size; her head is slightly turned to the left. Light, curly hair, ornamented with pearls, Black silk dress, low in the neck; short sleeves, a muslin chemisette, bordered with Maltese lace, covers her shoulders. Necklace formed by a double row of pearls. Her arms are hanging down and she is ho!ding a fan in her right hand. On a finger of her left hand is seen a diamond ring. ) Interior of a Dutch Dwelling (INTERIEUR HOLLANDAIS) Four figures are grouped around a table. An officier, in soft boots and black great coat, his long wig hiding his face, holds the arm of a young woman, who is looking at him, seeming to listen eagerly. — A young man, with felt hat, white dress, broad down-turned collar, his hand lying on the back of a chair, looks closely at a maid-ser- vant who pours out a drink for them. The latter, standing, seen from the side, wears a red velvet bodice, trimmed with ermine, a blue gown and a large apron. A window, divided in four compartments, the upper shutter being opened, pours a vivid light on these four figures. The black hat of the officier is placed on the ground. On the right, in the middle distance, is a bed, surrounded with curtains. Above it, hangs a man’s portrait, in a black frame. In the centre — 129 — is the plan of a Dutch sea-port, bearing an ins- cription. This admirable painting is known as one of the artist's masterpi which illuminates tl eces. The vivid, warm light his interior, indicates a fine summer-day. Nobody ever understood the play of light so well as Pieter de Hoogh. In this com- position, it produces he most powerful effect. Panel: 26 1/2; by 22 3/4 in. Collections of Delessert and Narishkine. Etched by Courtry and Mordant. Described in Smith, Pa rt IV, page 229 34. |? — 130 — KEYSER (THOMAS DE) Amsterdam 1595. — 1679. No. 4129 22,0008 es Portrait of a Lawyer (PORTRAIT D? HOMME) Painted in full length, seated in his study, before a desk, on which we see books, an inkstand, pens, etc. Large-primmed hat, curly hair, light mustache and imperial He wears an elegant dress of black, spotted satin, grey-violet stockings, broad collar and cuff of Maltese lace. The left hand is resting on the paper, the right one holding the cloak. Marble floor of different colours; to the right, a mantel-piece with pillars. Superb portrait of a light shade; perfectly pre- served. Panel : 30 1/2 in; by 20 1/2. KEYSER (THOMAS DE) No, 1430 2ZLOa” Fes « Cocerzé Feaccrlirles >) Portrait of young Lady (PORTRAIT DE FEMME) She is seated on an arm-chair, dressed in a black silk dress with embroidered flowers, the bodice richly ornamented with gold; broad collar and cuffs of Maltese lace. — One foot is placed on a foot- warmer. On her right, is a table covered with a Turkish carpet, where she has placed her gloves and a silk mantilla. In the back-ground is a large door. — The floor is covered with marble of various colours. A yery remarkable portrait, and in perfect pre- servation. Panel: 20 1J2 in by co 1/210, i — 132 — i KEYSER (THOMAS DE) No. 4134 Zacve Fes Dutch Family, in an Apartment (FAMILLE HOLLANDAISE DANS UN INTERIEUR) | The mother is seated at the centre, in three quar- ter view, looking to the left, one hand leaning on the broad, plaited collerette, and cuffs with Malta lace; dark colored gown and black bodice. Her son, i arm of herchair. She wears a white bonnet, a Hi) with blonde hair, dressed in black, is standing near her, holding his hat. The father, likewise standing, looks to the right; he is dressed in black, with a broad-brimmed-hat; | i he is leaning against the corner of a table, covered HAW with a cloth. | | In the back-ground we see a female servant, | coming down the stairs. | Beautiful painting of this master. Panel. 40 in by 33 in. From the collections : Léopold Double and Gautray. — 133 — LAMPI (GIAMBATTISTA) 1752. — 1830. Romeno (Tyrol). No. 132 Ro JOO Ses, P ortrait of Catherine II, Empress of Russia. (PORTRAIT DE CATHERINE IT) She is painted standing, and life size. Clothed ina white silk dress and imperial cloak, and holding the scepter. On the left, a small altar, on which in- cense is burning, near a statue. In the back-ground are large draperies between marble columns. Farther back, we get a glimpse of the sea. Canvas. 8 ft. 8 in. by 5 ft 9 3/4 in. — 134 — LANCRET (NICOLAS) Xorn at Paris, January 22%, 1690; — died in the same city, September 14" 1743. SF 2c No. 133 3Y-280 Rs Melle. Detavege.e The Pleasures of Winter. (LES PLAISIRS DE L’HIVER) A group of eight young women and two gentle- men in an elegant drawing-room, of the time of Louis XV. The ladies are in the centre; one of themis playing with a cat; others, holding a musical sco. e, are about tosing. Others are seated round a table, on which is a Turkish carpet, and play at cards with a gentleman. The drawing room, decorated with pannels, hung with red damask, with oval pictures in the centre, is divided by columns. In the back-ground is a chimney-piece, over which hangs a large mirror. This charming picture has been engraved. Canvas. 45 in. by 36 1/2 in. Exposition des Cent Chefs-d’ceuvre, 1883. — 135 — LE BRUN (Mme VIGEE) Born at Paris, 1755. — Died in the same city 1842. No. 134 6, JOO Fes. Portrait of Mme Elisabeth de France (PORTRAIT DE Mee ELISABETH DE FRANCE) She is painted in half length; her head is seen nearly with full front. Her hair, dressed upward, is slightly powdered and adorned with roses. A muslin veil falls upon her shoulders. She wears a white, low-bodied dress with a blue belt. Her right arm leans on a stone pedestal. — She holds a crown in her hand. Oval Canvas: 30 3/4 in by 24 3/4 in. Marquis of Blaisel gallery LE BRUN (M™ VIGEE) No. 135 See Fes Portrait of a woman (PORTRAIT DE FEMME) She is seen in half length; a turban on ner head; her auburn hair waving on her shoulders. She is draped in a red mantle. Oval canvas. 321/4in. by 25 1/4 in. — 135 — LOO (CARLE VAN) Born at Nice, in 1705, Died at Paris, in 1765. No. 136 b6,/70 Kes: The Sultana LA SULTANE) She is seated on a carpet, leaning on cushions, her face presented in side view. She holds a pipe and takes a cup of coffee, which a female slave pre- sents to her. Large curtains in the back-ground, and a window on the right. Canvas: 51 1/2 in by 63 in. LOO (CARLE VAN) No 137 6, LOK Fes Turkish Girls (JEUNES FILLES TURCQUES) They are seated in a room, talking and making tapestry. In the back-ground, to the left, a large yellow curtain; a window to the right. Companion to the preceding picture. Canvas: 51 1/2 in. by, 63 in. — 137 .— MATSYS (QUINTEN) Born at Antwerp in 1460. — Died in 1531. No. 138 Ao. O00, Fes | AMuse, Le 63ers De Portrait of Stephen Gardiner, Bishop of Winchester and Grand-Chancellor of England (PORTRAIT D'ETIENNE GARDINER, EVEQUE DE WINCHESTER ET GRAND CHANCELIER D’ANGLETERRE). Life size; represented down to the waist; almos with full front. He wears a barretta, a white sur- plice over his cassock, with fur lapels on his sleeves. In his left hand he holds a book, and his spectacles in the right one. Landscape in the back-ground, with mountains on the horizen. There is a great individuality in the face and a very life-like expression. We think, we may attri- bute this excellent portrait to Quinten Matsys, named the Marshal of Antwerp, although in the catalogue of the Wilson sale it was denoted as being a Hol- bein. Panel. 28 1/4 in. by 22 1/2 in. ° Collection of Fonruity AsBey. Joun W. Witson, 1881. Engraved by E. Gavjran. — 138 — MEER (JAN VAN DER) Or: Ver Meer, of Delft 1632. No.139 A730 Fes. The Lady and the Servant (LA DAME E\T LA SERVANTE) A young woman is seated at a table, presenting a side view of her head. Her hair is light-coloured; she wears a light-yellow silk dress, lined with ermine. Her left hand touches her chin; the right one holds a pen and is resting on the table. She gives her instructions to a servant who is standing before her, holding a letter which her mistress has just given her. — On the table, covered with a blue cloth, are an ebony box with inlaid work, an inskstand and a sheet of paper. A very fine work with powerful coloring. One of the finest works of this master, who pro- duced only about fifty pictures. Canvas. 34 3/4 in. by 30 in. Collection of DurouR DE MARSEILLE. — 139 — MEER DE DELFT (JAN VAN DER) G2kDOe No. 140 ~G2,-O0R0 Fes The Billet-doux. A young woman is seated at a table, covered with aredcloth. She is busy with writing a letter — a billet-doux — judging from the expression on the ace of the servant, who is standing near her and, ooking through the window, seems to smile at the over, whilst her mistress is writing. — The light coming through the window to the left, brightly illuminates the face, and the white bonnet and bo- dice of the young woman, as well as the face ofthe servant girl. A charming painting, in which the clare-obscure is rendered with an admirable perfection. It is in the best preserved original state and has never been touched or relined. Signed in full, on a paper. placed on the table- cloth. Canvas. 27 1/2 in by 23 in. — 140 — MEMLING (HANS) 1470 (2) No. 144 AES Sa ae Religious Subject. (SUJET RELIGIEUX) A figure, kneeling down, is under the protec- tion of St. John, standing by his side. In the back-ground, the artist has represented several subjects : On the right, a young woman, hidden behind a rock, whilst St. George is fighting the Dragon. To the left, a Saint, draped ina red mantle, hold- ing a book. In the sky, a female Saint, confiding a child to an angel, whom a demon is trying to snatch away. A precious little Painting. Panel. 15 in. by. 19 1/2 in. — 141 — METSU (GABRIEL) Born at Leyden 1615. — Died 1658 at Amsterdam. CL$ eo 3 : No. 442 64, ROO Fes. C Lagrzesy) For Kersi replay. _ Dutch Interior. (INTERIEUR HOLLANDAITIS) Near an open window, where vines are climbing, a young woman, her shoulders covered with a white mantilla, stands smilingly and offers some- thing to drink to ayoung working man, clad ina red vest and with leather apron, who is lighting his pipe with some coals from a pan. He is sitting on a chair, on which he has hung his hat. A board, placed ona barrel, serves him asa table. On the left is abroom, and in the middle distance, a chimney. A charming picture of exquisite execution. Canvas. 10 1/2 in. by3 in. y Described in Smith’s Catalogue. Page 8 No 42. Collection of Baron Beurnonyille. Etched by Lefort. — 142 — METSU (GABRIEL) §0, No. 143 SX O00 Kos MMensizcclo7e MMeesewum Breakfast. a (LE DEJEUNER) An old woman, with a white bonnet and neck- kerchief, dark, woollen bodice. red petticoat and blue apron, is sitting near her window and eating her soup in a porringer, which she holds on her lap. Her cat is lying at her feet. On the table: a part of a cheese, bread cut in pieces, ajug and a knife, these objects being partly covered by a napkin. A pot and a wooden spoon are on the ground. Very precious and rare painting, in the finest style of the master and in a most admirable state of preservation. Panel. 14 in. by 10 3/4 in. Collection of Antoni BrerENs Amsterdam 1817. Collectionof David Birrens Amsterdam 1881. — 143 — MOOR (ANTONIO DE) Born at Utrecht, in 1525. —Died at Antwerp in 1581 No. 144 ECR OES Portrait of a Nobleman (PORTRAIT D’UN GENTILHOMME) Painted down to the waist, in three quarter view, turning to the left. Blonde beard; dark-coloured dress with gold necklace. The right arm akimbo; the left hand, holding his gloves, is resting on the hilt of his sword. Panel. 29 1/2 in. by 21 1/4 in. Collection of the Baron DE BEURNONVILLE. — 144 — MOOR (ANTONIO DE) No. 145 G22 Fes Portrait of Edward VI. (PORTRAIT DU ROI EDOUARD VI, DANGLETERRE) Full lengh; life size; seen with full front. He wears a flat cap with feather, a close-coat of a dark colour with rich ornaments and the cross of St Michael on his breast; and white silk tights. His gloves are in his right hand; the left one is on his sword-belt. Large, green curtains and columns in the back- ground. Signed with his full name. Panel. 5ft. 5in. by 2 ft.1/2 in. Gallery of the Duke of Hamilton. — 145 — MOOR (ANTONIO DE) No. 146 BAe res Portrait of a Gentleman (PORTRAIT D’UN SEIGNEUR) Seen down to the waist; he looks to the right; his auburn hair cut short and brushed backward, slight beard and mustache. He wears a grey vest with standing stock, small collerette, a costly gold-chain and yellow sleeves, slashed and quilted. His right fist is clinched and resting on his breast. A beautiful painting, dated 1561. Canvas. 26 1/4 in. by 20 3/4 in. — 146 — MOUCHERON (FREDERIC) 1633-1686 (2). Emden. No 447 /Oo So Yas Yalbcre wlewle7 Landscape of a Hilly Country My 26. Ree . (PAYSAGE ACCIDENTE) In the fore-ground isa broken tree; to the left, shepherds leading their flock; to the right, a rider: is about to cross a bridge which leads to an Abbey. In the back-ground, hills illuminated by the setting sun. Canvas. 30 in. by; 38 in. NATTIER (Attributed to J. M.) No. 148 Boo 7s Portait of a Young Woman (PORTRAIT DE JEUNE FILLE) Standing; seen down to the knees; she is holding abow. Her powdered hair is tied up with a ribbon. Low-bodied muslin dress, with fur around the shoulders. A violet-coloured silk scarf flutters on her left side. Sky in the back-ground. A graceful portrait. Canvas. 39 3/4 in. by 31 1/2 in. — 147 — OSTADE (ADRIAAN VAN) Born at Lubeck, in 1610.— Died at Amsterdam, in 1685. 26 Sow No. 149 26—Cose Fes Zhe —€9—r-9—ey The interrupted Game (LE JEU INTERROMPU) In a rustic apartement, two men are quarrelling over a game of cards and threaten each other. The one is held back on his chair by the person who is standing before him. The other, standing on the right, is kept back by his wife, who holds him by the arms. Three other persons try to pacify them. In the fore-ground, a child, leanin g on a stool, is lifting an arm and seenis to be frightened. The scene is lit-up by a window, on the left, near a mantel-piece and a cupboard, on which there are several objects. Beautiful painting, of a light, transparent tone. Signed in full and dated. Panel. 17 1/4 in. by 14 1/2 in. ALEXANDRE Bartne’s collection. San Donato Gallery 1880. Mentioned in D'. WaaGen’s catalogue. Suiru’s Catalogue vol. I, p. 169, n° 220. Engraved by SuypEruor and by A.-F. Davin. — 148 — PATER (JEAN-BAPTISTE-JOSEPH) Born at Valenciennes in 1695. Died at Paris in 1736. No. 150 22 200 Fes’. YT. Si Cey-sz The Sign-board of Gersain ) (L°ENSEIGNE DE GERSAIN) This Composition is known from the engraving of. P. Aveline. Lords and Ladies are gathered at a merchant's, Ou whose shop is stocked with paintings. On the left, a Lady and a Gentleman are looking at some packers, who take a portrait of Louis XIV. from a box, whilst other figures are admiring an oval painting, representing some women bathing. A charming painting, of a delicate and spirited execution, with light tones; perfectly preserved. Canvas. 20 in. by; 32 3/4 in. — 149 — POTTER (PAULUS) Born at Enckhuysen, in 1625. — Died at Amsterdam in 1654. No. 154 22XLCO. Fes The Horses of the Stadtholder (LES CHEVAUX DU STADTHOUDER) They are in a pasture-ground. The one, a brown-bay, is in the centre ; its body in side view; its head with full front. The other, of a dapple- grey colour, is on the left, rubbing itself against a Unees A grey-hound barks at them. The approach of a valet, who holds his hat in his hand and hides a bridle, seems to make them uneasy. In the fore-ground, is the trunk of a tree, stretched on the ground, on which we see the master’s entire signature and the date 1653. A precious painting; best state of preservation. Panel. 11 in. by 12 1/2 in. Engraved by G. Greux. Collection : ALpxaNDER Barinc, Bucuanan, O. J. VERNON, Joun ANDERSON, J. H. Munro, San Donato. Smith’s Catal. vol. V, p. 143, no 6r. — 150 — REMBRANDT (VAN RYN) Born at Leyden in 1607. — Died at Amsterdam in 1669. No. 152 LS OOD Les, The Man with the Armour (HOMME A L7ARMURE) Standing; seen down to the knees; near a table, where he puts his helmet and a dagger. Face with full front, looking towards the spectator. Blond, abundant hair. He is covered with his cuirass and buckling his belt. In the back-ground, we see an official placard stuck to the wall. Canvas : 40 in. by 33 in. Collections of GuEFFIER, Rosit, GrorGEs HiLBert, BLAKE, San Donate. Smirn’s catalogue, vol: VII, p. 105, no 287. Engraved by Leenhoft. Exposition des Cent Chefs d’ceuvre 1883. = al = REMBRANDT (VAN RYN) No. 153 (447 Soset ) Portrait of a Man (PORTRAIT D?HOMME) He is at a window; his head, in three quarter profile, is resting on his right hand; the left hand is gloved. On his head is a plumed cap. Curly, auburn hair and short mustache. He wears a military costume with gorget and slit sleeves. Canvas 35 1/2 in. by 30 in. — 152 — REMBRANDT (VAN RYN) a | 29 S00, res No. 154 y Portrait of the Artist’s Sister (PORTRAIT DE LA SOEUR DE REMBRANDT) A Represented down to the waist; face with full front; light curly hair; ear-rings with fine pearls; plaited chemisette and dark-coloured mantle with gold embroidery. Beautiful, interesting portrait, in Rembrandt’s first manner, of a light, luminous tone. Signed on the right : R. van Ryn 1632. Oval panel : 31 in by, 25 in. Valpincon’s collection. — 153 — REMBRANDT (VAN RYN) No. 155 Drel SoxPel Temptation (LA TENTATION) A girl, seated, seen down to the knees; her hands crossed over her waist; light hair with a crown of foliage; costly, gold-embroidered dress. She listens, wavering, to the proposals of an old woman. Trees in the back-ground Signed to the left and dated 1657. This painting reminds us of Rembrandt's first style. The signature and date (1657) on the left, do not seem to us to be authentical. Canvas : 35 1/4 in. by 45 1/4in. — 154 — REYNOLDS (SIR JOSHUA) Plympton, 1723. — London, 1792. (24 i No. 156 27, 000 Fes, The Widow and her Child (LA YVEUVE ET SON ENFANT) She is seated in a park, dressed with a broad- brimmed, round hat, with feathers, on her powdered hair, and a greyish silk dress with a somewhat low body. Her fair little boy, in a white dress, is seated on her lap, looking smilingly at his mother and caress- ing her. al daughter. us is the portrait of Mrs Seyforth and her Fine, vigorous painting, with warm, powerful coloring. Canvas. 4 ft.7 1/2 in. by 3 ft. 3 in. Engraved in 1787 by Grozer. Etched by Jules Jacquemart. John W. Wirson’s Collection, 1881. — 155 — REYNOLDS (Attributed to Sir Joshua) No. 157 De 7 Oo Fes Portrait of a Girl (PORTRAIT DE JEUNE FILLE) She is represented down to the waist. She wears a straw-hat over her light hair, which falls in ringlets over her shoulders. Low bodied dress with a muslin neckerchief. Sky in the back-ground. A graceful portrait. Canvas. 17 3/4 in. by 15 in. — 156 — RUBENS (PETER-PAUL) Born at Siegen, in 1577. — Died at Antwerp, in 1640. No. 158 Ti EPC ES Fee Abigail meeting David. (DAVID ET ABIGAIL) The composition shows Abigail alighted from her palfrey and bending one knee before David; her left hand is placed on-her breast, and the right extended towards the presents which she has brought, to appease his anger against her hus- band Nabal; she is attended by two females, who stand a little further back (these are, probably, the portraits of the artist's first and second wife), and three servants. David, clad in armour and wearing a scarlet mantle, has also dismounted from his horse, which is held by a youth behind him, and is bending forward to raise Abigail; a company of two soldiers on horse-back and three on foot, attend the future King of Israel. This capital production is admirably composed and splendidly coloured. (Description of Smith’s Catalogue rai- sonneé, part Il, page 170.) Canvas : 69 in. by 98 in. Hneraved by LommMeLin. Collection of M. Meyer, Rotterdam 1722. Paut Metuven Esq, 1830. — 157 — RUBENS (PETER-PAUL) No. 459 AS cr>e> Tes zi Portrait of a Bey of Tunis (PORTRAIT D’UN BEY DE TUNIS) Seen down to the waist; a copper-coloured face, looking towards the left. His white turban covers his head, neck and part of his breast; he wears a wide, green robe and holds a poniard. In the back-ground, a landscape with ruined monuments. A vigorous painting. Panel. 38 1/2 in. by 27 1/2 in. Collections : WELLESLEY and pu BLaIsEL. — 158 — RUISDAEL AKO Born at Haarlem 1630. Died in 1684. No. 460 37,200 Fes The Sluice (L?ECLUSE) Built of brick-masonry; a bridge above, shut off by a turnpike. It is illuminated by a bright sunbeam and stands out against a green cluster of trees. Towards the left, a blooming elder, at the foot of atree, some branches of which are broken off. To the right, a shepherd, seated on the bank of the stream, watching his sheep. Cloudy sky. A charming picture, in a state of perfect preser- vation. ai? igned with a monogram. Panel. 15 1/2 in. by 21 1/2 in. — 159 — RUYSDAEL (SALOMON) Born at Harlem, about 1610. Died in 1670. No. 164 a, Force Fes” The Banks of the Meuse (LES BORDS DE LA MEUSE) Two boats, mooring in the fore-ground. In one are four peasants, a woman andachild. Onthe top of the slope of the bank, we see a horseman, halt- ing at the door of a tavern; further-on a wagon filled with villagers. Trees, with light tollage are detached from tl sky. @ In the back-ground : the steeple of a cathedral. On the right, a mill and different buildings Sailing-boats plow the river which disappears on the horizon. An important painting, with a strong effect. Canvas : 3 ft 5 1/4in. by 4 ft 4 in. — 160 — SLINGELANDT (PIETER VAN) Leyden. — 1640. — 1691. No. 162 26,500 Kas The Lace-Maker. (LA DENTELLIERE) She is in a sitting posture, seen in profile and holding her work on her lap. She is looking at a young girl, who is trying to amuse a little child. On the right, near the chimney, is a table with a piece of white linen, a jug, a candle-stick and seve- ral other objects. In the fore-ground are several ustensils and an upset copper-basket with vegetables. In the back- ground is a bed. This is a fine and valuable painting. Panel. 15 3/4 in. by 14 3/4 in. Collection : ANToniI Brerens, Amsterdam, 1847. _ Davin Birrens, Amsterdam, 1887. — 161 — STEEN (JAN VAN) Born at Leyden, in 1636. — Died at Delft, in 1689 - No. 163 J 60 aes Getting up. LE LEVER) A young woman, sitting on the edge of the bed, from which she has just risen, is putting on a pair of stockings. She has a silk handkerchief tied under her chin, a grey jacket, lined with ermine and a skirt, of the colour of dried leaves. On her right is a chair and candle-stick. A silver pit- cher is on the floor, next to her slippers. A spa- niel is asleep on the pillow, where her head has just been resting. This is a delicate and charming little painting, of the finest quality. Panel. 14 1/2 in. by ro 3/4 in. Collections : HarGREaves of Liverpool, Grirten, MICHELL, Smitn’s catalogue mentions the painting. — 162 — TENIERS (DAVID, the Younger) 3orn at Antwerp in 1610. Died at Brussels, about 1694. The five Senses, represented by the following subjects. These five Paintings, remarkable pieces of D. Teniers, in his best style, have been described in Smrru’s CATALOGUE RAI- SONNE, vol. III, p. 278, n° 77. They belonged to the collections of the Marquis de Berin- ghen, Count du Barry, Buchanan, Lord Dudley and San Donato. No. 164 The Sense of Sight. SED taSe (LA VUE) A young artist, sitting before a table with a writ- ing-desk, and holding a pen, is attentively looking at a model. of which heis making a drawing. His red velvet cap is hanging from the back of his chair. An old man, on his right, with white beard, hold- advice. Signed at the top, to the right : D. Teniers. F. Copper-Plate : 8 3/4 in. by 6 1/4 in. Engraved by L. Cared. From the San Donato Palace xe ise — 163 — TENIERS (DAVID, the Younger) No.165 /2,05%5 Fos: The Sense of Hearing. (L’OUIE) A musician, wearing a blue jacket and a fur cap, is playing the bag-pipe. Behind him is apeasant, holding a sheet of music and singing. Signed at the top, on the right: D. Teniers. F. Q] Copper-Plate. 8 3/4 in. by 6 1/4 in. Engraved by Abel Lurat. From the San Donato Palace. — 164 — TENIERS (DAVID, the Younger) No. 166 12045 Kes The Sense of Taste (LE GOUT) A jolly toper, with a blue velvet cap in which a feather is sticking, holds up a glass of wine and sings a song, before emptying its contents. On the left is another individual, holding a stone jug. Signed at the top, to the left : D. Teniers. F. Copper-Plate. 8 3/4 in. by 6 1/4 in. Engraved by Edmond Ramus. From the San Donato Palace. — 165 — TENIERS (DAVID, the Younger) No. 167 420 es 72 s- The Sense of Touch (LE TOUCHER) A peasant, wearing a purple jacket with green sleeves and a white cap, is sitting ata table. He makes awry face, while carefully taking off a band- age from his wounded hand. Near him, to the right, is a woman, holding an ointment over a chafing-dish. In the background, to the left, is a shelf with bottles and divers objects. Signed at the top, to the right : D. Teniers. F. Copper-Plate : 8 3/4 in. by 6 1/4 in. Engraved by Gustave Greux. — 166 —= TENIERS (DAVID, the Younger) No. 168 Jes, VEZ @ Bor, The Sense of Smell. (L.ODORAT) A gardener, dressed in a grey jacket, and with his hat tilted over his ear, is holding a flower pot, with red pinks, which he is putting on a table. He seems to listen to a woman, who is standing behind him and holding a flower. a igned at the top, on the left: D. Teniers. F. i Copper-Plate. 8 3/4 in. by 6 1/4 in. Engraved by Henry Vion. From the San Donato Palace. — 167 — TENIERS (DAVID, the Younger) mh 4 No. 169 Se LOS Fes The Farm (LA FERME) The farm-buildings are on the right. In the fore-ground, a young shepherd, followed by his dog, is talking with a peasant-woman, who is seated, holding a copper vessel onher lap. Near them, are three cows and some sheep. On the left, is a well. The farmer's wife, holding a jug, is speaking to a lad. In the middle distance, a farmer carries a trough, containing the feed for the cattle. Copper. 26 1/2. by 37 in — 168 — TENIERS (DAVID, the Younger) No. 170 24 AN en OQ 7 Ss the Well: (LE PUITS) Flemish landscape. Farm buildings on the bank of a river. : In the centre and fore-ground, divers kitchen utensils, a dog and a wheel-barrow near a well. To the left, an old man, holding a shovel, talking with the housewife, busy cleaning an earthen sauce- pan. An old woman, with her head against a window, is watching them. Towards the right, on the opposite bank of the river, the village houses can be seen; also a peasant driving some cattle before him. This, most perfectly preserved, picture is painted in a clear, silvery tone. Signed on the right : D. Teniers. Panel. 16 in. by 24 1/2 in. — 169 — TENIERS (DAVID, TIE YOUNGER) No. 174 LOWE Fee The Temptation of St Anthony (LA TENTATION DE SAINT-ANTOINE) The Saint isin a grotto, witha crucifix and.an open book before him. He is surrounded with a host of grotesque figures, some singing, others playing on various instruments. A woman, seen from behind, in elegant dress, presents him a glass of some liquor. Signed. Copper. 14 1/2 in. by 21 1/2 in. i} LD — 170 — TERBURG (GERARD) Born at Zwolle, in 1608. — Died at Deventer, in 1631. No. 172 Af Fe <> Feage The Despatch. (LA DEPECHE) An officer, in helmet and cuirass, sitting at a table, covered with a red cloth, is writing a letter and talking to a nobleman who seems to be giving him instructions. A trumpeter, in a blue uniform, oO. with soft boots and shoulder-belt, is standing an waiting for the missive which his superior is wri ing. — A dog is lying at his master’s feet. On the le isa chimney with columns; andin the back-grounc a bed with curtains. This painting formed part of the collection at the Castle of Pommersfelden. Canvas. 29 1/2 in. by 20 in. Si TIEPOLO (GIAMBATTISTA) Venice, 1693: — Madrid, 1770. Upbg Ui: No. 173 +E Gwe FES. Christ taken down from the Cross (LE CHRIST DESCENDU DE LA CROIX) The body of Christ is stretched out in the fore- ground, held by the Holy Virgin and Magdalene. St John, standing, draped in ared mantle, is hiding his face. To the right, two figures in Oriental attire. In the middle distance, is the Cross, with the ladders still in place, and the two thieves. Soldiers and civilians leave the place of Cruci- fixion, turning to the right. One of this Master’s finest Paintings. Canvas. 30 3/4 in. by 34 1/4 in. — 172 — VELASQUEZ (DON DIEGO RODRIGUEZ DE SILVA Y) (Born at Sevilla 1599; Died at Madrid, 1660) S4LZO000 x No.174 ~@B@oew %Gs’, Portrait of Philip IV. (PORTRAIT DE PHILIPPE IV) The king is represented down to the waist; his face, turned to the right, in three quarter profile. — Light hair, turned up mustache, flat collar, black dress, with the Order of the Golden Fleece on the breast. Beautiful portrait, in grand style and of a bold, broad execution. Canvas. 27 1/2in. by 21 1/4 in. Engraved by Morse. Collections of the Baron de Beurnonville et Gautray. —. 173-— VELDE (ADRIAAN VAN DEN) Born at Amsterdam 1639. — Died 1672. No. 175 6, 38ea0 Fas Shepherds and Animals (BERGERS ET ANIMAUX) A cow is drinking from a brook, on the bank of which several sheep are reposing. In the middle-distance, a shepherd-girl is sitting beneath a tree, talking to a shepherd, who seems to be making love to her. In the back-grourd, some cattle near the verge of a wood. A building of Italian structure rises above the trees. A fine and precious little picture. Canvas. 10 1/2 in by. 13 in. VERONESE (CALIARE PAOLO, NAMED PAOLO) Born at Verona, in 1528. — Died in 1588. No. 176 Base fags Figure of a Man (FIGURE D’HOMME) MRS. 777, 12,000 Re Leaning against fragments of a ruined monument, ; dressed in a white mantle; his legs are bare. Canvas. 6 ft. 4 3/4 ft. by 3 in.7 1/4 in. VERONESE (CALIARI PAOLO, Named PAOLO) No. 477 faa Fos An Old Man (UN VIEILLARD) Seated on fragments of a ruined monument and holding a sun-dial. Companion to the preceding picture. Canvas. 6 ft. 4 3/4 in. by 3 ft. 7 1/4 in. — 175 — DUTCH SCHOOL No. 178 Sow fas Portrait of a Young Woman PORTRAIT DE JEUNE FEMME) Costume of the XVI.century : white bonnet; frilled ruff, dark-coloured dress; a gold chain around her neck and rings on her fingers. Panel, arched on the top. 26 3/4 in. by 20 1/2 in. DUTCH SCHOOL No. 179 [Soc Fee Portrait of a Gentleman (PORTRAIT D°UN GENTILHOMME) Life size; fulllength. He wears agrey dress; his left hand placed on his hip, holds up his cloak. In his other hand he holds his hat and salutes the spectator. Canvas. 5 ft. 8 1/4 in. by 3 ft. 9 1/4 in. — 116 — DUTCH SCHOOL No. 480 PEiitay oar, A Dutch Family (UNE FAMILLE HOLLANDAISE) They are in a garden. The father and mother are seated. Two children are playing with a goat. Painting in the style of de Keyser. Canvas. 39 1/2 in. by. 31 1/2 in. EARLY FLEMISH SCHOOL No. 184 /7 oe Fos A Triptych rus UNE TRIPTYQUE) The Holy Virgin, seated under a baldachin, holds the Child on her lap and turns the leaves of a book. — An angel offers a coral-cup to the Child Jesus. On the right panel is a praying figure, under the protection of a Saint. On the left panel : St John holding his lamb. Panel. 20 1/2 in. by 29 1/2 in. — 177 — FLORENTINE SCHOOL (XV Century) No. 182 4¥,Ja0 fas Solomon’s Judgment (JUGEMENT DE SALOMON) A composition with numerous figures. Round Panel, 24 3/4 in. in diametre. FLORENTINE SCHOOL (XV Century) No: 483 rs 6240220 Fes Solomon (SALOMON) Receiving the Queen of Sheba, who is followed by the ladies of her court. A companion to the preceding picture. Both pictures are very curious specimens of the early Flo- rentine School. Round Panel 24 3/4 in. in diametre. 5 25 — 178 — FRENCH SCHOOL Noise saier 2 es" A Girl looking at her Picture in a Looking-glass (JEUNE FILLE SE REGARDANT DANS UN MIROIR) Represented down to the waist. Her light hair tied on the topand adorned with flowers; rose-co- loured, low bodice and blue cuffs. Painted in the style of Jean Raoux. Canvas : 25 1/4 in. by 29 1/2 in. FRENCH SCHOOL No. 185 [Se Fes: Portrait of a Girl (PORTRAIT DE JEUNE FILLE) Painted inhalflength. Sheis leaning ona table, covered with a red carpet, and holding a fan. Powdered hair, white low-bodied dress, with flowers on the bodice. Pastel in the style of Coypel. 31 1/2; by 24 1/2. — 179 — GERMAN SCHOOL (XVIII the Century) No. 186 422, 4 ec es- Princes in a Park (PRINCES DANS UN PARC) Several princes are conversing in a park, in company of a Lady, seated in a sedan-chair. One of them is leaning towards her and going to kiss her hand. A negro boy, in the fore-ground, leads three littledogs. In the back-ground we perceive a prince- ly edifice , with terraces, fountains and jets d'eau. This precious picture is painted in gouache. 13 3/4 in. by 18 1/2. GERMAN SCHOOL No. 187 He Berea Fes? Portrait of a Man (PORTRAIT D’HOMME) Half-length; the head turned somewhat to the right. — Flat cap; black coat; wide overcoat, lined with otter-skin. He seems to make a sign with his right hand. — His left hand, holding his gloves, is resting on a table, covered with a cloth. His armorial bearings are painted in the back- ground, to the right. Style of Holbein. Panel: 35 1/5 in, by 28 1/4 in. — 180 — ITALIAN SCHOOL No. 188 O20 Kes: The Piazetta of Venice (LA PIAZETTA DE VENISE) Peopled with numerons figures. Painted in the style of Guardi. Canyas. 31 1/2 in; by 42 in. ITALIAN SCHOOL No. 189 3b6e es Lot and his Daughters (LOTH ET SES FILLES) Canyas. — 181 — ITALIAN SCHOOL No. 190 Jee Fey Portrait of a Grand-Duchess of Tuscany (PORTRAIT DUNE GRANDE-DUCHESSE DE TOSCANE,) Painted in full length, life size; her left hand rest- ing on a table, where a ducal crown in seen. Canvas : 6 ft. 6 3/4 in. by 3 ft 7 1/4 in. VENETIAN SCHOOL * oo; No. 194 DAS eg The Wedding of Cana (LES NOCES DE CANA) Beautiful sketch, of a broad execution, light and harmonious colouring in the style of Tintoretto. Canvas. 28 1/4 in. by 37 1/4 in. 18711. PARIS, PRINTED A. LAHURE 9, rue de Fleurus, 9 % UMA |