eae a op ane Sa hs ihe Hee mot reas He ee wi SE ee = ee UL Gory A ret aeabe A ‘ qnd useq oAvy Wel) Jo « Ji ‘Moy Mou T1VUN qn eee a A0Y} O1OJOY JO OMILID “ap Aq aot : ‘ {| “Xo Weeq eavy uoTov[foo ey, ul sau jured oG4 (| JO AUB, “AV -UL yo uvoomy 4seq oY | JO. eouetjeexe 043 ofqnd sguréng- PUB SUIAOC[-aingord yy 0} 97R1}STOMIEp pynoar | Oun ‘spueHy sty pue jlesuny 09 ATs FY SW UOToo][00 sTy ornsvetd eU} Woy epise | ‘78U} COuepyuoo oY} UT seangoId URoloUTy ojur | AQUOUI SITY gna sey ey sived 10g “quewysSoAUT PIpuolds & sv soseyoind sty peyrem ‘0; yunoweE 0} ST O[eS e11yUe oY} Fey Jo UO]}eOIpUl Ue SB UO TL “YSU OY} Jo sydjeoor oY] puR ‘queuspnt SOWIVIO ATL peprsnl Ajperoue# popaeuuoo Soolid et} ‘puey 10430 oy} Uo ‘puy “BUIPpIg po “Hats Toe “OOS'CS “FY STU oY} Jo eoTad ysaq oy? yedn nd Supured qsoq eq jo opps ou Ur. $ SPM WEY} PeTeyo AITUNZI0GdO ey pag fod dv efoya ot} UO oTqnd Surseqoand our ea ‘uepedeid puods 0g JeoIs Oq 0} pres oq Asnl Seu ejOyM ev sR O18 OY} ‘SUTesIEq porleplsuod oq 94 s1ur Yoryay SoInsy ¥B JUEM ONso[eyvO OY} UO. siequinu ou} JO Mos B OSTIUM puv ‘ssurjUled Jomo eu Uo SsjYOi1d ey) Aq yesyo Wey} crow yont e10M SSU}OYO $.443TU OY} JO PITY? SIy4 UO peroyns | OX1VIO “A $B sessol Surya} yong "U9 q} 10y Pred pey oy yvyM Aojoq ota pjos 001t]-«ouTT oy} JO no sernjzold eUOo-431143 JO seolid ey} 72} pojeys oy YSnoyIe ‘sysiQ2e URoJIeUy Jo SiMOU ey} Jo UOMBIOeIdde s0doad pue onp e jo SUIUUIS0q oy} SuLpreur St Sulueag oyy pepaes ~OL OY BUI PIVS J[OSTUTY OYTVIO “IPL ‘“sareye qav Uvolouy Ul Yoods UY SyIeUT A]TBed IT 4BYa pue 2] peyovoidde 1aa9 41,UN0d sTy} Ur 8s 4.18 OU qeyy quSTIOZBIS OY} Ios AyIoyQne poyserteqUIstp sg; ere “Uolepossy 41y uvoteury ey} -JC Jeyaq uo Joouoyjone se Aqury “qT semoyy 4q plos sed sZuured UBdLIOULY JO UOMD0 7100 OAIVIO “ SPWOUT OY} Jo JUeMIUSISUOD Ysaq OU} WOYM “FUlUAAS 48B[ [Te SurTeAoTYD uy unz “Od SBA YONA 98Y9 SB O[VS 448 Ue Yons saqEys Po}UN OY} Ul e1ojeq useq you sey e1euy ‘OOS‘eS. ‘oMsSLT ysoudoy on} sSurrgq <¢ 9dvospuvy HOVpuorpy ,, Sey TeMOH—S}s1Y UvoTLoMLYy &q ssupureg tof SOOM Pipucids pue Zurpprg pegrards ie py oy - Amr As a b=f/ ¢-aT¥S NOLIOaTIO) . S ‘4HUVI AHL 40 LHDIN DNINAAC fx yas fete D amie 1 of the i eg te satnpeon bo ractive “Pa | gyactive "Beth was Emerson MeMil an. Some paintings and their prices and pet, Chari Davis’s “Sunset on the Moor” 3 le 25. iin i Moots '“« Hesitation;” “RR 8. aeeeere eee eee ee cee ‘tom ae #8. eres “A Surf f Ph mphr * Nl . iJ age ¥ = f i 82, it, Scandia, ‘urphy’s Wet tune | Jo [oore ae n Ys 54 | 87. Thomas Hovendon" 8 s HT'se 6 Bo ward rae Edward . Francis 6: dences;” W. B. Lockwe A. A Miata pe Nene ee ee ee Ce a pest;’ “parton Mansfe sega ‘ | 49, William M. Chase’s ‘' A‘ Be Kostlg 54, George’ Innes! Ss = 1 Florida s;’’ Edward. 57... ce pe Ss a ar j * m re Soha ee } 58. ERawin A. fake Li ie q Sampso on | 59. Winsbw omer’s Coast in Blair, Ohicneo;., eeecese ae 61. George Inness’s “ Nin c B. Torrey. | 70. ‘ig aee ee Harvison’ BS at 74. A. Thay yer's “Roses:”” W. 75. J. Alden Weir’ s ‘Still Life;”’ C 76. Samuel Coleman’ ‘3 Au ae er: | 84. Wilson Ray e Loc ~ Well;”’“E. W. Hooper....: ; 85. George Taneseh Bg *8 unset chard—Monteclair;” T. R. 87. Frederick E. Church’s © Sea:’”’ Mrs. G. H. | ' 88. Douglas Volk's ... Corcoran Art erica ievion nue nue every Y alernoo . a evening cae: the paying was. “The absence of dealers as any to the managers of the sale who rather welcomes the ad appreciation shown of 8a collector of American artists’ ss than that of the first night’s, or fy ania offered was the ‘agarded as even a better. heer taken as a whole, : 1@ number of small and un- ‘paintings in the night’s catalogue ought higher prices proportionately Tuesday, and the total num- price of which was less the whole lot, as against one- don the evening before. Sey- es, however, went at prices . called high, and there was dence expressed that a very fow ean advance. in the commercial ure for the night was fetched by beat Tuesday evenine’s high v as commanded by Homer Mar- r $100. It was $5,600, paid by George 1 pte exquisite *“Wooa Gather- bs etators applauded when 3,000, but the bid- line The. total Men the AAR 04.595 ialf, in number, the buying is not in the th total: ot last ie sales” in Tuesday’s. These smaller @ had paid for them was only be PUBLIC SALE | any 14, 15, 16.00 17 *F signe AMDOCS ERE ENA T'EENTH ST, ' FRUARY 15,16, 174x218 a ‘SOUTH it | O . M ierorss DAY AND EVENING, FROM / ATE OF SALE, INCLUSIVE ‘ERICAN ART Assoc fn . MANAGERS saempsatie denen ee E>) a SONG RE NER 9 ee as Re ee eo a or Le neni cE re ei oe Sate ae tit one — 4 ah | ering Hall last | dently already m : ‘the sale_ tion of Mr Thomas ings and to bid — a] 2 HES a 8 Rg a create pos pre aa! After the bids hi ‘first advance - fs ——=. TE ee em 0 162 ™ Part [. Paintings CATALOGUE OF THE PRIVATE ART COLLECTION | OF i : NEW YORK TO BE SOLD AT ABSOLU ry PUBLIC SALE ON THE EVENINGS OF FEBRUARY LA, 15, 16 ano 17 [IIPS ED. gis ERS OE As FIFTH AVE. AND EIGHT >pentuH st. AND ON THE AFTERNOONS OF FEBFzUARY 15, 16, 17 4x2 18 MADISON SQUARE £ SOUTH * WHERE THE ENTIRE COLLECTION WILL BE ON EXHIBITION, DAY AND EVENING, FROM O Tukspay, FEBRUARY 7TH, UNTIL Dé. TE OF SALE, INCLUSIVE THOMAS E. KIRBY THE AME&RICAN ART associ fONn AUCTIONEER MANAGERS vy aA e NEW YORK cD O- 1899 O oe [A erTrman i00KIN: . out. ~a@vove-- tno 7 "Aine Into a windstorm, was bid up rapidly from gal $1,000 to $1,625, It was bought % 2 Harsen mioaios Louis Moeller’s galed,” the old man of books brought 0 .@ standstill by some problem. ha vidently been in the minds of several persons rho Ela agaay to' get it Vee oe hundred. dol- nee De but it was bid up to $1,5 he other Innesses on nat night's cata- .ogue the first one put up (No. 196), Pool in he Woods,” a work of 1872, sold at $575. pet early one, eat Homestead— Me »ifield” ), catalosue num 211, went at pe GO, ee et 1890 a9) sold for $650, * ‘ “Mf “The slow,” 1886 (221), at $850; “ Twilight, ” 1876 o8t) at $1,600, and “September Afternoon,’ ‘887 (240), at $1,500. “Autumn Tints,” (880, (245), went for $635, and “New fngland Valley,” 1878 (250), brought $2,050. The range went on to $2,700 for No, 266, the ** Harvest Moon,” and $6, 100 for “* Phe Jlouded Sun” (1891). This price was manifestle, sentimental, asin the case of the “Lowery Day,” 4 bidder raising every offer by $25. He refused to be affected by offers of another bidder, whe raised him bya fow, hundred ‘dollars at a time. George Fuller’s *“* Romany Girl” brought out good bids, and was sent up to $4,100. The total for the evening was. $61,220, which, added to thatof the two previcois even- ings, makes $165,815 paid for the paintings sofar. Yesterday afternoon’s sale of art obieets islded $16,350. With the $12,508. 50. of ednesday afternoon’s sale, this brings the totrl of the Clarke sale, to date, to $iv4, 733.50. An interesting incident of last evening was the sale -of-the first painting bought by Mr. Olarke. 19 “apton’s “Brook Trout,” a notable contrast to te HoESSos with tite home later; It sold for $110. lection of art objects, at the galleries of the’ American Art Association. was of @~:darger interest than the ° first after- noon sale on Wednesday, and although the attendance, on account partly of the weather, was small, it was made up of people who came erapered to buy. The number of spectators, rawn by curiosity merely, was very small. A. spectator overlooking the pel at the stated time for beginning the sal e@ remarked to a ‘skeptieal companion: “There are. buyers enough here to take twice asmany good things fas will be offered to-day.’ The result of the sale justified this off-hand remark. The prices ofthe day were good. It Was so acknowledged by diverse interests, aithough “no . one setup in argu- ment the palpable fact that a few of the offerings broughta price which represented jess the value of the object than the sentimen- tal interest of the buyer. The proceeds of the “afternoon were $16,350, as against $12,- B6S50 on Wednesday afternoon, and 409 articles were sold as. against 164 on Wednesday. So the two days’ total for brie- a-brae is $28,918.50. The prices of yester- Sday swere higher than some good judges had believed would be paid, in a num- ber of instances materially higher. Gne hundred aouars was nota rare figure for the opening bid. A curious phase of the sale was ‘the numberof catalogue entries for which an i Unlimited bid had been sent in to the eager | purchaser’s representatives. On Wednesday rthis aspect had been remarked only in the buying of the eshields—of elephant and thinoceros. hide and so on—for which @ dealer “evidently had carte blanche, but yesterday a number of the porce- lains. and, potteries had evident! ly been marked tor possession by determined buyers. In other instances the buyers themselves were present to bid up the objects of their desire, The afternoon began favorably with the sale of a blue and white vase of the Kien -lu ig era (1736-95), 134 inches high, for $22.50. An earlier example of the Yung-ching era, a quar- ter of an inch taller, sold at $35, and a soft paste bottle, four inches dee of the Kang-he éra (1661-1722), went at $1 Yung-ching blue and white decorated gallipok witheracked surface (170 of the catalogue), brought $300. Kien-lung gilt bronze incense burner in relief work (189. of the: catalogue) brought $160. A jade vase four inches “talil,, inlaid .with rubies and. emeralds, 0 of. the: catalogue, Wakeman Hol- | Pgold at | tary), a a eh ei Sn ng irene ete ohn “Willthl. Olid ERE Lilkveu bis | he afternoon sale of Mr. Clarke’s home eol- ; - confessed yesterday that he was wining 16 | -_ time to pay. more for, as he had fondled it often ' brought the same amount, and a Yuan vase | 207. Witiant | 208, Georas W, Brenneman’s Ruerewn: 4. se — ase = || 218, Chavtes H. Davis! s “Nightfall” gt ot ZG © “Youe ‘first vase sold 7.50 ‘catalogue number iach eat an Nagai en-lun ottle, present Soe fhe es polos : melted snow,” of the same era, re and 2 :nehes in DeIED were le t $25 and $105. The first ealer: the buyer of the second nounced, A templ Feet Kang-he (2094 of» tie logue), ite t $310. Two hawthorn ginger ars of the sa a era, the eee on which was oe at $100, went at $540 each. OF be old Chinese porcelains, Petal | color, a gallipot of cream white yee paste wil eised ornamentation (216 of the eatalo 25; a Wan-li (sixteenth eens -colored vase and its: companion at ‘ . apple-green crackled vase (221), ae la | é 4~inch bottle with imperial volta glaze iD Ls seal of Tao Kwang, 1821, which Mr. epur- | chased at the sa 6 of the Dana prey al $400. This little yellow vase, which when in possession of the former owner, and as he regarded it as one of the most perfect in eae he secured at the Dana sale for | No. 247 of the catalogue, a Kang-he bottle from the Brayton Ives sale, was bought by Mrs, | Wood for $800. A Ming vase in turquoise (268) | (2°71) $700. | The full list of the paintings sold last evening, with the prices and buyers’ names, except in a | few instances where the buyers’ names were withheld, is as follows: , 187. George H. Smillie’s ‘Low Tide,” Baron "Rosenkranw is Pasa eo eee 188, Winslow Homer’s “The Buccaneers: B®, D. Page. 189. Robert F. Piocdwaidtn s * A Miss isasGood as a Mile; 8, BP. Avery, Wit. PE 190. Wakeman Holberton’s “Brook. Trout: 3 Baron Rosenkranz oek cw ee oe eee 191. D. Jerome Elwell’s “ Breezy Day;?? J. 8: Bache. . 192, ee Bh Harris’ at The Scouts,” “B. re runs 1938. Worthington “Whittridge’ 3 Evening;” 194. Louis Moeller’s ‘ “ Summer ‘News;”? M: H. aa | P| Ht i | 195, Francis C. Jones’s “ Won’t Play;’ T » Ae | j Sindelair. 5... sis. ssn weres ae BORE | 196. George Inness’s “Pool in the Woods; ce é a “Mansfield. ,..s.. 0. Nis ce ee f} 197. Ac Wyant’s' ** The Mountain Road;” k Ne A. Healy. J.) supe ee i 198. Ae eae! W. Maynard’s Bestel i) 5 Louis Ms rin yi ti 199. Times. *? Moonliahee Age Oe _Tckel- 4 heimer . ‘} 200. 3.° G, Tyler's. Rirst “American ‘Ship- fi wreck: Louis Stern...:.. : F FegOde Hower Martin’s a Headwaters. “of “the ! Hudson;’’ H. McMillan,. a ‘| 202. Bruce Crane’s ‘‘'The Water Gate; pr ors, ||-203, Winslow Homer’s ‘f Rise to a- ig } Daniel Dain... as 176 | | BQ4 Thomas W, Wood's Hig ‘Owe Rock ge iP _ F. Rockefeller, Cleveland, Onn Rae ‘| 208, R.A. Blakélock’s © Entrance ee 4 Forest;’’ E, McMillan... .,..-.s21.. “e i 206, Mee et Smedley’: a “Sight Bécing: AR ~M. isten L pialp's WY a Relate esa ne Hae el ea nee me M. Chases “A Stone Yard;” Besy: Waltersy soc 0 0s ie a ie ee ena 130 Seb wwe sen wee w ene eens sete hw ee ose we Air K E. McMillan o iaholstace latent blety sotataaeeana eet ean 210. Winslow Homer’s “To the ewsus na I. Manson. 211. Inness’s ‘Old. “from estead Medfield; Herman Schawus.ns 2 ik vee were Acie rota stele 212. Lonis Moeller’s ‘‘Hello;? EB. H. Gary Fy 213. Me pe M. Chase’s “Prospect Paik? Gai Bo Smithers (| Jee mis os waa te | | A a: Charles GC. Curran’s “ Wading in the Lily Pond??”.\3,) Si Bache desea vee mene 215. William °H. Beard’s ‘**Hawv esdroppers” Peter Doel eet ici cui ie eee 216. Homer Martin's “Wild Cherry. ‘Trees; I BK. Ickelheiment..).. .. over meee ee Frets, i 217. Charles C. Curran’s “A Happy F « Whitcomb. : & Co.. ; ike Ft ae CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dis- pute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase- money 7/ required, in default of which the Lot or Lots so _ purchased to be immediately put up again and re-sold. 3. The Lots to be taken away at the Buyer’s Expense and Risk upon the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery ; in default of which the undersigned will not hold themselves responsible if the Lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 4. The sale of any article ts not to be set aside on account of any error in the description, or tmperfection, All articles are exposed for Public Exhibition one or more days, and are sold just as they are without recourse. 5. To prevent inaccuracy in delivery and inconvenience in the settlement of the purchases, no Lot can, on any account, be removed during the sale. 6. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all Lots uncleared within two days from conclusion of sale shall be re-sold by public or private Sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer or Managers to enforce the contract made at this Sale, without such re-sale, if they think fit. THE AMERICAN ART ASSOCIATION, MANAGERS. Tuomas. E. Kirsy, Auctioneer. Seip rN aE NR Gr EA en ra a TO ee en! aN oan Geer en Eden ecs, : ant’s y hian's ‘Land; re a ul “clause ce L met annat's a Smnuggiers ¥. ‘s: rab ke T. : i lace ee a cS Francis urphy’s. “Woods in Au- Sq PLUME Bi VLAMSHOG: wy casos ca ce eeesees 28 Winslow Homer's ‘Visit ta the Mis- Me _ttess;? M. A. Lehman Aan. Solas Inness’s “ Mwaliehts Blank. so. i. veee te orace Bonham’s ‘The Issfe of the oolong * Corcoran Art Gallery, Wash- = Gilbert Gaul’s **Wounded—To the Rear;’ CML Tiehman., arleton Wiggins’ 8 “Scott Foster. . H. Siddons Mowbray’s “The ‘Last Fa- ay worite’;”? ‘IT, Av Lindler.. 237, ‘George H. Smillie’s “Landscape, East- Hee i: Rampton ;’’ BE. G, Bruns.. to 38. L C. Tiffany’s ‘‘ View on the Hudson;’ i ; Baron Rosenkranz. .... 1.05 6.6.. eee en ees Ege Winslow Homer’s ‘‘Camp Fire;’’ A. Har- “6 Farvest Moon * ee ae i ie air ik ee oe ee ocak) CRE NC? ey AERC M laeie Lice faceee eas cae ies a O47, ‘Henty &. Poore’s PROREUM etre Oe UCU Se uean, Sonntag’s ‘A Sunlit Valley;” E. “oS REE NEE REDS ene HR iS ae es Sea Nace: ” Mrs, TL SChiusgelis. oy ec sacev's ba 244, Gs Sh anatase ‘“Moonlight;”’ Dee ee ee eee ee te we mee ere tm oe ee ee et oe Felt “ty 2 P Gieikis i re EUR Ru UVES Ole ss oui ct ery Sass, William M. Chase’s “Girl in Costume;’’ i eee IVE POM eee ey eee ey og hae AS 240. F.H, Church’s*‘In the Tropics;’’ T. 8. ia Van Yoikenberg poebieaeattpe ten on eink Sartore re 250, Inness’ s “New Hngland Valley;’’ Mrs. B. “P. -Cheéeney. alist. Charles F. Ulrich’s “The Glassblowers;” Ais » LOHMAN... 6. ee kee ge eee seen . De We Tryon’ Ae cAabiniyisn ng Wat Oe eta ‘Yes 253. B.C. Darbell’s “‘Amethyst;”’ F. Weston.. tee LS ea A: Coftin’s “Choppy Sea;’? Wal- Boze Charles c. Curran’s “‘Corner in a Barn- 40 ere Oia ye SDOTTING 7, ela t oa's ei carecoe enna ae LW panesr s*‘Forenoon;” M. R. Sny- Ce a ORC eC ce ee a er i ee a ee ar ee ee a eee Ce a ee ee ee ed eC ee a ee eee oe eee ee ee eae Soe ay a. ' these, ae ‘ Deaths’ ng ee eee ee era ae ee ee a) _ Agent;” : apiece’ 3 “Harvest MOOR oss sos e ok eeae 20118 Moeller’s ** Puzzled; KE. Weston.. Leonard Ochtman’s “Moonlight Shad- Lows;’’ BE. MceMillan,. 26 Paes, (of pet 3 pen Sohn ‘Lua Farge’s “‘Autumn;” A, A. Healy. Bik Oe vine Pauli’s “ Harvesting;” E. MeMil- 1 de G Browns “Watching the Train;’* ML, BL Lehman. . Meaeonis et Mount Lafayette a : “Winslow Homer’s “Perils of the "Sea;”* SEL RAIA A OW Gd) Sots SLO hele wig de aioe G eee . W. Tryon’s “ Winter Brentngs (on Te ” Freer PIAS, Bs llr ee pap EON ms al Ryo ae 305 2,050 525 760 $ 200-4 100 | ] ! i | ! | if i ) 200 | 10,150 | {GREATEST “PICTURE. SAT Ea evans. aoe ; NEARLY $250,000 “REALIZED a THE CLARKE COLLECTION, cess—Inness’s Malaware waiter | $8,100 and Winslow ~ ‘Homer's. frets Eight Bells’? $4,700— Vase Brings $8,000. The greatest picture sale, in some respects. that this country_has known, was concluded at Chickering Hall last evening, when Thomas E. | Kirby, for the American Art Association, sold - the last of Thomas B. Clarke’ 8 collection | of | American paintings, which numbered in all | 372, the total of the prices paid during the four | nights’. auction being $234,495. ‘There have been sales that have brought more money, but | they have been principally of foreign paintings, | and Mr. Kirby, who has conducted most of them’ and seen: them all, is -author-_ ity for the statement that there never has | been, in his experience, another sale of a col- | lection of pictures here which paid | a profit. to. the collector, as the Clarke sale has done, with | the possible exception of a very much smaller j sale, that of Mr. Fuller’s paintings, held here not long ago. Mr. Fuller was not athand last even- ing. to verify the exception. Mr. Clarke was | abundantly .pleased with the appreciation | | shown of American art, to the support of which | | he had devoted himself for a quarter. of a century. He declines to admit that it required force of conviction or anything else but appre- ciation of good work. to buy the Tnnesses, | which have proved, perhaps, the most conspic- uous part of his collection, or the other notable | American works which have received the | praise of the critics recently and the support | of the purchasing public this week. Mr. | Clarke shared in the view expressed in THE Sun’s report. of the first evening’s sale that there never had been one like it in. the United | States, and that it indicated a hitherto almost ( “unsuspected ‘appreciation of the best efforts of American artists, judged on their accomplish-— ments. f _ The ‘results of the sale completed. have tule i filled the indications of its beginning. New | prices have been set for works of artists rep- | resented, and buyers have shown a readiness and in some cases an eagerness to purchase, even if not always witha discrimination Sauek to that shown| by Mr. Clarke. The unprecedented price, for an. American painting at public sale, of $10,150 for the To the Managers of The American Art Association. Dear Sirs: Having determined to part with my paintings by American artists, and my private collection of art objects, as described in the Catalogues, Part I. and Part I1., 1 place them with you to be sold at public auction on February 14, 15, 16, 17, and 18, 1899. There ts no reservation whatever. THOMAS B. CLARKE. New York, February 2, 1899. ah tal 372). an ‘The ig Metropolitan Museum of & ¢hase led: Mr. sitors: * \'to their permitting a painting, which, it ha 3) been hoped would remain here, to go to Phila- 3¢ delphia on. the evening before. 5 night’s catalogue to and Be enerey, the . ; More ancient. , prices indicated. a wider knowledge of porce- , tique glass was knocked other cities, total ' (279) went to A. Augustus at. $10, and a four-inch pee es beautiful iri- ; deseence (284) . tury aryballos, 2% inches he ne from Athens ‘> biae glass, for $13 (28%), pat $2,000; 1(351), which started at $1,000, at $2,500; the “Summer Foliage” (361), 1882, starting also at hee 000, is 32. 200: the “ Delaware Valley” (365), 65, 100—the top pries of Innesses for tine ts ATEN “After Summer Shower” ‘Tso4, at $2,500. “Delaware Valley’? was bought by the ‘Art, and the: pur- Kirby ‘to remark to the specta- ‘They’ve woke up!’ evidently referrin Others of the artists represented in last were well supported. Murphy’s.- ‘October ”’ , (37 went : Homer’s Hight Bells,”’ ,,80 much. attention, on yon’s on une Home at Twi- ni Homer's Dawn Keone, Vall qian Ree % i for $3, “The. alee Gallery was a frequent bidder It was announced that the In- hursday evening, ness “Clouded Sun” sold,on T 4 went to the Carnegie Art Gallery of Pittsburg ‘The most important of the objects of art, Be a distinguished from paintings, in Mr. Clarke’s ‘collection were sold yesterday afternoon at the hy American Art Galleries, and the sale presented |} some. peculiar contradictions. s Spects, considered piece by. piece, it was not In some re- more interesting than that of the after- ‘noon before, but) in it were comprised ‘more. costly productions, and. the Whereas on Thursday the 1ains “haa most versons familiar with the pur- chasing, public would have guessed, those of yesterday showed that the buyers were in Many: instances nowhere near up to the knowledge and discrimination manifested by Mr. Clarke in his purchases. This applies not merely to. the general patronage, but to dealers, who. permitted the oppor- tunity to pass by. Piece after piece of an- down . yesterday afternoon at a price less than even less yalua- “Die pieces command at private sale in this and A: person of even a moderate degree of knowledge might have purchased a considerable number of the afternoon’s offer- - ings in'the assurance of being able to sell them witha PB retty profit at ordinary sale. Some of the articles in the patacon ue, on the other hand, brought good prices, while anumber wentaway up to unexpected figures that pleased every- body not under a mercenary handicap, whether 4» their artistic judgment in every case justified the comparative “indicated value or not. The receipts of the afternoon speak for themselves, $38,021 for 164 catalogue num- ‘bers, or an average of about $232.50 each. This sum is considerably in excess of twice the +, amountrealized on either of the preceding after- s88,""Gray, Lowery Day,’of Thursday even- | ioe ‘ale, fanciful as it was, Ber an Pe dana be that ‘bore — fruits last evening. Its effects were leben when the first Innesses were put up, The ¢" Italian Landscape” (280), a painting 0) 1875, yeold at. the. *' Passing Shower” (297), | 7.08 » Boe at $875; “The Sun”: (311), 1886, vat $760;. “Brush Burning” (331), 1884. at $1,525; “Threatening” (341), 1891, sat = $200 “Winter Se sao aite A NET = noons, and brings the total for the bric-a-brac } so far sold to. $60,939.50, or to an average of above $1 three afternoons. Ten of the offerings of yes- terday sold at $500 or better, and s f th = at, above $1,000 each: Ap leah The sale of the Greek and Roman glass opened at the discouraging prices of $11 and $20, respectively, for two Syrian amphora, one in yellow and one ‘in white, both with blue glass - handles, each 642 inches high. A smaller un- guntarium of yellow green glass from Syria ealy of Brooklyn brought $62, A fourth cen- (286), went for $42.50, and Mr. Healy took a smal! Syrian oinochoe, 2% inches tall, of An Egyptian ala- mantle of delicate orna- $30, and a double bastron with , mentation a, sold. at 37 for every piece sold during the ! unguntarium, Syrian, 6 inches high, of green | ee ec logue, poi glass ura from § 2d as ‘alogus: | brought — ‘sixth ‘centur -amphora. (362) of the fourth percent B.C epaulets date, Saar rollicking male. ‘fourth century B.C., brought $6 ‘number of the catalogue, a Capuan crater, elas a similar ria ee une. 8B amiros, contr ies rand - “another Paes wT -of t eR Oe cen of m from the Colucci — collection. nay d| near Taranto, went S07. enting Ulysses. resisting Circe’s en- ag ae tier the Castellani. col chy 00,, and. an~ Mea ee! of 61 ures | eh | fifth century... joey os (@ sold at $3 at $350, | with Sats and followers, represented. : ‘black and 'red.(35 59), sold at $37.50, an Etrurian amphora (349) at. $65, a et man lead panel (342), from a sarcophagus found in Syria, at $67.50, and a sixth century Greek amphora (358), black and red decoration with figures, t $50. . he many-colored Apulian pinphora (422), n the principal decoration rons oe the ing to the catalogue ascription, | a love of Dionysius and Ariadne, — on the reverse the apotheosis of Theseus, ie including fetta Shs | eighteen figures of go and heroes, sold at $1,550. No. 428, a Tana- grian woman and Eros, went at $460 nod ae other. terra cotta group (42 third century. B. C., at $375. century: : female figure, a mask, catalogued as halia poe $725: a third century B.C epresented as about to end her life with the | ump of Lenease” (433). $625, and an an- tiaue marble statuette of Venus, nude (time of | fourth | holding (413A), A crater: “with. decora-_ 9), two cupids, | S75. A Tourn | Sappho, — ni. | o), in the attitude of: arranging her hat, $02 35 (437 of the catlogue).’ The large Gere Di Monte vase (424) was bid | 38. to $8,000. The. pine was started a a went immediately to $3,000, 100, and on by 100 advances with- aud pei though this vase had been heralded as the most valuable single piece in the collection, it had not been the expectation that it would: go to such a figure. But the vase was wanted by several’ men, both of this city and elsewhere, and the _ bids were strong and full. t was finally bought in the name of Van Gelder, with a Waldorf-Astoria address, but it is to go to a collection outside of New York. So much may be said with certainty. Accord- ing to the general understanding among those. supposed to have pretty accurate knowledge at such. sales, the vase goes to one of the members. of the ener - Elkins syndicate of Philadelphia. This vase, it is understood, cost Mr. Clarke £660, or a little more than $3.200. One of the Farnese family treasures, it was at one time in | the Naples Museum, whenceit was transported, | after the Napoleonic conquest, to London by an agent who had been sent’ by the French | Government to procure it for the Louvre: ‘The Awakening ” (434), a fourth century By C. Greek group representing a woman — be judgment is thé finest thing of its kind 4 to" found in this country, was sold to - Hari Parne Whitney for $5,600. It is 6 inche high and 10 inches wide. Mr. Whitney did not, getit without considerable lively competition, and he gave some of the same sort to pur= chasers of some of the other high-priced num- bers on the catalogue. ae Another group of the same century as the’ last (435), “* Asculapius and Hygeia Attending an Invalid,” was sent up to. $6,600 from a starting bid of $500, which was raised pron to $600, $1,000, $1, 100, $1,200, and is 1134 inches high. Mr. Whi hitney_ took ied small Greek statuette of the same fend ar representing a te a holding a gary and and wine vessel (432), a ae Among the buyers ponidesn Mr. Whitne ey anc ot the representative of the Philadelphinee and to the knoekdown price. Al- is- | turbed in sleep by Eros, which in: Mr, Clarke’s _ 4,000 | ORDER OF SALE. UESDAY EVENING, FEBRUARY 14th, at CHICKERING HALL, _ Fifth Avenue and Eighteenth Street, beginning at 8 o'clock, AMERICAN PAINTINGS, WATER COLORS, ‘ bs AND BLACK AND WHITE Drawincs, Catalogue , aa iy Nos. 1 to 93; inclusive. q FLALL, ee at 8 o’clock, Mae niche PAINT- -INGS, WATER CoLors, AND BLACK AND WHITE Drawincs. Catalogue Nos. 94 to 186, inclusive. URSDAY EVENING, FEBRUARY 16th, at CHICKERING Be HALL, beginning at 8 o’clock, AMERICAN PaINT- -incs, Water Cotors, anp BLack AND WHITE _ Drawines. Catalogue Nos. 187 to 279, inclusive. . ees Deiining at 8 o'clock, ponelietna Sale of bare i _ ParintTiIncs, WATER Cotors, and BLAcK AND WHITE DRAWINGS. Catalogue Nos. 280 to 372, inclusive. CAN ART Beene Madison Bde South, be- ginning at 3.30 o'clock, Hispano-MAURESQUE PLAQuES, PERSIAN AND INDIAN ART. Catalogue Nos. 1 to 164, inclusive. _ THURSDAY AFTERNOON, FEBRUARY 16th, at THE AMERI- CAN ART GALLERIES, beginning at 3.30 o'clock, Me ee BLUE AND WHITE AND SINGLE CoLoR MINIATURE KL hae Vases of the Seventeenth and Eighteenth Cen- ‘ turies; CABINET MINIATURE VASES in JADE, Ivory Pa Pe ak Alec ee A ee ee 6 ORDER OF SALE. » AMETHYST, AGATE, ENAMEL, and METAL; LARGE BLUE AND WHITE VASES; OLD SINGLE COLOR CHINESE PORCELAIN VASES, and OLD CHINESE PoTTERY. Catalogue Nos. 165 to 273, inclusive. FRIDAY AFTERNOON, FEBRUARY 17th, at THE AMERI- can ART GALLERIES, beginning at 3.30 o'clock, ANTIQUE GREEK AND ROMAN GLASS, GREEK VASES, GREEK TERRA-COTTA STATUETTES AND Groups. Catalogue Nos. 274 to 437, inclusive. SATURDAY AFTERNOON, FEBRUARY 18th, at THE AMERI- cAN ART GALLERIES, beginning at 3.30 o'clock, Concluding Sale, German, Dutcu, ITatian, SPAN- ISH, RUSSIAN, FRENCH, AND CHINESE ART OBJECTS IN Brass, Copper, BRONZE, SILVER, IRON, AND PEWTER. Catalogue Nos. 438 to 560, inclusive. Boies ( INTRODUCTION. WHEN the managers of the American Art Association requested me to write an introduction for the catalogue of the Thomas B, Clarke collection, I willingly complied. I feel that I know the pictures well, for I have seen most of them more or less often, and I know some of the most important ones by heart. It is a satisfaction to have this opportunity to say a few words about this exhibition and sale, for they constitute a great event in the art history of the United States, and we fully expect to see a great many of Mr. Clarke’s pictures sold for far higher prices, dollars being the only measure of value that we can apply on such an occasion, than have ever been paid for works by contem- porary American artists. The reason for this opinion is not far to seek. Mr. Clarke is widely known as a most intelligent and cultivated ama- teur. His acquaintance with his possessions is intimate, as that of many collectors is not, and he has acquired them because he liked them and wanted them. He was the first buyer of pictures to comprehend the merit and value of the work of our native school—principally, I should say, that painted in the past twenty-five years. In this large collection many pictures of earlier date will be found, but its reputation comes chiefly from Mr, Clarke’s support of the artists who were known in the latter part of the seventies as “The Younger Men.” Some of these are veterans now, of course. He was at the same time a great patron of Inness, Winslow Homer, and Wyant. He owns Pig Or «..: eae =. "sg eel SRI) ae 4 ME Ti st me ie neal , c . + mitra 4 A Se oe ee ee . ' : : re ; phat" ra . Vi * 8 INTRODUCTION. some of their earlier works, as well as many of their latest and best ones. Asa matter of fact, almost all of the cele- brated Innesses, certainly the best of them, are in his col- lection. In looking over the catalogue the absence of some well-known names in American art may be noticed. As to that I can only repeat what Mr, Clarke himself says : that he never strove to make a collection fully rep- resentative of all phases and tendencies, but that he bought what appealed to him, and that it did not matter how many pictures by one man he might already have, if he saw. another one that he also liked he bought it, if he could. In this way his collection is a record of his discernment and of his consistent and constantly broadening good taste. What have been Mr. Clarke’s methods in collecting ? Let me relate, briefly, my first experience with him, I came to New York after five years in Paris, in the autumn of 1882, and settled down in the Sherwood in December. Some time in the next month, soon after the holidays, I re- ceived a visit from this patron, of whom I had heard. I had heard of his having bought pictures by Ulrich, Moeller, Brush, Volk, Tryon, Shirlaw, and others, who had preceded me by several years, and, of course, about his owning pict- ures by Inness, Winslow Homer, and Wyant, but I never dreamed that he would come to look upan unknown. Cer- tainly I was an unknown, for I had exhibited only one or two “early efforts” in New York. I was told that having had pictures in the Salon didn’t count, and that if one brought any over here one would have to sell them at auction in Nassau Street. So when Clarke came in I expected it to be merely a call of investigation. We had a bit of talk, and to make a long story short, he looked at a little figure picture I had sitting on my chimney piece, in a black frame, with the title printed in French on a tablet, said he liked that and—bought it! Then this genial, excellent gentleman went away, and after that, as the years passed, he used to write me pleasant notes, in his firm, straightforward INTRODUCTION. 9 handwriting, saying: “ Mr. So-and-so is in town. Have you anything fresh and good?” As a consequence, he brought to my door at various times men whom he had personally interested in American art, and they bought pic- tures. Having found the way through him some of them came back again alone, and the results were appreciative friends and substantial encouragement. One Sunday I met him at one of the afternoon concerts of chamber music we used to have in St. Gaudens’s studio in Thirty-sixth Street, and I told him about a picture I had seen by Louis Moeller that I thought very good. ‘It’s so good,” I said, “that you ought to buy it.” “I have bought it,” he replied, “and it’s a gem.” Precisely the same thing happened to Inness. He was on the hanging committee at the Academy, and was greatly taken with a picture he had found a good place for on the walls. It was “The Deepen- ing Shadows,” by Charles H. Davis. Inness sought out Clarke and, using strong language of approval, told him about the picture and urged him to be on hand early at the “private view ” and buy it. ‘‘ Well,’ was the reply, “‘let’s go over to the club and get some lunch and talk it over.” This finished, the enterprising collector had his little joke, and told Inness that he had had an opportunity some time before to see the picture, and he thought it was very good, just as Inness did, but he had acted on his own judgment and had bought the picture before it was sent in tothe Academy. ‘Tableau! At that time he went around a great deal to the studios, and, as he says, he has seen the painters at work on nearly all the pictures he owns. As to his experiences with Inness, I have heard that he used to hurry away the pic- tures he bought, once the painter declared them finished, for it was ten to one if he left them twenty-four hours in the studio the remarkable artist who painted them, never satis- fied, filled with the desire to improve on what was already so good that it impressed the beholder as a masterpiece, ae) INTRODUCTION. would go to work on them again regardless of conse- quences and change a glowing sunset into some forbidding effect of storm, or make of some misty morning effect a sunny glare of midday. He did such things successfully sometimes, spoiling a fine picture to make a still finer one, but not always, and the watchful Clarke saved more than one great work to the world by his timely action. When you see his Innesses you will understand for the first time what a master painter he was. When you see the “ Eight Bells,” the “ Maine Coast,” “The Life Line,” the “ West Wind,” the ‘“ Carnival,’ and others of the thirty-one works by Winslow Homer, and his beautiful groups of Wyants and Tryons, you will realize that he has been a sympathetic as well as an enlightened collector. I hope Mr. Clarke will carry out in the exhibition a plan he has had in mind, and place in the large lower gallery a number of his thirty-nine landscapes by Inness on one side of the room, and on the other bring together some of the most important landscapes by other painters. With a group of Wyants, Tryons, and Picknell’s ‘‘ The Road to Concar- neau,”’ Homer Martin’s ‘ Adirondack Scenery,’’ Murphy’s “October,” Dewey’s “‘ Edge of the Forest,’’ Davis’s “ The Deepening Shadows,” and works by Kost, Richard Pauli, Crane, McEntee, Thomas Allen, Swain Gifford, and others, this gallery would make a presentation of American land- scape that would amaze the beholder and fill his soul with delight. I recall the pictures I have just mentioned with distinctness of impression, but Mr. Clarke has many more to choose from for this room, including works by such well-known painters of landscape as H. Bolton Jones, Robert C. Minor, Bliss Baker, Walter Clark, Blakelock, Carleton Wiggins, Dearth, Palmer, Horatio Walker, Ocht- man, Bristol, Whittredge, Sanford R, Gifford, F. E. Church, and Kensett. He has marines by Alexander Harrison, Sim- mons, and Boggs. I must make it plain, in speaking of these, that the ‘‘ Maine Coast,” by Winslow Homer, is a INTRODUCTION. II pure marine, without figures, and that it is a great master- piece. I can do little more than jot down the names of some of the most important pictures by our best painters of the figure. In the Clarke collection are George Fuller’s “Romany Girl,” Brush’s “The Aztec Sculptor” and “Mourning Her Brave,” Volk’s “ Accused of Witchcraft ” and the celebrated “ Puritan Girl,’’ Mowbray’s “The Evening Breeze,” “ Aladdin,” ‘“‘Schehera-Zade”’ and “ The Last Favorite ;’’ Louis Moeller’s ‘“ Puzzled” and “ Dis- agreement,” Ulrich’s “ Glassblowers’”’ and ‘‘An Amateur Etcher,” F. C. Jones’s “ Exchanging Confidences,” East- man Johnson’s “The New England Peddler’’ and “ The Pension Agent,” Millet’s “ Lacing Her Sandal,’ Pearce’s “Rivalry,” Alfred Kappes’s “Rent Day,’’ Dannat’s “A Smuggler,’ Curran’s “ Breezy Day,’’ Church’s “ The Surf Phantom,” A. P. Ryder’s “ Temple of the Mind,” Low’s ““*Neath Apple Boughs,” J. G. Brown’s “A Merry Air and a Sad Heart,’’ Chase’s ‘‘ Coquette,” “ The Visitor,” and “The Model;’’ Bridgman’s “The Cadi’s Escort at Rest,” Blashfield’s ‘‘ Music,’’ Anschutz’s “ The Ironworkers’ Noon- time,’ Watrous’s “ Day Dreams,” Vedder’s “The Mistral,” Lippincott’s “In Hot Water,’ Hovenden’s “Chloe and Sam,” Freer’s “ Morning,” Dewing’s ‘ The Garden,” Robert Wylie’s ‘Fortune Teller of Brittany,” and heads or single figures by Thayer, Pearce, Wyatt Eaton, Henry O. Walker, Tarbell, Beckwith, Peale, Waldo, Sully, Gilbert Stuart, and others. There are historical works by Henry: Peters Gray, J. Beaufain Irving, and Benjamin West. There is a curious little picture, ‘‘The Issue of the Cock- pit,’ by Horace Bonham, the son of a Pennsylvania judge, and himself a lawyer, who gave up his practice for love of art, went abroad to study and returned to his home in York, in which quiet country town he painted years ago this and other works of interest. The Clarke collection is many sided, and shows that its owner was broad and 12 INTRODUCTION, catholic in his purchases. I must not forget to mention the still-life by Alden Weir, Thayer, Bunker, and Carlsen ; nor the black and whites and water colors by Abbey, Gib- son, and Smedley. These names speak for themselves, for they are “leading lights.” In short, the collection gives an impression something like this: That Mr. Clarke, in- stead of buying for his own delectation, had been commis- sioned twenty-five or thirty years ago by some wealthy in- stitution to gather together for its galleries a collection which should show to its visitors the best works of many of the men who have brought fame and reputa- tion to the American School. It is as if this collection were about to be exhibited before its final housing in this supposititious museum, and our artists and amateurs were invited to come and give their verdict as to Mr. Clarke’s breadth of judgment and acuteness in seizing opportunities. There is no such institution, and the pic- tures will be scattered, but we may at least hope that some of them will go to public museums, and that the rest will find owners who will value them as Mr. Clarke did, and who will-share our opinion that no such comprehensive, personal, and worthy collection of American art has ever before been placed within their reach. The objects of art include Greek vases, statuettes, and iridescent glass ; Hispano-Mauresque, Indian, and Persian plaques; antique Chinese porcelains and curios, and French, Russian, Dutch, Spanish, and Oriental metals, plaques, and vases. I may specially mention a collection of most beautiful Greek vases dating from about 600 B.C. to 200 A.D.; the famous statuettes of “‘ Esculapius and Hygea ” and “The Kneeling Muse,” and the renowned Farnese family piece, a vase in black and red, found at Apulia in1786. It is about 3 feet 6 inches in height, and is one of the finest specimens ever brought to light. Then there is the an- tique statuette, “Venus Arranging Her Headdress ” (en- graved in the De Charmiac Musée de Sculpture), belonging INTRODUCTION. 13 to the period of Nero. It was presented to the Empress Josephine by the King of Naples, and kept by her for many years in her palace at Malmaison. She afterwards gave it to Count Pourtalés, and it was sold in his collection at Paris in 1865. The Chinese porcelains form the key- note of the collection of objects of art, and are dear to the heart of their owner. It would be impossible to imagine anything finer. Most important, too, are the lustrous Hispano-Mauresque plaques and the Persian, Indian, and Turkish pieces. These are but insufficient and incomplete notes, but they will serve, I trust, to give some idea of the great excel- lence, breadth, and distinguished merit of the collections. Mr. Thomas Benedict Clarke, a consistent and enthusi- astic advocate of the native school of painting, has pur- sued a career of usefulness and meritorious achievement that is quite unique. Now that his collections are to be dispersed it is but just to pay a tribute to his taste, dis- cernment, and fidelity to his convictions, Let me close by quoting a passage from Mr. Andrew Car- negie’s leading article in the World’s Fair Souvenir number of The Engineering Magazine, New York, January, 1894, entitled, ‘Its Value to the American People.’”’ In speak- ing of the art department, and the splendid showing of the American School, he says, referring to the pictures lent by Mr. Clarke: “I did not know any one connected with the entire exhibition who can more truly be considered a public benefactor than this artistic gentleman, who has evidently for many years had faith in the genius of his countrymen, and has quietly purchased their works as these came forth,” There it is in a nutshell. WILLIAM A. COFFIN. New York, January, 1899. Si lade Valens COT MAING aN BIOGRAPHICAL NOTES AND INDEX. ABBEY (EDWIN A.), A.R.A. The career of Edwin A. Abbey is one of the most interesting that is chronicled among modern artists. He was born at Philadel- phia, in 1852, and studied for a time at the Academy of Fine Arts in that city. In 1871, he came to the Harper’s, and by the side of the late Charles H. Reinhart he drew for the illustrated publications of that house. This training was of great value to him, for it ac- customed him to the making of compositions of all kinds on the shortest notice. For some years he kept at the drudgery of, more | or less, hack work, until he began to feel his way to more important efforts, and a series of pen drawings for the old poems of Herrick and other English poets suddenly brought him into prominence. The success of these was so great that he finally went to England to gather fresh material for subsequent pictures. Finding the place congenial, he settled there, and a series of Shakspeare was the next noteworthy achievement. After this he took up seriously color work, his pastels gaining him much favor, while departures into oil were no less successful. Contributions to the Royal Academy followed, with some historical pictures, and then came the commission for the Boston Public Library, for a frieze, the sub- ject of which he chose from ‘‘ The History of the Holy Grail.” When the first part of this was completed it was exhibited, and Mr. Abbey attained greater prominence. His election to an Asso- ciateship in the Royal Academy followed, an honor reserved for few of his countrymen. When the ‘‘ Holy Grail” arrived in this country, the verdict was no less enthusiastic than that across the water, and its being put in place only increased the public admiration for its intelligent conception and artistic working out. His work in the medium of water color has been highly successful, and his pictures are in many prominent collections, There was exhibited here, last winter, an important composition called ‘‘ The Play Scene from Hamlet,” and his pen-and-ink work has reached about the top notch of achievements in that medium. Mr. Abbey 16 THE CLARKE COLLECTION. lives at Fairford, England, where he has a country house and a large studio, in which he works on his decorative canvases. He makes frequent visits to the United States. 8—Candlemas Eve, 58—Autumn, . 1o1—Misleading the Enemy. . 113—TLhe Admonition. . 286—Ode to Spring. . 294—Farmer’s Daughter. . 344—Picking Apple Blossoms. ALEXANDER (HENRY), deceased. No. Born at San Francisco, Cal., in 1860, he perfected his art, after the usual preliminary study at home, by seven years of work at Munich, where he was a pupil of Professors Lindenschmidt and Loeffts. It was in Munich that his first public exhibit was made, in 1879. Upon his return to this country he made his appearance in our own exhibitions, always with credit to himself. His picture, ‘* The Capmaker,” at the National Academy exhibition, drew mer- ited attention to him. Mr. Alexander afterward devoted himself largely to portraiture, and has had in his studio as sitters some of the most distinguished men and women of California. Asa genre painter he produced little, but all that he did in this vein is distinguished by originality and pleasing character of subject, fidel- ity to nature, just characterization, good color, and sound artistic style. Mr, Alexander died in New York city in 1895. 301—TZhe Capmaker. ALLEN (THomas), A.N.A. At a time when we are beginning to discuss American art as repre- sentative of American nature, and not merely for its technical perfection, the labors of Thomas Allen commend themselves to special attention. His pictures are native in spirit and in sub- ject, and in his transcriptions of nature he never loses the delicate sensibility of the artist in the technical dexterity of the painter. As a painter he is a naturalist of the refined type, a lover of the BIOGRAPHICAL NOTES AND INDEX. 17 brighter side of nature, and in his art one of her most sympathetic translators. He paints cattle and landscape with equal skill, and is at his best in his combinations of the two. He comes from the best of New England stock, though he was born at St. Louis in 1849. Thomas Allen developed his artistic bent in his boy- hood, and may be considered to have begun his career as a student with Professor Pattison, of St. Louis. In company with the pro- fessor he visited Colorado, and upon his return could show by his voluminous pencil sketches the paths he had wandered over. He went to Dusseldorf in 1871, and entered the Royal Academy there, under Professor Ducker, in 1872, going through the various classes and graduating in 1878. He then studied several years in Paris. He first exhibited in the National Academy of Design in 1876, and figured also in the Salons of 1882 and 1887. In 1884 he was made a member of the Society of American Artists, and an Associate of the National Academy. He is a trustee of the Boston Museum of Fine Arts, vice-president of the Boston Art Club, and one of the best-known collectors of ceramics in America. His first dis- play in New England was made at Williams & Everett’s galleries in 1883, and from that date he has enjoyed the respect and esteem of ail those who have made his acquaintance. He resides in Boston. No. 275—Maplehurst at Noon. ANSCHUTZ (THOMAS P.). The exhibition, in New York city, of a picture called ‘‘ The Iron- workers’ Noontime,” gave a new name its place of note in Ameri- can art. The picture was shown at the American Art Galleries in Madison Square. The owner was then, as now, Mr. Thomas B. Clarke. The art critics exhausted their vocabulary in praise of this work, which deserved all the commendation it received. It has been admirably engraved on wood and published as a representative American art work of the year in one of our leading illustrated journals. The artist, Thomas P. Anschutz, is a native of Ken- tucky. Hewas born in 1851, of a family of German origin, re- lated by ties of distant kinship to the great Munich painter, Pro- fessor Herman Anschutz. He grounded himself in his art at the Pennsylvania Academy of Fine Arts, and formed one of the remarkable group of pupils whom Thomas Eakins developed. The sterling quality of his art has made him one of the most 2 18 THE CLARKE COLLECTION. competent of instructors, as well as a subject painter of power. He has his studio in Philadelphia, and is connected with the schools of the Pennsylvania Academy. No. 56—Zhe l[ronworkers’ Noontime, BAKER (ALFRED Z.). In the spring exhibition of 1893, at the National Academy of Design, hanging in the corridor, was a picture which, by reason of its composition and technique, attracted considerable attention. It was signed ‘‘A. Z. Baker,” and the artist resided in Baltimore. The title was ‘‘ The God of Silence.” The note was a new one, and it made a striking feature on the walls. The artist has fol- lowed up this exvoz with other works of interest. No. 146—TZhe God of Silence. BAKER (WILLIAM BLISS), deceased. American art experienced a loss not easy to repair in the death of William Bliss Baker, in 1889. During a few years of original pro- ductiveness this young artist had rapidly ascended to the head of his profession, and taken a permanent place among the landscape painters of the day. Born at New York, in 1859, a pupil of Albert Bierstadt, M. F. H. De Haas, and of the National Academy of Design, he was, above all, a graduate of the great school of nature. No reflection of his artist instructors was visible in his productions. He possessed, in an eminent degree, the very un- common ability to elaborate detail and to render minute and subtle effects with close finish, while yet preserving in his pictures the breadth and dignity of the largest facts. His landscapes are true character studies, in which varieties of vegetation and the varying influences of light and weather are identified with amaz- ing skill. He first exhibited at the National Academy, in 1879, and in 1889 took one of the Hallgarten prizes. In 1889, in the enjoy- ment of a flood-tide of success such as rarely comes to an artist not of mature years, he went to his summer studio, at Ballston, New York, never to return. His death occurred there in the month of November, and was the result of a cold contracted in the course of his outdoor studies, No. 348—Silence. ent BIOGRAPHICAL NOTES AND INDEX, 19 BEACH (Emma B.). Among the gifted women whom the art movement in the United States has brought into prominence in our exhibitions is Emma B. Beach, of Peekskill, N. Y. At the exhibition of the Society of American Artists in New York city in 1890, her studies of flowers commanded commendation. Toa subject hackneyed by countless brushes she brought an original sentiment and expressiveness. Her eye is true to nature, her color just, and her touch accurate. The feminine refinement of her works detracts in nothing from their freedom and force. No. 21—Anemones. BEARD (WILLIAM _H.), N.A. The successful combination of satirist and painter is not a com- mon one. Usually the spirit of satire overcomes that of the painter, reducing his art to the level of mere caricature, or the serious, technical requirements of the painter overbalance the lighter quality of the thinker. In William H. Beard we have one of these rare survivals of the great age of Dutch painting, when satire and art went hand in hand. A painter of the figure, of portrait, genre, cattle, and landscape, it will be by his sly and pointed assaults on human weaknesses and follies, through the medium of the brute creation, that his status will be settled for the future. Mr. Beard comes by his artistic development upon a basis that would delight the believers in the theory of heredity. The whole Beard family has an artistic turn. The name has been prolific of painters and draughtsmen. His elder brother, James H. Beard, was an artist of wide repute. Mr. Beard himself is a native of Paines- ville, Ohio. He was born in 1825, and, under the encouragement of his mother, a woman of enlightenment and sympathetic nature, he took to drawing in early childhood, his first models being the family dog and cat and their puppies and kittens. His instruc- tion in painting, beyond such as he could impart to himself, seems to have consisted only of a few lessons from his elder brother, who was then settled in New York, after which he set up his easel in Buffalo, where his brush secured him sufficient support to enable him to visit Europe in 1857. He painted at Dusseldorf, sketched 20 THE CLARKE COLLECTION, in Switzerland, Italy, and France, and in 1860 returned to make his permanent settlement in New York. He was elected a National Academician in 1862. No. 215—An Lavesdropper. BECKWITH (J. CARROLL), N.A. At the spring exhibition of the National Academy of Design in 1881, one of the less pretentious pictures was one which secured a large share of the attention of the visitors. It was the head of a beautiful young woman resting, dead, on a bier, with a smile of ineffable peace upon her face. The painter of ‘‘ The Christian Martyr’”’ was James Carroll Beckwith, born at Hannibal, Missouri, in 1852, and a pupil of the Paris Ecole des Beaux-Arts and of Pro- fessor Yvon and Carolus Duran, who had first appeared in the Salon of 1877. In succeeding exhibitions in this country Mr. Beckwith displayed some strong and life-like works in portraiture, showing himself particularly happy in the rendition of the dignified type of feminine beauty. It is asa painter of women that the artist has won his highest distinction, though his portraits of men are many and excellent, and it is to be remarked of his productions that he renders the most refined and delicate traits of his sitters without sacrifice of their tenderness, and with a thoroughly mas- culine vigor of handling and strength of color. Mr. Beckwith, who has his studio in New York, is a member of the Society of American Artists and of the National Academy of Design. No. 55—Vivian. BIRNEY (WILLIAM VERPLANCK). Born at Cincinnati, Ohio, in 1858, William V. Birney was, from 1876 to 1879, one of the most promising students under Mr. Walter Smith, at the Massachusetts Normal Art School. He next spent a year at the Pennsylvania Academy of Fine Arts, where he en- joyed the instructions of Thomas Eakins, and during four years, from 1880, painted at the Munich Academy, where he had Pro- fessors Lindenschmidt and Benezur for masters. In 1881 he re- ceived an Honorable Mention for his school work, and in 1883 made his first public appearance at the International Exhibition held in the Bavarian art capital in that year. Upon his return to BIOGRAPHICAL NOTES AND INDEX. 2I America, after a time spent in travel through the country, he set- tled in New York, where his subjects of domestic genre, and espe- cially those in which children figured, speedily secured attention for him. His pictures are characterized by thoroughly human sympathy with the episodes of home life, cheerful sentiment and color, and conscientiousness of execution. No. 148—A Doll’s Concert. BLAKELOCK (RALPH ALBERT). | The career of Ralph Albert Blakelock will find record among the romances of American art. The son of a physician, born at New York city, in 1847, he was destined for his father’s profession, but his native predilection for art and music rebelled. Deprived of the means of securing instruction either as painter or musician, he became his own master. Throughout his life the sister arts, to which he consecrated himself, have been allied. A short tour of the far West constituted the chief preparation of Mr. Blakelock for his life’s work. Its results are encounters in his landscapes with Indian groups, and episodes as accessories—pictures vibrant with a strange and penetrating charm of chromatic harmonies. His color is as original and positive as the theories which his art illustrates, and the individuality of the man impresses itself upon every mani- festation of his art. Mr. Blakelock’s studio is in New York. No. 9—Wayfarers at Eventide. No. 175—Zhe Encampment. No. 205—£nitrance of the Forest. No. 244—Moonlght. No. 288—Wear Cloverdale. BLASHFIELD (Epwin H.), N.A. The school of Léon Bonnat has sent back to America many grad- uates of distinction. One of the most notable of these is E. H. Blashfield. A New Yorker, by virtue of birth in this city, on Christmas day, 1848, Mr. Blashfield completed his artistic educa- tion by eleven years’ residence, study, and experience in Paris, whither he went in 1867. He signalized his return to his native land by works of a historical character, two of which, ‘* The Minute 22 THE CLARKE COLLECTION, 'Men,” and the picture showing residents of Boston viewing the battle of Bunker Hill from their housetops, will be remembered. It was in the direction of decorative, art, however, that his sympa- thies tended, and in this field he achieved his pronounced successes. Whether in easel pictures or in larger works destined for mural adornment, his talent, characterized by grace of form, purity of color, and a scholarly conception and inventiveness, makes its most brilliant mark. In 1882 Mr. Blashfield’s art won him the election to an Associateship of the National Academy of Design, of which he became a full member in 1888. He is also a member of the Society of American Artists. During recent years his easel pictures have become more and more rare, as his time has become occupied with decorative compositions for public buildings and great man- sions. His recent decorative work includes a ceiling for the ball- room of the Waldorf-Astoria Hotel, the collar of the dome and ceiling of the lantern in the Congressional Library at Washington, a bank at Pittsburgh, and ceilings and panels in private houses in New York and Philadelphia, His studio is in New York. No. 222—Music. BLOODGOOD (ROBERT F.). Born in New York, R. F. Bloodgood became at an early age a student at the National Academy schools, whence he emigrated to the classes of the Art Students’ League. He first became known as a painter of marine episodes in water colors, and has produced some effective plates as an etcher. He isa member of the New York Etching Club, and has his studio in New York, No. 189—A Miss is as Good as a Mile. BLUM (ROBERT), N.A. One of the conspicuous figures brought forward in our artistic cir- cles by the advancement of the art of graphic illustration created by the enterprise of the magazines of this country, was that of a young Cincinnatian, Robert Blum by name. Among many gifted draughtsmen of the day, his brilliant and bold touch, his dashing spirit, and vividness of execution made him foremost. Born in 1857, he has made his own career. He had already become an artist of positive individuality, and had exhibited his work in New BIOGRAPHICAL NOTES AND INDEX. 23 York in 1879, at the American Water Color Society, before he went abroad. In all that he did a keen appreciation of charac- ter and local color, and a grasp of the vitality of his topic were evident. His travels in Europe, which began in 1880, and which have included Italy, Spain, France, and the Netherlands at vari- ous periods since, have been rich in productions of oil and water colors of the first order. Mr. Blum has made a tour of Japan, with noteworthy artistic results. While devoting the greater por- tion of his time to his easel, he still continues to contribute to our periodicals works in the black and white medium in which he scored his original success. His studio is in New York, although he paints much in Europe, particularly in Holland and in Venice. Heis a member of the Society of American Artists, a National Academician, and was one of the enterprising and pro- gressive group of artists who organized the Pastel Club. Of late years Mr. Blum has given great attention to decorative work, and two friezes for the walls of the Mendelssohn Glee Club of this city have been among noteworthy achievements in American art. No. 144—Zoledo Water Carrier. BOGGS (FRANK M.). Born at Springfield, Ohio, in 1855, F. M. Boggs became first known as the painter of some of the most effective scenery ever set on the New York stage. From the paint gallery of the theatre, Mr. Boggs passed to the Ecole des Beaux-Arts in Paris, and became a pupil of Géréme. His natural drift was to out-of-door effects, however, and while he prosecuted his studies of the figure he steadily developed his talent as a marine painter and as a painter of the grandiose subjects afforded by the picturesque and splendid architecture of the older cities of Europe. In 1880 he made his first appearance at the Salon. The French Government, always alert in its appreciation of new abilities, became one of his ear- liest patrons, acquiring, in 1881 and 1882, two of his paintings for the State collections. When he commenced exhibiting in America his success was immediate, and at the first prize exhibi- tion at the American Art Galleries in New York in 1885, his dashing marine, ‘‘ A Rough Day at Honfleur,” was one of the four pictures selected for purchase by the committee upon awards. It now forms part of the collection of the Museum of Fine Arts at 24 THE CLARKE COLLECTION. Boston. Mr. Boggs maintains his studio in Paris, with occasional visits to, and sojourns in, the United States. He has received medals and indorsements from many European exhibitions. No. 308—On the Coast of France. BOLMER (M. DE ForREsT). Born at Yonkers, N. Y. In his youth Mr. Bolmer showed an in- clination for landscape art. He studied in Paris in 1887, and again in Munich in 1890. A student of nature, he prefers her quiet moods, and his most successful canvases have told of the fading light of day. He has exhibited in the National Academy of Design for a score of years past. His studio is in New York, No. 72—Faling Shadows. BONHAM (HORACE), deceased. Mr. Bonham was born at West Manchester, Pa., in 1835. The son of a distinguished jurist, Judge Samuel C. Bonham, he pre- pared for the practice of the law and was admitted to the bar; but his inclination for art led him to Paris, where he studied under Bonnat, and later continued his studies at Munich. His principal works have been painted in his native county, and his genre pictures have gained him much renown whenever shown in the exhibitions of this country. Mr. Bonham died in 1892. No. 232—TZhe Issue of the Cockpit. BOUGHTON (GEORGE H.), N.A., R.A. Although of English birth, this country claims George H. Bough- ton as an American artist, and on good grounds. Born near Nor- wich, England, in 1834, he was brought here by his parents when a child of three years. The family settled in Albany, N. Y., and | there the little boy began, self-taught, to draw and paint. His early efforts secured him sufficient local support to enable him to visit Europe in 1853, and he brought back from a tour of Scot- land, Ireland, and the Lake Country pictures which added to his circle of admirers and supporters. His early works were land- BIOGRAPHICAL NOTES AND INDEX. 25 scapes, and to this day he shows in this field a close sympathy with nature and masterly skill in interpreting it. While subsisting by landscape painting, he devoted a portion of his time to the study of the figure, and in 1858, when he settled in New York, he had already produced some creditable genre works, chiefly of incidents of child life. In 1860 he went to Paris, where he enjoyed the friendship and advice of Edouard Frére, and the following year settled in London, where he still remains. His first public hit in England was made at the Royal Academy in 1863, and since that date his career there has been one of uninterrupted success. An amiable personality made him socially popular, as well as artistically notable. In 1871 he was elected a member of the National Academy of Design, and in 1879 became an Associate of the Royal Academy, becoming a Royal Academician nine years later. It is to be noted of Mr. Boughton that, while he has lived long abroad and found the amplest support from English collectors, he has turned his eyes for his most suc- cessful subjects to the land of his early childhood. His pictures illustrating the primitive days of the American colonies are without rivals, and, while he paints English life and nature with character and justice, he, even after the lapse of years, con- tinues, in his American subjects, to delineate our native landscape and our people with accuracy. The result of his self-instruction reveals itself in his pictures in an absolute individuality of style. Boughton has, independent of his labors at the easel, won merited distinction by literary productions, in which his pen repeats the fine touch of his pencil and his brush. He writes as he paints, without affectation, with delicate but forcible strokes. No. 34—On the Surrey Road. BRENNEMAN (GEORGE W.). Born in New York, in 1856, of German parentage, George W. Brenneman, after instruction in drawing from a private tutor, was entered in the antique school at Munich. Working his way up through the antique and life classes, he became a pupil of Professor Dietz, and after five or six years of constant applica- tion to his art, returned to New York, where he now resides. He is a painter of genre, and his most successful works have been cabinet pieces, rich in color and executed with fine deli- cacy of detail. His earlier exhibited works betrayed his Munich 26 THE CLARKE COLLECTION. schooling very strongly, but with his return to the United States, he began developing the individuality of style and thought which now distinguishes him. A man of modest personality, thoroughly devoted to his art, he has never figured among our contestants for public honors, His careful and painstaking method of production, restricting as it does the number of his pictures, has rendered them rarities ; and their passage from his easel to the collections of our amateurs renders their appearance uncommon in our public exhi- bitions. No. 208—felics. BRIDGMAN (FREDERICK A.), N.A, The American Bank Note Company of New York was the first art school of Frederick A. Bridgman. He was born at Tuskegee, Ala., in 1847, and brought, as a boy, by his familyto Brooklyn, where they became residents. Employed by day as an engraver for the bank note company, he learned what he could of draw- ing by evening study at the school of the Brooklyn Art Asso- ciation. In 1866 he went to Paris, where he had J. L. Géréme for a master, and his first exhibited works were subjects drawn from his sketching tours in France and in the Pyrenees. His first pict- ure to make a decided impression was ‘‘ The American Circus in France,” and he followed this up with subjects found in North Africa and the Nile region, such as ‘‘ The Burial of a Mummy,” and ‘‘ The Procession of the Bull Apis,” by which he became widely and favorably known to European critics. Establishing his studio in Paris, he refreshed his art by frequent excursions to southern Europe, and later to Algiers, which he has found a pro- lific field. In 1890 he made a visit to America, and exhibited a collection of pictures, studies, and sketches, which was one of the art sensations of the year. The variety and high stand- ard of excellence of this collection, and the invariable spirit and vital energy which characterized its technique, made a profound impression such as the exhibition of single works by the artist could not have produced. The display furnished, in fact, the key to the distinguished consideration which he has long enjoyed abroad, where France claims him as almost one of her own artists. Since 1878, Mr. Bridgman has been a member of the Legion of Honor. He has been since 1874 a member of the Nationa] Academy, where he began to exhibit in 1871, and he is one of BIOGRAPHICAL NOTES AND INDEX. 27 the original members of the Society of American Artists. He has written a book upon Algiers which is worthy in style and interest of the illustrations which he has giventoit. Although most famil- iar to the public as a painter of modern Oriental life, Mr. Bridgman has produced works of merit upon historical and mythological sub- jects, and scenes of life in Brittany, where he spent a portion of his early years of European study. He is also a well-known painter of portraits. No. 35—lVormandy Cottage. No. 219—TZhe Cadi’s Escort at Rest. BRISTOL (J. B.), N.A. Mr. Bristol was born at Hillsdale, N. Y., in 1826, and was entirely self-taught. Elected an Associate of the National Academy in 1861, he was made an Academician in 1875, and is a member of the Artists’ Fund Society. He has always confined his work to land- scape, in which he occupies an important position. In 1876 Mr. Bristol received a medal of honor at Philadelphia. He contributes regularly to the chief art displays of this country, and his paintings of the landscape of New England are to be found in many of the private art collections in the large cities, No. 314—lVew England Scenery, BROWN (J. G.), N.A. Among what we now know as the older school of American painters, the most prominent individuality is that of J. G. Brown. Heisa veteran in whom still burns the fire of youth. Years seem rather to refine and strengthen than enfeeble his hand, and his artistic vision rests unimpaired by the lapse of time. The creator of his own style, it remains superior to the changes of popular taste and of artistic fashion, because it reflects the temperament of the artist, Strong in its unflagging vitality, as if it had conquered the secret of perpetual youth. Yet Mr. Brown counts his years at more than three score. He was born at Durham, England, in 1831, and began to dabble in colors so early that at the age of nine, as it is recorded, he painted portraits of his mother and sister. After some study in the government art school at Newcastle-upon-Tyne, he entered for a year at the Edinburgh Royal Academy, where he 28 No. THE CLARKE COLLECTION, teok a prize in 1853. From Edinburgh he journeyed to London, did a little portrait painting, and voyaged over seas to the United States. He opened his first studio in Brooklyn, as a portrait painter, in 1856, and in 1860, when George H. Boughton gave up his studio in New York, Mr. Brown became its tenant, and made his initial exhibit at the National Academy, of which, in 1862, he became an associate, and in 1863 a member. In the National Academy, the Artists’ Fund Society, and the American Water Color Society, he has held the highest offices, and he has been the recipient of many honors at American and European exhibitions. His art is absolutely faithful to the soil. It has been truly said of him that his character studies of American town and country types, treated as they are with the utmost truth to nature, form an invaluable addition to the history of the generation from which the artist won his fortune and the place of distinction which he worthily occupies. 20—A Longshoreman. No. 182—A Merry Air and a Sad Fleart. No. 272—Watching the Train. BRUSH (GEORGE DE FOREST), A.N.A. It has been held by some of our older artists that the crying evil of European education for the American painter is the extent to which it denationalizes him. These critics point, and with a certain measure of justice, to the instances of men of vigorous native talent who, after completing their schooling abroad, settle down, not as American painters, but as painters of European subjects, in the European manner, and animated by the European spirit. Against Mr. Brush this charge cannot be made. Born at Shelbyville, Tenn., in 1855, and after a preliminary course at the National Academy of Design, crossing the ocean to become a pupil of Gérome, he is nothing if not American in the substance and the spirit of his art. He finds in the aboriginal American heroic themes for his pencil, and he treats his heroes in the same lofty and poetic mood as has made the written descriptions of the Indian race by James Fenimore Cooper immortal. His exhibit in 1883 of the magnificent tragedy of Indian life called ‘‘ Mourning Her Brave,” sounded the keynote of his art, and with each succeeding production of his easel the impression created by this work has —— BIOGRAPHICAL NOTES AND INDEX. 29 been more and more firmly fixed. Of late years he has entered upon a sort of classical period in his art, painting with a fine sense of color and composition a series of pictures with such titles as *“Mother and Child,” in which, to beautiful characterization, he joins a ripe and skilful technical style. Mr. Brush has his studio in New York. He is a member of the Society of American Artists and an Associate of the National Academy of Design. No. 66—Mourning Her Brave. No. 315—An Aztec Sculptor. BUNKER (DENNIS M.), deceased. The career of an artist from whom much was expected was ter minated by the death of D. M. Bunker, on December 28, 1890. Mr. Bunker was a native of the city of New York, born in 1861, who had enjoyed an excellent schooling abroad, and had made his appearance in our exhibitions with immediate success upon his return to his native city in 1884. He had passed through the National Academy schools here ; had painted in the life classes of the Art Students’ League, and had worked in the Julian Academy and under Hébert, and Géréme in Paris. In 1888, he made another European trip, returning to remain in this country. Commencing as a landscape painter in oil and water colors, Mr. Bunker had developed himself into an admirable painter of the figure. In 1885, he received the third Hallgarten prize at the National Academy of Design, for his picture called ‘‘ Bohemia,” and in 1890, his picture ‘‘ The Mirror,” a single female figure painted with refined skill, created a lively impression at the exhibition of the Society of American Artists, and was awarded, at the Chicago Art Institute, the James W. Ellsworth prize of $300, as being the best picture by a living American artist in the exhibition. It now be- longs to the Philadelphia Art Club, He was employed in Boston for some years as chief instructor at an art school, and after a brief sojourn in New York returned to New England, where he had found much appreciation and encouragement, and many commis- sions. No. 106—A Neglected Corner. No. 171—/n Blossom-time. 30 THE CLARKE COLLECTION. BUTLER (GEORGE B.), N.A. No. The first success gained by George B. Butler was as a painter of animals. His representations of the domestic brute creation were in a vein of true portraiture, full of character and expression, and in the delineation of the wilder and more savage species he exhibited the same sympathy with their ferocious spirit and beauty that one notes in the lions and tigers of Eugéne Delacroix. It was, however, as a figure painter that Mr. Butler grounded his career, and of recent years he has returned to this department of art and produced a number of striking portraits. A native of New York, of a family of wealth and social prominence, he commenced to paint under the instruction of the late Thomas Hicks. From Hicks’s studio he passed, in 1859, to that of ,Thomas Couture, in Paris, under whom his first master had himself been a student. The outbreak of our civil war interrupted his studies, and he returned to the United States and entered the army as a volunteer. A man of powerful physique and absolutely fearless nature, he proved a valuable offi- _cer. After passing through the fiercest actions unscathed, he was finally disabled by a wound which cost him his right arm. Happily, he had been, from childhood, accustomed to the use of his left hand, and his misfortune did not incapacitate him for the labors of his art. He painted in New York and in San Francisco until 1875, when he again went abroad, joining the artist colony on the island of Capri. Some five years ago he returned to America and reéstablished his studio in New York, where he has executed a number of commissions for portraits of prominent public men and people of social note. Mr. Butler has been a National Academician since 1873. 60— Bothered. No. 346—fuss at Rest. CARLSEN (EmMIL). The artistic atmosphere of Boston has nourished a number of painters of consideration in American art. One of these, Emil Carlsen, for some years won commendation at exhibitions through- out the country by studies of still-life, which extended his reputa- tion far beyond the precincts of the city of his residence, even before his personality was known out of his special circle. He is by birth a Dane, who came to America in 1872, as a young man of 24 years. He settled in Boston, where his talent found a clientéle BIOGRAPHICAL NOTES AND INDEX, 31 of admirers, and remained there some fifteen years, strengthening and perfecting his art by diligent experiment and study. His can- vases displayed clear, rich color, harmony of tone, and transparent brilliancy of effect, and the freedom and breadth of their treatment demonstrated the artist’s mastery of his medium and his tools. After a visit to Europe, which had its result in the ripening and rounding out of his art, he returned to America, and now has a studio in New York. No. 30—Stl/-iife. CARR (LYELL). One result of the impressionistic movement in French art has been to exercise an influence in directing the talents of some of the most gifted American students in the Paris schools. Only too many of these fall into the practice of pure imitativeness, and are but shad- ows of the French originals ; but in a few instances, men have been wise enough to understand the underlying truth of the impression- istic theory, and to adapt it to their own ideas and sympathies. Conspicuous among theseis Lyell Carr, born at Chicago in 1857, and now a resident of New York. In Paris Mr. Carr painted under such masters at Lefebvre and Boulanger, studying also at the Ecole des Beaux-Arts, and in the Suisse and Julian academies. His first pictures were exhibited in Chicago. They were simple in subject, largely composed of rural scenes, good in character, and truly ren- dered. Meanwhile, the painter was battling with those problems of light and air by which his later works are distinguished, and he overcame the difficulties of his experiments with signal success, Seeking his subjects in nature, out of doors, and in all weather, he invests them with a subtle spell of familiar fact which renders simple subjects dignified, securing the legitimate results which the sincere impressionists seek, without sacrifice of his personal method of thought or of his personal style of expression. No, 153—A4 Ride Home at Sunset. CASILEAR (J. W.), N.A., deceased. Born at New York, June 25, 1811; died in 1893. Landscape painter ; studied in Europe in 1840 and in 1857. Elected an As- sociate of the National Academy in 1835, and Academician in 1851. No. 170—Sunset. 32 THE CLARKE COLLECTION. CHAPMAN (CARLTON T.). Mr. Chapman, coming to New York from his native town in New London, Ohio, began his art studies at the schools of the National Academy of Design and continued them at the Art Students’ League. From there he went to Paris, where he entered the Ecole des Beaux- Arts and enjoyed the criticism of J. L. Géréme. He was also in the atelier of Benjamin-Constant. On his return to this city he took naturally to marine work, several of his compositions attracting immediate attention. He was soon made a member of the Society of American Artists, the New York Water Color Club, and the American Water Color Society. He also became identified with the New York Etching Club, for in this medium he is expert. Illustration work for the magazines gave him a standing in this branch, and when the recent war with Spain broke out, he accom- panied the naval forces to the front as one of the representatives of Harper's Weekly. Wis pictures of the battles before Santiago, both with his brush and pen, were among the noteworthy literary and artistic contributions of the campaign. His work was officially « recognized at the World’s Fair in Chicago, where he was awarded a medal, and in Boston, in 1892, he was similarly honored. Among important work done by Mr. Chapman is a series of pictures of the naval engagements of the war of 1812 wherein he has depicted the victories of the American over the British ships and reproduced with historical fidelity the evolutions and manner of fighting of those days, and presented with authority everything relating to the construction and equipment of the men of war. Mr. Chapman’s studio is in New York. No. 264—The Lighthouse. CHASE (WILLIAM M.), N.A. The future will judge William M. Chase from two standpoints : as a painter and as a moving force in our art. In the former quality he stands at the head of the technicians of America. He is a past master in the resources of his craft. His restless and ambitious nature has impelled him to experiment in every possible direction, and one is called upon to recognize him as a painter in oils and in water colors, as a pastelist, as a draughtsman in every sort of Se ge a ae! BIOGRAPHICAL NOTES AND INDEX. 33 medium, and as a forceful original etcher. Throughout these varied manifestations of his astonishing versatility and skill, his individuality is preserved. His eye is acutely sensitive to the appeals of nature, his hand responds to the impressions of his eye with sympathetic fidelity. Mr. Chase isa native of Franklin, Ind., where he was born in 1849. He was a pupil of B. F. Hayes, of - Indianapolis, and for a time a portrait and still-life painter in the West. After some study in New York, at the National Academy schools, and under J. O. Eaton, he, in 1872, entered the Royal Academy at Munich. Alexander Wagner and Carl von Piloty were his masters, and they gave his art a firm technical foundation, although he has never shown himself an imitator of either. He has, at different times, sought for material in various sections of Europe, and studied the masters in England, France, Spain, Italy, and Holland, but his most extensive and significant work has been accomplished in and about New York. His studio in the Tenth Street studio building was a museum of rare, precious, and artis- tically beautiful objects, collected upon his travels, and from it he has sent forth many talented pupils upon independent careers. As an instructor at the Art Students’ League, of New York, and later in his own academy, Mr. Chase has rendered valuable service to our art. He is a National Academician and a member of the Society of American Artists and of the American Water Color Society. No. 2—A Visttor. No. 49—A Coquette. No. 99—Zhe Model, No. 207—A _ Svtoneyard. No, 213—Prospect Park. No. 248—Girl in Costume. No. 290— Weary. CHURCH (FREDERICK E.), N.A. The most famous picture in America in its day was ‘‘ The Heart of the Andes,” painted by Frederick E. Church, after his second visit to South America in 1859. The artist’s ‘‘ Niagara,” which almost equalled it in the furor which it created, is now in the Corcoran 3 34 THE CLARKE COLLECTION. No. No. Gallery in Washington. The painter had struck a new note in the landscape art of the Western Continent. His impulse to this de- parture was not without explanation. Born at Hartford, Conn., in 1826, Mr. Church had become a pupil of Thomas Cole, an artist whose grandeur of ideas rose superior to the deficiencies of his meth- ods and the unconquerable drawbacks of his laborious life. The pupil remained with his master until the death of the latter. Then he began his travels with the influence and the inspirations of the dead painter alive within him. He made his first studies in New England, and in 1849 opened a studio in New York and became a National Academician. In 1853 he made a voyage to South Amer- ica, and in 1857 another. The result of these was a series of gran- diose representations of the stupendous nature of the greater trop- ics, which, coming to us at a time when little was known of those regions, exercised a readier influence in furthéring the artist’s repu- tation. A voyage to Labrador resulted in his picture ‘‘ Icebergs,” which made him known to London in 1863, and in 1866 he made a voyage to the West Indies and executed subjects of his travels. Europe and Asia next claimed his wandering feet, and his brush celebrated with equal success the mouldered splendors of Greece and Palestine, of Athens and Jerusalem. In all of these produc- tions the artist combined a majestic composition with great splen- dor of color and fine poetic feeling, and his success in England almost rivalled that which he enjoyed in America. With advanc- ing years travel, which had formerly been a pleasure, became a necessity to him, and his winters were spent commonly in the tropics and in Mexico. His industry continued, and to his pano- ramas of South America and the Orient he has added equally splendid, if less vast, records of the luxuriant nature of Central America and the Antilles. Of his many leading works, a number are widely known through engravings. This is especially the case with ‘‘ The Heart of the Andes” and ‘‘ Niagara,” of which a re- cent traveller remarked that he had encountered them making a girdle in the artist’s honor quite around the world. Although pri- vate collections are rich in Mr. Church’s works, they are rarely seen in public. The earlier examples have long since been absorbed into the collections of America and England, and his later works passed from his easel to private ownership without finding their way to the annual exhibitions. 87—Mediterranean Sea. 249—n the Tropics. I eS SS ae BIOGRAPHICAL NOTES AND INDEX. 35 ERA rt ES.), "NA. A talent as original as has been produced by the art of the Western Continent is that of Frederick S. Church, From the time when he began contributing to the periodical press those sketches in which the most commonplace topic was lightened by a touch of drollery, _his individuality made its impression. He was known to popu- No. larity through these productions of his pencil before the graceful and delicate conceits of his brush brightened our exhibition galler- ies. The thorough originality of Mr. Church as an artist is the result of his independence of any personal influence in his training. He was born at Grand Rapids, Mich., in 1842, and was engaged in business until he found himself irresistibly moved to the adop- tion of his present career. He obtained the foundation of his knowledge in the schools of the Chicago Academy and the National Academy of New York, but it was by the use of nature as his model that he really formed himself. His theory and practice of color were of equally independent creation. Out of these elements, and by an industry that was as incessant as his courage was indomita- ble, Mr. Church built himself up. First known as a draughtsman and painter of animals, he later became recognized among the painters of fanciful idyllic subjects. Asan etcher his reputation is also high. He has been a member of the National Academy of Design since 1885, and is a member of the American Water Color Society and of the New York Etching Club. 31—A Surf Phantom. CLARK (WALTER), A.N.A. Born at Brooklyn, in 1848, Walter Clark became a student of the National Academy of Design, under Professor Wilmarth, and of the Art Students’ League of New York. He has almost entirely devoted himself to landscape painting, finding his most congenial subjects in the vicinity of New York, New Jersey, on Long Island, and in western New England. His studio is in New York, and he is a member of the Society of American Artists and an Associate of the National Academy of Design. Mr. Clark’s advance in his profession has been rapid, and his recent pictures have placed him in the front rank of native landscape artists. No. 247—Sunset. 36 THE CLARKE COLLECTION, COFFIN (WILLIAM A.), A.N.A. When William A. Coffin returned from Paris, where, subsequent to his graduation at Yale, in 1874, and a year’s study afterward in the University’s Art School, he had been painting five years under Léon Bonnat, he was known to visitors to the Salon, where he commenced to exhibit in 1879, as a painter of subject pictures. During the summer of 1891 he made his reappearance in Paris, at the American exhibition in the Durand-Ruel Galleries, as a painter of landscape. No transformation could be more complete ; but it marks the studious and self-developing character of the artist learning the tendency of his sympathies and cultivating the field in which he finds the richest harvest of gratification. Mr. Coffin was born at Allegheny, Pa., in 1855, and is to this day claimed by Pittsburgh as one of her special group of artists, in proud rivalry to the city across theriver. After leaving the Bonnat School he established his studio in New York and became a regular contributor to the American exhibitions. He is an active and energetic member of the Society of American Artists, and an Associate of the National Academy of Design. Apart from his professional identity, he is widely known as a writer upon art subjects of admirable discretion and justice with a polished style, and as a lecturer of clear and fluent diction, logical argument, and authoritative experience. In 1886 he secured the second Hallgarten prize, at the Academy, with a landscape entitled ‘‘ Moonlight in Harvest.” The Webb prize for landscape, at the Society of American Artists, was awarded to him, in 1891, for his picture, ‘‘ The Rain,” now in the permanent collec- tion of the Metropolitan Museum. He received a bronze medal at the Paris Exposition of 188g for his ‘‘ Early Moonrise,” and the gold medal of the Art Club of Philadelphia, in 1898, for a large and imposing composition, ‘‘ Sunset in the Somerset Valley, Penn- sylvania.” It is in this picturesque region of hills and mountains that Mr. Coffin has his summer studio, and thither, also, he jour- neys sometimes in winter to paint effects of ice and snow. No. 68—A/fter Breakfast. No. 157— Sunrise in January. No. 254—Choppy Sea. COLMAN (SAMUEL), N.A. Although Mr. Colman, who was born at Portland, Me., in 1833, is one of the older American painters, he has been identified all BIOGRAPHICAL NOTES AND INDEX. 37 through his career with the latest developments in an esthetic way. He has kept his art young and fresh, and through all his work may be discovered qualities of earnest, serious searching. His early training was self-acquired, but he had made such advances that, at twenty-seven years of age, he was elected an Associate of the National Academy of Design. In this year, 1860, he went abroad for a two years’ course of study in Paris and Spain. On his return he was made a full Academician, and, in 1866, he was elected first President of the American Water Color Society, of which he was one of the founders. This position he held for five successive terms, and when the Society of American Artists was founded in 1878, he became one of the charter members. In his earlier years he painted much Hudson River and Lake George scenery, and the results of his travels abroad were seen in pictures sent from most of the countries of Europe, Italy appealing to him strongly. Mr. Colman possesses always to an unusual degree, an attractive sense of the pictorial. His subjects are invariably well chosen, while his notions of tone are of the best, for his palette is rich and harmonious, and his color possesses much sentiment. His manner of painting is quite personal ; his appreciation of nature is broad and catholic and, backed by a strong intellectuality, the results of his brush have been almost invariably satisfactory. Through the mutations of American art, Mr. Colman has kept in the forefront, and his work stands for all that is healthy, logical, and progressive. No. 76— 4 HOMER MARTIN 217 6. Deeve Marine Under a gray sky a gray sea with little movement quietly rolls over a sandbar to the left. A schooner is tacking, and in the distance is a long stretch of misty hills, their shapes but vaguely outlined. A touch of blue, to the right, is in the sky, and the day is one of half-ob- scured, opalescent light. Signed at the left. Dated, 1885. Height, 15% inches ; length, 24 inches. Lite lou. Gale Bab Abi, (GAT d * 7 4 j (LO. ee’. It a Ay ; “a i 4 JOSEPH DECKER "~ ’ Ph éelle sis. A Hard Lot | A still-life study in a fruiterer’s shop. Hickory nuts are piled in boxes, in a scale and in a measure, and the iron nutcracker is shown 4 ready for use. Noteworthy for its close rendition of color, texture, and : substance. Signed at the right. Height, 12 inches ; length, 22 inches, 8 | A i420. — EDWIN A. ABBEY ¢-/7zpres.g Candlemas Eve (Black and White) Passing through a doorway upon Candlemas Eve, a maid looks back with superstitious glance, fearful lest she may see the traditional goblin. Other servants glance out with trepidation. The text of a verse from Herrick and a decorative border surround the drawing. Signed at the right. Dated, 1878. Height, 25% inches; length, 14% inches. B L Sex ; R. A. BLAKELOCK ©. 23% Mee lta, : Wayfarers at Eventide After a weary day’s journey, a party of Indians are making camp, in the gloaming, under the shelter of a grove. The final fires of day expire in the sky, and the bright colors of the savages’ costumes give variety to the sombre richness of the shadowy foreground. Signed at the right, Height, 11 inches; width, 15 inches. tif - y 10 ée.- No ee | ate HO —” Delaware Water Gap a S In the small space of this modest panel the artist has, in his prelim- inary study for the large painting, presented an interesting vision of great extent of landscape. The river, distant hills, and foreground are indicated with breadth, and convey a fine sense of distance. The passing storm clouds, the burst of sunshine, and the brilliancy of the rainbow are all put in with a fine feeling of nature and felicitous idea of composition. This picture was painted in the early sixties. Signed at the left. Height, 814 inches; length, 1334 inches. II W. H. LIPPINCOTT Pe ss . ‘i : te? dv Be. A Loan Collection Vs eet Feere A group of umbrellas, of an antiquated style and dilapidated appear- ance, painted with much vigor and strength of color. Signed. Height, 22 inches; width, 14 inches. a ee ate 9 I2 Me. SEYMOUR J. GUY “7: Note 22% eo, Out of its Element A portrait of the left hand of a sportsman, who, still holding his rod, lifts out of the landing net which he holds in his unseen right hand, the trout which has just succumbed to his skill. The background shows a stream, with a forest on the farther shore. Upon the distant bank another angler seems to be watching the movements of his successful brother of the rod. Signed at the left, Dated, 1870, Height, 14 inches ; length, 22 inches. 13 JOO. W. S. HORTON 70/4, Leberrecan Driving the Flock The forest is brightened by the tints of autumn. The sunbeams play through the foliage with brilliant effect. At the left a girl drives a flock of sheep into the foreground. Signed at the right, Dated, 1890, Height, 16 inches ; length, 24 inches, VW 14 ) 5 be CHARLES H. DAVIS, 4,€, 2 | ff as i Sunset on the Moor cg The expiring sunlight warms the sky, but leaves the moorland in i} shadow. The windings of a creek at the right catch some reflection of i the fading light, but the earth is sombre in the creeping shadow of the night, and trees make spectral shapes on the horizon. | Signed. Height, 16 inches ; width, 24 inches. } oo) 15 0 4 a7 . a. 4 ae JOHN LAFARGE © (00 ee Tiger’s Head The head of a royal Bengal tiger, facing to the right, but looking out » of the picture, with his jaws parting to emit a savage snarl. The color and texture are admirable, and the beast’s ferocious aspect is rendered : with remarkable force. j } Signed at the top. Dated, 1862. Height, 14 inches ; length, 10 inches. : 16 | : : OO O&,. H. SIDDONS MOWBRAY "44 J bez CO77 TCE Schehera-Zade The favorite of the harem is extended on a divan, lapped in cushioned luxury,. At the right a refection of oranges and pomegranates on a brazen salver tempts her appetite. Before her, on the floor carpeted with rugs, the romance-weaving heroine of ‘‘ The Arabian Nights” re- counts one of her fascinating legends. Her attitude is expressive of the climax of a tale, to which her listener attends with languid but absorbed interest. Splendid Oriental colors enrich the composition, and the figures are contrasted types of feminine beauty. Signed at the right, Height, 12 inches; length, 14 inches. 17 | ARTHUR PARTON ** ©: eeevee “Ya, Apple Blossoms mo) ‘e, ot, a) Pae>. ct The orchard is in full bloom and gay in sunlight, although a spring shower is passing along the horizon. The fresh green of grass and foliage harmonizes with the delicate color of the blossoms which enamel the boughs of the fruit trees. A brook crosses the foreground, reflecting in its waters the joyous brightness and sparkle of the nature of which it is a part. Signed at the right. Dated, 189. Height, 18 inches; length, 24 inches. SS ee bhi. 18 re. Rs L. NEWMAN) oS). Beacez are. . “Woman and Love Seated on a bank in a dark woodland a young girl toys with Cupid at her knee. A glint of light is in the distant sky, and the red and white robe of the woman is brilliantly illuminated. The rich color quality peculiar to this painter’s work is in evidence in this composition. Signed at the right. . Height, 18 inches ; length,:24 inches. 19 eda. eee NIAMIN RO BITZ, 3 7. (2 55-p Ar Gathering the Last Sheaves | By the last light of day the harvesters are loading the final sheaves upon the harvest wagon, one tossing them up from the well-gleaned field to the other, who is perched high upon the load. The weary horses patiently await the welcome end of their day’s labor. The land- scape seen in the distance upon the left is beginning to disappear in a misty twilight, which already softens the details and subdues the color of the scene. Sai ea Signed at the left. Height, 16 inches; length, 24 inches. 20 J. G. BROWN os Whee an A Longshoreman Taking his noonday rest, a longshoreman, in blue overalls and jumper, sits smoking his pipe. Behind him are some bales of cotton, ahd half torn open and leaving some of their contents on the wharf, The . figure is in sunlight, the effect of which is well conveyed in the light and shade. The man isa regular type, familiar to every New Yorker who knows the scenes along the docks, and he is rendered with photo- graphic exactness and truthful detail, though the painting is broadly expressed with vigorous brush-work. From the short pipe in his mouth to the bale-hook in his trouser-band, it is a living picture of a workman. Signed. Height, 12 inches; length, 18 inches. 9 Ae: 21 ae, ©. up EMMA B. BEACH Jeeves’ Anemones A study of flowers, picturesque in arrangement and of excellent quality of color. The execution is competent and direct. The artist isa gifted pupil of A. H. Thayer. Signed. Height, 13 inches; length, 9 inches. Hc ‘ SANFORD R. GIFFORD / 2 Venetian Fishing Boats This picture shows a soft summer sea, quiet and pellucid, with groups of the Italian fishing boats peculiar to Venetian waters. The many colored sails, red and yellow predominating, fairly palpitate under the brilliant southern sunlight, while on the distant horizon the buildings and towers of the city are seen in picturesque outline. Signed atthe right. Dated, 1870, Height, 13 inches; length, 24 inches. 23 ‘ THOMAS MORAN 4...“ Selimarem Easthampton | ' The meadowy foreground at the left is traversed by a little brook, on the banks of which dwarf willows grow. Larger trees close in the middle distance. The sky is banked up with brightly lighted clouds. Signed at the left. Dated, 1883. Height, to inches; length, rz inches. CaF, ~ WINSLOW HOMER“ *@e-(e7e7Ze_ - | J we LOUIS MOELLER. <’ SS cred LYe eas LOD, 24 In the Garden (Water Color) Leaning against the wall of a country house, a gardener stands talking to a maid who looks out of a window. There is a contrast of the red brick wall and the redder shirt of the man. Some flowers are relieved with fine effect against the white plaster, and a cat to the left steals quietly through the grass. Signed at the right. Dated, 1874, Height, 11 inches; length, 15 inches. 25 Hesitation Two elderly men are seated at a chess table. An important crisis has come in the game, and both are regarding the pieces intently. The expressions are of wonderful thoughtfulness and are profoundly studied. The man in front in an armchair is delightfully drawn and painted ; a blue cover is on the table, and, behind, a mantel is decorated with vases and other bric-a-brac. A rug is on the floor, and there is a bookcase to the right, with a screen to the left. Every detail has been painted, yet all has been broadly expressed and admirably rendered. The picture isa remarkable achievement, worthy of the reputation of an unusually gifted painter. Signed at the right. Height, 16 inches; length, 22 inches. 26 W. S. MOUNT &7°% 72% CLO og An Axe to Grind The familiar old story is told with a quaintly humorous touch. The confiding schoolboy has completed his task, and mops his weary brow, while the ungrateful stranger requites his labor with a threat. The boy, having had his labor for his pains, and allowed himself to become belated for school, sees, as an ultimate reward of his confiding good nature, chastisement from the pedagogue and rebuke from his parents. The scene occurs under a barn shed, with the village schoolhouse in the background. Signed at the right. Height, 6 inches; length, 9 inches. iW b 27 4 sing h Paha SFO. ~ DANIEL HUNTINGTON *% ©. Heate) sh St. Jerome a at 4 The venerable sage sits poring over the pages of a huge tome, whose ‘ leaves he turns with one hand. His face is of an intellectual type, with i along, gray beard. The color is rich and strong, and the execution f finished. Signed. Height, 7 inches; length, 5 inches. 28 ee R. SWAIN GIFFORD €*% (@erxzever J, GL % { Autumn A typical American coast forest of scrubby trees is made splendid by the colors of autumn. The foreground is a clearing overgrown with brush. Toward the right is a pile of firewood, stacked up for removal, and a man with an axe on his shoulder advances into the wood to con- tinue the work of destruction. From the George I. Seney sale. Signed at theleft. Dated, 1888. Height, ro inches; length, 14 inches. Sy eee oe ey, 29 ad € ie ,, “ye FW. FREER & © -7Gn4 Mother and Child The tenderest of all themes—maternity—is here expressed with refined sentiment and delicate feeling. Seated in a chair, the mother gazes lovingly at the infant in her lap, and the child nursing, looks up YOO EMIL CARLSEN J ase F. S. CHURCH e% 2! oe ore ce ey at her with innocent glance. The woman is clad in some clinging draperies, and the child is robed in white. Behind isa red curtain of subdued tonality and a closed window. It is an intimate glance into the sanctity of home, and the picture is full of tender sentiment. Signed at the right. Height, 16 inches ; length, 12 inches. a pA 307% 4.40 27 Cte oft tat Still Life A study, rich in color and bold in handling, of a dead capon, a cop- per basin, and some kitchen accessories. Purchased at the Museum of Fine Arts, Boston. Signed at the right, Dated, 1883, Height, 27 inches; length, 4o inches. 31 ’ aren A Surf Phantom A great breaker, rolling inshore over the shallows, assumes the spec- tral shape of a white courser, whose long mane is formed by blowing foam. A sea nymph rides this phantom steed. Her figure provides a keynote of color to which the delicate grays of the picture are cleverly adjusted. The movement of the surf is full of the rush of oncoming waves, and the attitude of the figure is in spirited consonance with the motion of the surf. Signed at the right. Dated, 1885. Height, 20 inches; length, 24 inches. J 32 ; arises J. FRANCIS MURPHY «+ © Co. VMoror-e q Wet Autumn Day \ A rainy autumn sky lifts over the horizon, which is marked against a . rift of the light of late afternoon. The tints of the season enrich the if vegetation, and glow softly in the foliage of the trees which rear their 9 shapely forms in the middle distance, making a picturesque mass against the turbulent sky. : Signed at the left. Height, 14 inches; length, 20 inches. 33 n ’ WINSLOW HOMER 44 2arece eo 478. “end Canoeing in the Adirondacks 2 a) a (Water Color) : i \ ey Two hunters are seated in a canoe, paddling quietly along in the yw \™ deep shadow made by the wooded shore. The man in the stern, in a & red shirt which makes a fine color note, is looking backward and a trail Ww of whitened water is left behind. Some pines are outlined against the sky, which is of brilliant whitish gray. The tones are rich and recall with vivid realism the dense woodland fastnesses of the wilderness. Signed at the left. Dated, 1892. Height, 15 inches; length, 21 inches. 34 7 oT “ee a as GEORGE H. BOUGHTON ©-44. Wenz | | On the Surrey Road The road crosses a grassy common, passing a village, a portion of which is,seen in the middle distance. On the road are a lady and gen- tleman, mounted, with a groom riding behind them. Signed at the left. Height, 9% inches; length, 13 inches. a wt (Water Color) Against a background of autumn leaves, in a corner of the woodland, stands a young woman with folded hands. She is clad in a simple dress of grayish yellow, decorated with flowers. About the shoulders is thrown a blue shawl or scarf, and she wears a large black hat with feathers. The expression is wistful, sweet, and full of feeling. The youthful face, half-shadowed by the hat, makes a note against the deep reds of the background, and the lighting of the figure is most skill- fully arranged. On the ground in front some red and yellow leaves have fallen. The conception is delightful, and the manipulation of the medium is masterly. Signed at the right. Dated, x188r. Height, 22 inches; length, 18 inches, ba ; Ee Ros iw = ee ‘ 59 CG wT re 773 Pee. Lx “WINSLOW HOMER Coast in Winter A terribly angry sea dashes up against some rocks half-covered with snow, the swirling eddies in the foreground conveying an idea of its force. Thesurf is thrown high, and the fierceness and dreariness of the rocks present a scene of utter desolation, which the painter has powerfully expressed. There is a yellow-gray sky which enforces the illusion. ae Signed at the left. Dated, 1892, Height, 30 inches ; length, 48 inches, 5 i 60 d i ea GEORGE B. BUTLER 4 Z 3 \ Bothered ~ 8 te ( Meee Lez 220) re fe A pestilential buzz-fly has invaded the precincts of the yard sacred as i the residence of the watchdog of the stable. Aroused from repose on his couch of blanket and straw, the victim of the annoying intrusion sits _ 4 up and watches his diminutive tormentor with an expression of mingled . ¥ astonishment and wrath. The dog’s head is raised and his eye follows 4 the movements of the fly, eager to snap it up yet ever baffled by the ec- centric movement of its swift winged flight. The drawing of the ani- mal is firm and correct, and the painting, throughout, is characterized by resonant strength of color and a broad and powerful touch, Signed at the right. he em Height, 41 inches ; length, 31 inches, 61 “ S a dae S f@o.,- i G:73 al a ° ey 2%, *\ fe’ GEORGE INNESS pe Nh rs 2 | Nine O'clock inh? On a pathway leading to a village a single figure walks away from the spectator. Some houses are to the right, while to the left are a group of trees and the tower of achurch. A full moon in a luminous Wet S Pat) iP 5 2 | i gray-blue sky sheds brilliancy and light over the landscape and road. Though there is the feeling of the night there is no blackness, for the 4 P ‘atmospheric qualities of moonlight seem to permeate the entire canvas. ; The softness and realistic indecision of the foliage against the sky are maintained in a manner characteristic of the master. Signed at the right, Dated, 1891, Height, 30 inches ; length, 45 inches. y | 62 £. af eee oP GR GRANT Ce yg. a ae is: OF? C05 ‘APO on Waiting e/ | Seated by a long low window is a young girl dressed in white. A book lies unread before her; behind her is a guitar, and in front isa spinning wheel. She looks dreamily out of the window across the sands to the sea beyond, and the story may be guessed. BT ii a a oa siete NS “a sai ' 7 J os eee o> Signed at the left, Dated, 1885, Height, 20 inches; length, 30 inches, 63 * KENYON COX Ij- A Still Day Green and breathless midsummer reigns in the landscape. The broad and unruffled expanse of the river in the foreground repeats the placidity of the hot and cloudless sky. An islet, heavily dressed in verdure, breaks the surface of the river towards the right. At the left the distant shores lose themselves in a line of hazy hills along the war ©, ' 7, net Teg horizon. Signed at the right. Dated, 1890. Height, 15 inches ; length, 27 inches. 64 ? F, DIELMAN er A ee Sb w@ : poe "ei > ¥ \ C4 ra 4 c OP LB dh my Tessa Awakened by the first light of morning, a little girl sits up in bed, her face rosy from sleep. She crosses her hands at her breast as she utters her morning prayer. Signed at the top. Dated, 1884. Height, 1o inches ; length, 8 inches. fe) 65 i Va e, ELLIOTT DAINGERFIELD < ./(.Dee/@om Women Working in the Field 4 The sun is setting in a splendor of crimson and gold behind the wheatfield, nodding with its ripe richness. At the left the distance loses itself in the gloom of evening. Two gleaners are coming out of the wheat. One, the elder, walks wearily, looking neither to the right nor to the left, happy in the completion of her toilsome day, and con- tent with its scanty reward. The other, younger, fairer, and more hopeful, looks back over the wall-like crest of the bearded grain. The color, deep, rich, and strong, is combined in a profoundly tender har- mony, and a sincere and poetic sentiment characterizes the work. Signed at the left, Dated, 1890, Height, 24 inches; length, 34 inches. iw 66 rasa «.~ GEORGE DE FOREST BRUSH 3 . + ' oe Bee ae ee oc a i & Mourning Her Brave POC 2d eVELPU AS & Upon a jutting ledge of a precipitous mountain side the warrior has been laid to rest, with the snow for a winding sheet. Over the body, shrouded in its blanket, the birds of prey already wheel and clamor for the feast, scarcely kept aloof by the presence of the dead man’s squaw, who, erect and rigid in the snow upon the slope of the mountain, raises her voice in lamentation for him who is gone. Out of a sky of steel, the tempest comes in bitter blasts that reécho the wailings of the mourner among the waste places of the craggy wilderness, and add to the horrors of the death which is present the threat of that to come, which rides forth upon the storm. Signed, Height, 36 inches; length, 26 inches. 67 WALTER L. PALMER .4~ &.42ee Olek January . i feo Ef. A keen winter sunrise over snow-covered fields, where drifted masses are brilliantly outlined by the cold beams. In the foreground a stone wall crosses the picture, partially buried by the snow, and at the right a massive tree extends its bare branches against the sky. This pic- ture took the second Hallgarten prize in 1887. Signed at the left centre. Dated, 1887. Height, 25 inches; length, 36 inches. a es 68 Mitr Cees leisy WILLIAM A, COFFIN After Breakfast A scene in the billiard room of a country hotel at Grez, near Fon- tainebleau. Through the large window the roofs of buildings enclosing a courtyard are visible. At the right, an idling painter knocks the ivory balls about the table, while a young lady, seated near the window, looks as idly on. This picture is remarkable for its truth of values and the excellent rendering of the effects of light. Signed at the left. Height, 13 inches; length, 9 inches. SO en a a 69 nn at P L2es., CHARLES C. CURRAN 4-47. 7eece d Girl Reading Gowned in a soft, clinging pink robe, a young woman is seated on a couch by a window, reading a book. Subdued sunlight is filtered through the curtains and shade behind her, illuminating her right side é with a warm glow. The cushions against which she leans are of green, ( and harmonize with her costume, and the figure, attractive in pose and | drawing, is enveloped in luminous atmosphere in which the shadows are colorful and transparent. The work is carefully executed, but at the same time is kept broad and suggestive, while the color scheme is harmonious. Signed at the right. Dated, 1892, Height, 18 inches; length, 26 inches, eet v 70 Pea ALEXANDER HARRISON'S 2 pe (2) ree wll Marine Ae Sea and sky are lighted in delicate tints by the reflection of the sun- set. Through the faint mist of early evening the moon is rising. A subtle play of color flushes the waves as they roll gently in to spread upon the beach in the foreground in foam-fringed washes. The calm of a peaceful day’s end in the sky repeats itself in the languid play of the waves. Signed at the left. Height, 14 inches ; length, 20 inches. ogy: 7l a7 OF meee J. BEAUFAIN IRVING Washington at the Bedside of Colonel Rahl Lying propped up in a couch the sick officer, Colonel Rahl, receives the head of the Revolutionary army. General Washington, in full uniform, sits on the edge of the cot and takes Rahl’s hand in his own, looking in his face with commiseration. An aid-de-camp stands behind Washington’s chair, and an officer helps to hold up the invalid’s shoulders as he talks to his chief. A woman at the left is bringing in some medicine, and on a table near her is a decanter of wine. Over the mantle hangs a map ; to the right is a flag and drum. A sentry stands at the door, and a great clock is at the left. Signed at the right. Height, 20 inches ; length, 26 inches, 72 M. DE FOREST BOLMER dae a Fag : ' Falling Shadows ~~ °* EP e366 Lo cz>> Silent and peaceful under a tender sky lies a flat stretch of moorland, with gray-green grasses growing ina sandy soil. There is a break in the distance, and glancing over the chasm the last rays of the late afternoon sun strike softly on the hill, gilding it with a warm glow. The sky, too, has caught the radiance of the setting sun, and the clouds are gold tipped, or tinged with the brilliant reds of evening. The feeling of distance is well rendered, for the landscape stretches far away and is lost in the horizon, while the sky seems almost infinite in its space. It is the sort of composition in which this artist delights, and in which he is at his best. Signed at the right. Height, 24 inches; length, 36 inches. 7 ia 5 TURNER ceve® OL 25 Gossip in the Lane " In one of the narrow streets of a New England fishing port, three girls are discussing the merits and demerits of a couple of fishermen, SS TE - whose figures appear in the distance, passing up the road. One of the gossips has halted on her way tothe store. The others have inter- rupted their domestic duties to join her. Each is a distinct native type, individual in character, and expressive in attitude and movement. Autumn leaves cover the roadway, which, with the figures themselves, is in shadow. a i Fs . SE : ig 1? sea Nee ene ee | | | | ¥ Signed at the right. Dated, 1891. Height, 20 inches; length, 26 inches, * q t : 5 i y | H 74 | : Wee, AH THAYER 977 4 veese. | , Roses | mers, A spray of freshly cut roses, painted from nature, in a delicious har- mony of pink petals and green leaves against a gray background. Signed at the right. | Height, z2 inches ; length, 20 inches, i aera, ae . 75 Dees = J. ALDEN WEIR Cuetec. &'¢7- Still Life A study of fruit, fresh plucked and with the twigs and leaves still attached ; vigorous in treatment and solid in quality. Signed. _ Height, 17 inches; length, 21% inches, 76 J Be ey eae | 4FSH, Autumn he PSCEL Xs The rich, colorful effect of an American autumnal woodland is given here with force and sentiment. Under a cloudy sky, with the sun breaking through here and there and catching the yellow grasses, the tree forms half denuded of leaves, stand out with fine effect. Deep reds make telling notes in contrast with the grays of the distance. The autumn season is interpreted with sentiment and truth. Signed at the left. Height, 20 inches; length, 33 inches. 77 caehinenaaale CHARLES F. ULRICH A 3-ce gt sgh aftr, An Amateur Etcher At a table before the window of a handsomely appointed studio a young woman is seated, drawing the outlines of her design on a copper plate. A screen of tissue paper tempers the light that falls upon the table. At the left another table is covered with acid bottles and studio paraphernalia, and a picture is seen on an easel, against which loose prints and proofs are piled. A statuette anda lamp give additional variety to this collection of objects, which has afforded the artist ample opportunity to display his rare skill in the representation of still life. The figure of the etcher is graceful in outline, substantial in quality, and full of expressiveness in its intentness upon the work. Although all the detail is elaborated to a degree, it is subordinated to this figure, which assumes to the eye its natural importance as the centre of the composition. Signed at the left, Dated, 1882, Height, 12 inches; length, rs inches, 78 ain 3 GEORGE INNESS ©” ©: ~@ 22 adage Bs Showery A rainy sky, through which straggles some sunshine, is admirably depicted. Patches of blue are seen here and there, and in the distance appears the passing shower. Some trees are to the left and throw a shadow. Sunlight is streaked across the foreground. Between the hills on the horizon and the foreground lies a wide stretch of country diversified by fields and hedges. The different effects of green, and the tints of the fields are subtly and comprehensively rendered. Signed at the left. Dated, 1894. Height, 20 inches ; length, 29 inches. Ce Atat ke ; uae 79 | W. P. W. DANA 778 (43. Acre ioy.,., 2d Fishing Boat i 25D a —_~ A moonlight night off the channel coast of France. In the fore- i ground a two-masted vessel rides a rough sea. Two other boats are seen % sailing at the left, and on the right, in the distance, clifis jut out into the 1 water. Thecolor and handling are strong, and the effect striking in i A its centralized power. 4 Signed, Height, 16 inches ; length, 22 inches, | 80 ive P cis - ‘ b. - 92. PERCY MORAN ~eén- J se sf, , An Old Time Melody A comely maiden, in the costume of the early part of this century, is seated at a harpsichord, reading a score of music which she holds in her hands. Bright sunlight illumines the room through a curtained window behind her, against which her graceful figure is relieved. The artist has been signally successful in the delicate rendering of details and in the management of the effect of light. Signed atthe right, Dated, 1883, Height, 30 inches ; length, 22 inches. ‘ SI aF SO — C. MORGAN McILHENNY ns é har hal fm Se i Old Friends ~ » Mereher Cel Cop alll Standing side by side in a field, an old man and an old horse look reflectively at a pool. Both are pretty well worn out. Some trees rise up in the left and the land rolls away to the right, showing a sky that suggests evening, fitting moment in which to depict the scene. The management of the water color medium in this large drawing is a feat by itself, apart from the artistic feeling and the clever com- position. This work was awarded the Evans prize at the Water Color Society in 1892, and a medal, in 1893, at the World’s Fair. Signed at the right. Height, 24 inches ; length, 33 inches. LPL S "a 82 2 | “ x, He ase pole ; CHARLES X. HARRIS Waite Colonial Days In a colonial interior, seated near a fireplace, two men, one of whom is dressed in a blue coat and brass buttons, sit listening to the story of a third, a young officer in uniform, who is intently talking as he leans over a table. A butler holds a bottle between his legs, and bends over in his efforts to extract the cork. A mirror surmounts the chimney-piece, together with a clock and a pair of vases. Reflected in the glass is an old-fashioned sofa on the other side of the room. Upon a chair, at the left, are a hat and a soldier’s chapeau. To the right, over some chairs, hangs a portrait of a woman on the wall. It is all remarkably realistic, and every expression is a seriously seagipienvn f character study, carried out with interesting detail. Signed at the right. Height, 15 inches; length, 21 inches. 83 WILLIAM MORRIS HUNT ’ Sunlit Woods 7: «%.AltezaSerrc e bel A corner in a woodland is represented as catching the sunshine, which illumines the leaves and makes a brilliant play of yellow notes, while it glints over the path that runs across the foreground. Four tall tree trunks stand up in the front of the picture, and at the foot of one is a big rock. A serious, virile study from nature. Signed at the right. Dated. 1862, Height, 16 inches; length, 12 inches. 84. ; wit od ve eZee me WINSLOW HOMER 4° fj; Wo pere The Lookout—All’s Well The head and shoulders of the lookout loom up on the left of the picture. He is a sturdy, bronzed mariner, clad in oilskins and a sou’wester. His gray beard is almost lost in the shadow, and his head is thrown back as he gives his cheery cry, ‘‘ All’s well.” Above his head is the bell, catching a touch of moonlight, while some ropes and rigging appear behind the figure. Over the side, the sea and sky merge into each other, and convey an impressive sense of solitude. eines mins 5 Signed at the right. Dated, 1896. Height, 42 inches; length, 30 inches. oo John A Ingest 7 i hie A a4 Pore pee Vote e8e,- - GEORGE INNESS Sunset in the Old Orchard—Montclair The last.out-of-door work, painted directly from nature, by Mr. Inness, near his studio at Montclair. It is a study of the subtle relations of late spring greens. The subject is an orchard, witha great tree trunk to the | right centre. To the left is an old building, one side of which is sil- a houettéd against a brilliant sunlit sky, which fades away into gray tones Gi _ as it leaves the horizon. An old fence runs through the centre of the com- position, and other trees are outlined against the sky. The delicate differences of tint in the greens are rendered with truth and artistic - feeling, while the luminous effect of the sky and the light permeating z the atmosphere are appreciated at a glance. Signed at the right. Dated, 1894. Height, 30 inches; length, 45 inches, S2e, . WINSLOW HOMER it The Carnival Some darkey women are getting a man dressed to take part in the festivities of the carnival. He is arrayed in a coat like Joseph’s, of many colors, a patchwork of home manufacture, ablaze in reds and yellows. A lot of pickaninnies stand awed by the importance of the occasion in open-eyed wonder. One old woman, pipe in mouth, sews the stuff together. On the left of the composition there is a gate, and behind, at the right, may be seen a house with tall chimneys. Sunlight falls on the group, producing strong lights and shadows. This work is _ notable for its fine color, as well as for its delineation of character. Signed at the right, Dated, 1877. Height, 22 inches; length, 32 inches. bi 4 8 7 ee eo If, 2 in aeak oe FREDERICK E. CHURCH Mediterranean Sea From an elevated foreground crowned with trees on the right, the eye traverses a perspective on which the sun is setting in mellow splendor, in a quiet sky over a drowsy sea. The ruins of an ancient castle over- look the sea in the middle distance at the right. At the left, lofty head- lands protect the placid harbor, whose spacious expanse is broken by a little islet. The termination of a great civilization, serene in its decay, is typified by the artist with rare poetic skill. It is not only the Medi- terranean which he presents to us, but the spirit of its past, when it was the central sea of the known world ; that past which sleeps to-day in its historic ruins, a mere memory of poetry and legend, preserved to the busy world only by the art of the wizards of brush and pen. Signed, Height, 20 inches; length, 22 inches. 88 % f = 7 DOUGLAS VOLK < ers LAO oe Ty Accused of Witchcraft tt Cowe€. The cruel superstition of the black days of New England has invaded an humble home to accuse a devoted daughter of a hideous crime, and drag her, from her invalid parent’s side, to a doom of torture and igno- minious death. The unfortunate girl throws herself before her accusers in an attitude and expression at once of indignant horror and terror, while her father, in a frantic outburst of alarm, warns the intruders off. The grim invaders, marshalled by the vile crone who makes the accusa- tion, survey her with unpitying faces. All of the relentless and in- human spirit of,a time of bigotry and intolerance, is expressed in this harsh and unbending tyranny of armed and powerful superstition, against the weak and defenceless. Signed. Height, 40 inches; length, 50 inches, 80 SU rele. HOMER MARTIN phe > fe ' Adirondack Scenery, nae 4 A The view given is across a valley of the drtisandaee widernew) under a curious effect of light, half sun and half shadow. There is a clearing in the immediate foreground ; the middle part of the landscape is in shadow, and the sun illumines the distance before it fades away into a mist of gray and blue. A burst of light is in the sky, and the clouds hang low, half obscuring the hills. It will be noticed that although painted with apparent simplicity, a feeling of remarkable detail is con- veyed, and the acres of trees seem each to take on a defined shape and character. The immensity of territory is finely rendered. Signed at the right. Dated, 1892. Height, 29 inches ; length, 40 inches. ‘ ait ih ee oy ALERED KAPPES hae Rent Day He, Psc pa lll | os The Model (Pastel) i A study in pastel of a nude model, seated on a plush covered cushion, 4 with her back turned to the spectator and her head slightly inclined } towards the right, in which the capacity of the pastel medium for firm Pd and rich treatment of the figure is abundantly illustrated. ( Signed. i Height, 22 inches; length, 16 inches. if S: 100, , y, e Pd oF : a hed Nag MAE ee ae C. D. GIBSON : f © 2 i Ps . i The Parting (Black and White) Standing in an opera box a beautiful young woman and a young man are saying good-by. A more practical couple in the next box are going out with fewer notions of sentiment. Signed at the left, Height, 16 inches ; length, 25 inches. *, IOI eae oH, i PPL Ot EDWIN A. ABBEY SS -- Misleading the Enemy (Black and White) Coe? An illustration of the story of the two women who with drum and fife, behind some bushes, during the Revolutionary war, made the enemy believe a regiment was approaching. Signed at the left. Height, 15% inches ; length, 1114 inches. a 102 EASTMAN JOHNSON > d4eld Southern Kitchen Interior a7 2. me 3 The chimney corner of an old farmhouse is given with the realism of surrounding pots and kettles and old-time furniture. An old man sits with his evening pipe, ruminating. A chair is in the corner against a door, and the little nothings so expressively suggestive of home life are scattered about. The artist seizes upon these details so immaterial, yet so characteristic, and renders all faithfully. Signed at the right, Dated, 1867. Height, 1514 inches; length, 19% inches. , é 103 as - H. BOLTON JONES <—-fPy bn, : * “S-t 2 ” é » wt» £8 ~ Sandy Shore 1. Ad dn exr Fee The sand dunes, tufted with a sparse growth of wiry grass, extend along the shore, under a burning summer sky. The proximity of the sea is suggested only by the conformation and character of the arid and lonely landscape, which is marked out in broad, strong contrasts of light and shade by the powerful glare of the sun. Signed. Height, 16 inches; width, 23 inches, 104 The Mouth of the Sahara (Water Color) Great yellow rocks rise out of the sands, at the edge of. the desert. , A few palm trees grow near a pool of water, and several camels, with their picturesquely costumed Arab riders, make notes of brilliant color. Masses of clouds, portending rain, are banked up at the left, and the general aspect of the picture is truly Oriental. Signed at the right. Dated, 1875. Height, 9 inches; length, 13 inches. R. SWAIN GIFFORD *% ¢/:// elfen | | 105 “12, CHARLES HOPKINSON < . &-7@22 73," A Stiff Northeaster The effect in this canvas is one of movement, showing the force of sea and wind. A schooner is being driven ahead by a stiff northeaster ; the sky is lowering, and the sea angry. It is all very realistic. Signed at the left. Dated, 1891, Height, 20 inches ; length, 1234 inches. 106 rg ay DM; BUNKER cy UZ Are, A Neglected Corner A cleverly painted and attractive study of a portion of the interior of the studio occupied by the artist during his student years in Paris. » Signed, Height, 14 inches; length, 18 inches. 107 ek GEORGE W. MAYNARD 7%) yy 5) ys, The Sea Witch (Water Color) In a beautifully colored sea, pale blue and green, which rolls in comb- ing waves, the form of a lovely woman is seen, half lost in the water which envelops it. She is one of the fabled inhabitants of the deep, and realizes the descriptions of the poets who have made her the theme of their songs. Her head is thrown back on a caressing wave, and the flesh tints are delicate and refined. The sky is in consonance with the general color scheme, the whole forming a harmony of tender color. Signed at the left. Height, ro inches; length, 14 inches. y 108 JOHN LA FARGE _¢ EAD a8 sh 4 Peroapoee ‘ An Apple Orchard in Spring ( 2 /O A study of an orchard, in the tenderest tints of bursting young verdure. Signed. Height, roinches ; length, 12 inches. II —_— oe) ono re % wAsS&. ¥ . 109 f/f, 74 eaXeneece J. FRANCIS MURPHY A Sunny Morning In the foreground, a little stream runs along through a meadow, while some trees, touched by the first frosts, are silhouetted in sober yellow tones against the sky. There are houses in the distance, a glimpse of a village, and a bit of distant water. The sky is clear and sparkling and the sun catches the edge of the clouds. The picture is a beautiful harmony in subdued tints. Signed at the left, Height, 11% inches ; length, 9 inches, % IIo LOUIS MOELLER &4 44esZosc Amazement Seated at a table reading a paper, a man is starting back in amaze- ment at some unexpected piece of news. The wholestory is told in the face, which is most expressive. Here may be studied Mr. Moeller’s remarkable cleverness in painting detail, and his extraordinary capacity for finish without loss of general effect, for the ensemble is broad and comprehensive. Signed at the right. Height, 17 inches ; length, 13 inches. , IIt ye Cth, Cee .2 °° GEORGE INNESS SiN Night A full moon over groups of trees, a flat pasture field, and a house to the right, dimly lit, convey the time and hour. Candle-light filters through the door and window, showing the presence of the family, but otherwise there is a feeling of loneliness and solitude. To the left a single tree trunk is outlined against the distant sky and foliage. All is sober, quiet, and restful. ‘_ Signed at the right. Dated, 1890. Height, 22 inches; length, 27 inches. acts 7 oi s — ————— Snecma Nee eS EN Ee De LPR EOL, NTS RS A OL ETC NF a PS II2 . yf _— eg ee - ; . FE Mes CAR. | : #7 ©8 SF 25NK RUSSELL GREEN he Pa i bi | Sweetheart bs With youth, grace, charm, and beauty, the young woman here seated ‘in a great wicker chair may well lay claim to the title of sweetheart. She wears a large black hat with feathers, long black mittens, and a gown of white, with a blue sash. Beside her is a tea table, and with one hand at her head she sits in thoughtful pose. . The artist has never portrayed greater feminine attractiveness. Signed at the upper left. Height, 30 inches; length, 20 inches. 113 NW Aes EDWIN A. ABBEY “0.8. Geeotps ll “4 The Admonition (Black and White) In wig and quaint old English costume an aged man gives warning advice to a pert-looking young woman, who comes through a gateway. A gardener, kneeling at the right of the composition, looks up, laugh- ing, as he tosses weeds in a wheelbarrow. Signed at the left, Dated, 1880, Height, 10 inches; length, 8 inches. w Ye a | I14 (a- JA; aN ISO , : é If o>>. M. R. DIXON Into Each Life Some Rain Must Fall A woman is seated, her head on her hand, holding in her arms another, whose head is thrown on her breast in deepagony. A tragedy is here told in unmistakable language, but. with great simplicity. Utter despair, commiseration, love, hopelessness—all are before the ‘spectator. It is a moving work, with the touch of nature that makes ‘the whole world kin. *y cme deg eg i Signed at the left. Height, 21 inches; length, 17 inches. 3 | se a Vv, K gee Ss o/e , i». GEORGE INNESS we Goochland A ruiried kiln is seen on the left, and a house on the right is half lost among the trees. The scene is enveloped in an autumnal haze, and is painted in a light key of color. Signed at the right. Dated, 1884, Height, 18 inches ; length, 24 inches. , 116 | ia! f aie, “ “ ih a. < Sherer Ce ere oe TES i ty CHARLES H. MILLER | Ne. The Rainbow A summer shower is passing across the level landscape. Along a road at the right cattle are being driven by a herdsman, while at the left a rainbow gives token of the changing weather, This typical Long Island landscape, mellow in color and fine in tone, shows the artist in a class of subjects which he loves most to paint. Signed. Height, 9 inches ; length, r2 inches, 117 7 a Fie w/ CPRIereL a fan é foe _D. W. TRYON : Starlight 3 j Going through a gateway in a stone wall, a flock of sheep are driven : by the farmer toward the farm buildings ranged along the horizon. The stars are glimmering in the sky, and the moonlight falls on the white walls of the houses, the backs of the animals, and on the stones in the fence. There are lights in the houses, a friendly glow coming through the windows. The atmosphere is clear and there is crispness in the night air, which is truthfully conveyed, while the artist has invested his composition with genuine poetry. eres Signed at the right. Height, 14 inches ; length, 20 inches. ) es Ral OVE AM Dh ie, Ln +4) ea ne . “7-2. &. - 118 ae we | nh ettrore torre A. H. WYANT Twilight The depth and power of the sinking sun are here secured in a low- % keyed panel, for the painter has felt, and admirably suggested, that mys- p terious moment of the day before it utterly yields to night. Naturally, the effect is concentrated upon this last glow, and nearly all the rest is f lost in obscurity. Signed. Height, ro inches ; length, 14 inches, VAS = IIQ AL f J/. fi Se EO re ali WINSLOW HOMER 1 se The Market Scene A typical harbor scene in the West Indies, with two boats full of negroes, who are making exchanges or sales. This picture is freely painted, and indicated with a broad touch, faithful in every way to na- ture. The sloop in the right centre towing its small boat, is crowded with figures in motley dress of picturesque colors and rags. One negro, holding on by a hand to the stays, offers something, possibly a lobster, to the occupants of a boat on the left. Signed atthe right, Dated, 188s. Height, 14 inches ; length, 20 inches. I20 roe. HENRY PETERS GRAY /f: CVeire Origin of Our Flag The genius of Liberty is shown as a beautiful female figure, half nude, and partially draped with our national ensign. The eagle hovers over her. The rich flesh tints of the figure harmonize with a finely colored background. This was one of the latest of the artist’s works, having been exhibited at the National Academy of Design in 1875, little more than a year before his death. Signed. Height, r2 inches ; length, 8 inches. P/E) eee. WINSLOW HOME I2I is ROBERT REID ¢y s _ | a Landscape An undulating valley, through which is seen a distant chain of hills, is covered with a rich growth of trees and vegetation. Thin sunlight casts tender shadows, and the dominant notes are pale purple and opa- lescent hues. Signed at the right. Height, 15 inches; length, 18 inches, I22 CLARA ene dy aM, Cine. Fz apy? Spinning Ina dark, old Dutch interior sits a man at a wheel, spinning. He is in front of a large window, and bends over, intent upon his work. The little details of the room and surroundings are made out vaguely, and all is painted with breadth and richness of color. This picture took the Dodge prize at the National Academy of Design in 1894. Signed at the right. ; Height, 20 inches ; length, 28 inches, 123 The Bright Side A subject from camp life during the war for the Union, At the right a group of negro teamsters are dozing and idling in the sun against the warm side of a tent. A man looks out of the tent door with a cob-pipe in his mouth. Mules and commissariat wagons occupy the middle ground, and in the distance part of the camp is seen under a sunny sky. The figures are admirably individualized in character, strongly drawn, and painted in full force of color. From the Hamilton collection. Exhibited at the Paris Exposition, 1878. Signed at the left. Dated, 186s. » Height, 14 inches; length, 18 inches. weenie > a I2 4 MAL Pewee spe ses x0 <5" WILLIAM H. LIPPINCOTT | In Hot Water A kitchen interior with a little girl seated before a large fireplace, and a negro servant standing opposite her, On the floor between them a live lobster awaits the pot. The little girl has been accelerating the heat of the fire with a bellows. The picture is the interior of the art- ist’s quaint summer studio and home on the island of Nantucket. Signed at the right. Dated, 1887. Height, 12 inches; length, 15 inches. I25 75 o DR As, H. 0. WALKER “™ ° 9 “eee @ . Landscape and Cattle (Water Color) Two heifers are seen standing disconsolately at a gate near a house. One is red, the other black and white, and both are admirably painted. The gray sky suggests wet weather, and the greens show the effect of the moisture. The road leading to the house is swimming in water. The color scheme of grays is consistently maintained throughout the work. Signed, Height, 15 inches ; length, 22 inches. ge A RO .C. D. GIBSON These Young Girls Who Marry Oildish Million- aires (Black and White) These young girls who marry oldish millionaires, ‘‘ Should not,” says the caption, ‘‘ be wandering over the plains with impecunious cowboys, when their husbands are trying to entertain them.” The old man and the young girl are here seated in a room, Signed at the centre. Height, 16 inches; length, 26% inches. «Feetre ss ~ Ft’. Mhez Me Cherrecer 2 733 fa wf > uz Chroezeenre ; ie ay THEODORE WORES Street Scene in Japan A flight of steps leads up to some buildings at the top. Such streets with steps are not uncommon in hilly countries, and are frequent in Japan. Both sides are lined with dwellings or shops. Every one of the buildings has the queer decorative fronts of this picturesque land. A figure or two lingers about, and the distance is illumined by the sun- light. Signed at the right. Height, 12 inches; length, 9 inches. 13 x Pa aR 5 hh re. Ao. CHILDE HASSAM Ot. Meretl leis Rainy Day yw AY A Boston street on a rainy day. Street cars and figures animate the scene, in which the atmospheric effect and all the substantial details are excellently rendered. Signed at the left. Height, 6 inches; length, 8 inches. 135 SANFORD R. GIFFORD ' a7 Ht. Oy App OLY % 4? €> & Pallanza A portion of the buildings of the town, and a long stone pier, extend into the lake from the right. Beyond them the Alps make a barrier against the sky. Some of their snowy peaks are lighted by the sun, and the white walls and tile roofs of the houses form a harmony of red and gold, which is reflected in the rippled water. Boats enliven the scene. This picture is justly ranked among the finest effects of atmo- sphere and sunlight produced by the artist. Signed at the left. Height, 8inches ; length, 14 inches. me \S7o 136 He. Dees ecc ie eee | CHARLES SPRAGUE PEARCE Hl Meditation A young nun, seen in profile facing towards the left, is reading over a score of music. Her placid face, pure in outline and fresh in color and expressive of absorbed interest, is framed by her white linen headdress 4 and the black hood of her robe, and given strong relief against a dark background. Signed. Height, 22 inches; length, 20 inches. eek "37 Me. Sede loess eZ OS > Mia ARTHUR PARTON Haying ‘Half in sunshine, with foreground in strong shadow, is a hayfield. In the centre a wagon stands, upon which the load is thrown. The farm hands are on either side, and the sun touches the backs of the white horses. A great tree stands at the right. The sky is filled with clouds brilliantly white and luminous in the sun. Signed at the left, Height, 12 inches; length, 16 inches. | 138 ‘ ‘ D. W. TRYON 226°, Beer... > 3 i f Se Oe OSH 2 a4 ar BY r ‘s ai at November The poety of the American autumn is well expressed in this compo- sition, which is delightfully balanced in arrangement and refined in _ color. A stretch of flat land leads up to a wood through which is seen the light of the sky. There are brown grays, touches of red, and here and there a bit of yellow, all characteristic of the season. The lover of nature will be impressed with the truth of this picture, and the evi- dent close observation displayed. This work secured for the artist the J. W. Ellsworth prize, at the Chicago Art Institute. Signed at the left. Dated, 1887. Height, 20 inches ; length, 31% inches, - TO et ee ee ee EBON 7 ea Hearesterze, t)> WINSLOW HOMER On the Cliffs (Water Color) Ry Sy a> tr Some children are playing on a bluff overlooking the sea. They pick . flowers or stand gazing at the ocean, which is swirling in eddying | masses beneath them. There is good action and variety of color, and | one feels the stiff sea breeze which is evidently blowing. Far below, a ship is made out vaguely. Signed at the night. Dated, «ga. Height, 14 inches ; length, 20 inches. | Lf, 42 B9- : We a i ; 140 yep ot. Cerrveel le. CHARLES WARREN STETSON Out of Consecrated Ground The dead man, who has passed away by suicide or under the burden of some crime which deprives him of a title to the rites of christian burial, is being borne to his last resting-place in one of those waste spots where the bodies of the suicide and the murderer are laid away under a ban of ostracism which reaches even to the grave. The sinister { significance of the subject is aided by the weird hour and the troubled weather in which the scene occurs. The tragic sadness of an episode of only too common occurrence in the past, and which is not unknown in our own enlightened time, finds powerful and poetic translation at the artist’s a ae a ee hand. Signed. Height, 18 inches ; length, 23 inches. | his MK Seth ser te SLO. F, W. ROGERS Indisposed A small and melancholy chicken, whose ruffled plumage and attitude of utter dejection amply justify the title. Signed at the right. Dated, 1882. Height, 9 inches; length, 6 inches, | i *, I a are Dil q 1a Penh alter 72 C8 eC. FRANK FOWLER An Arab’s Head The portrait study of an Arabian sheik, with white turban and burnous. Signed at the left, Height, 7 inches; length, 5 inches. 143 7", i i Mee ms NeekereTlu, . | “Ee. F. HOPKINSON SMITH Mg (Water Color) Blazing white walls tinged with pink, quaint balconies, and red-tiled i ». roofs are represented here in typical Spanish fashion. Some donkeys, ¥ driven by a boy, are halted before a doorway. The driver gossips i. with a neighbor. The sky is turquoise blue, unflecked with any cloud, and there is a fine feeling of sunshine. The work is brushed in with great dexterity. : ; be Signed at the left, Height, 13 inches; length, 24 inches, 2 ashe raaNneag ana f 29°: ROBERT BLUM nih,” Toledo Water Carrier yy f .. This familiar figure of all Spanish communities is seen at the door of “ae a house, heading his string of donkeys, and serving a maid-servant who has come out with a jar at the wicket gate. The shadows of the sur- rounding buildings fall upon the foreground, but leave the house wall and the figures in full light, which is rendered with a bold, broad, and certain touch. Signed at the right. Height, 14 inches; length, 18 inches, SSO, us 4 AM “ALVA cere SAMUEL COLMAN Southern Italy (Water Color) Looking off from a rocky hillside surmounted by a ruined tower, and covered with great, tall trees, there is spread out a classic ideal land- scape view with a nearby city full of medizeval castles, campaniles, and towered battlements. The river seen in the foreground wanders back past the city, and winds away to the distant sea. All the land is lying bathed in a golden glow from a rich, colorful sky, warm at the horizon, and streaked here and there by cloud forms. Mountains rise up at the extreme right, and the composition is full of interest. Signed at the right, Dated, 1882, Height, 17 inches; length, 21 inches, — JA BO. A. Z. BAKER The God of Silence Two figures, one probably a priest, are before an Aztec god, rudely carved. In front of ita fire burnsin a brazier. The walls are decorated in fantastic designs and in crude colors. A skin rug is thrown on the floor to the right and a quaint stand, carved after the likeness of some animal, holds a little faience figure. The personages are clad sim- ply in blankets, and are invoking the god before them. The con- ception is novel and historically interesting. Signed at the left, Dated, 1893, Height, 29 inches; length, 21 inches. aay Mir. 7 W279 po Sea77 IO. WILLIAM T. SMEDLEY Embarrassment Seated between two rustic beauties, who tease him with mock cajole- ments, a rural swain realizes the familiar sentiment: ‘‘ How happy uld I be with either, were t’other dear charmer away!" The scene is © the hallway of acountry home. The trio, each of whom is a distinct type, are seated on a great, old oaken settee. Beyond an angle of the wall at the right, the matron of the house is seen at work, and the family cat stealthily approaches around the corner. Signed at the left, Dated, 1883. Height, 16 inches ; length, 24 inches, Ah O- WV: BIRNEY 9 JS eo" 3 VW Dolls’ Concert ¢ © } f 148 £ 47% goer a5? Having arranged her puppet favorites as an audience, on top of the . piano, their little mistress is regaling them with a concert as she prac- 5 tices her exercises. Signed at the right. Height, 8 inches; length, rz inches. vo T49 SOC, WINSLOW HOMER © 41. Berzekecz ore ‘ Rations There are hard times in camp. Rations are short and the sutler’s shed, under its arbor of pine boughs in the foreground, is the cynosure of many hungry eyes. One campaigner, happy in the possession of funds, 7 is seated on the rude plank table at the sutler’s door complacently de- , vouring a huge segment of cheese as a flavor for his hard-tack. Another trooper leans upon a shelf and watches his occupation with amelancholy born of an empty purse and a craving stomach, with nothing but unflavored hard-tack to fall back upon. The humor of the situation is accentuated by the side glance which the lucky enjoyer of extra rations—who is a private soldier—casts upon his neighbor, whose uniform shows him to be an officer a few grades above him in rank. In the background are seen the tent lines of the encampment and the troop horses. Signed. Height, 18 inches ; length, 12 inches. IO OI ON Or ae SOS DO ¢- 7 Be NT A te 150 “CoaGl, 43 Leese \} Ae —-s GEORGE INNESS \ Afternoon Glow, Pompton, N. J. An unusual composition is given here, with a single tree nearly in the centre. A flat plain runs along to a line of hills, whereon play the golden tints of late afternoon. On the right, the slender trunks of two trees are brilliant in the sunlight. At the left, beyond a clump of trees, is a powerful touch of orange. The foreground, in shadow, is still luminous and rich in color, and there is a fine effect of distance and atmosphere. As usual, the tree forms are well given with syn- thetic skill, and the character of the country is admirably rendered. ~ Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches. I5I c LEON MORAN “+7 Aezzeeposo72 Eel-fishing at Twilight A twilight scene at Greenport, L. I. Upon a crumbling old wharf in the foreground, which juts into the bay from the right, and at which some dories are moored, boys are catching their shiny prey with the rod and line. Inthe background the village is seen, with its fishing fleet ~ at anchor. Evening is closing in, and lights already glimmer in the distant windows. Three boys count over their afternoon’s catch, while a couple of others still linger in the hope of adding to their spoil. Signed. Height, 18 inches ; length, 32 inches. I 2 rs -) am be ; 5 cc e SF D3 0@22¢ he warrcerr mae. CHARLES X. HARRIS Gallantry A cavalier, in a red coat and buff leather boots, riding through a country lane on his white horse, leans forward, as he removes his plumed hat to salute a milkmaid walking in his direction and carrying r ‘ « two pails. The figures are well drawn, and pushed toa high degree of finish in painting. The horse isa fine animal, represented in the af) picture with knowledge and skill, and the setting for the episode, with i its overarching trees and vista of landscape at the right, is attractive in composition and color. The scarlet coat of the cavalier forms a i central note of great brilliancy. Signed at the left. Height, 13 inches; length, 934 inches. P 153 4 c.-»9--_p, : ‘<— : : “ae A : Pa gi SEO. ; LYELL CARR. ¢. “e742 */eapne A Ride Home at Sunset Brother and sister, mounted on a donkey, are returning to the planta- tion over the newly ploughed cotton fields. A rolling country behind the figures shows, in contrast to the red soil and the ruddy glow of even- ing, the fresh green of the spring verdure. The figures are types of unconscious rustic picturesqueness. . Signed at the right, and inscribed, Talburt Plantation, 1891. Height, 26 inches ; length, 20 inches. Ww s a T54 rsa Pz ge O26 (LAP 3 ¢e ry ferep ere PPE NS rahe J CHARLES C. CURRAN | . & fercc C4 €o-4 > Breezy Day Upon a grassy slope, over the crown of which is seen a bright sky full of fleeting clouds, two girls are spreading the household linen to bleach. In the foreground one holds a sheet which blows in ripples before her, awaiting the moment when it shall extend itself, ready to be lowered to the ground. The second figure kneels behind her, toward the left, placing a garment on the grass, where others are already spread out. Awarded the third Hallgarten prize at the National Academy of De- sign in 1888, Signed at the right. Dated, 1887. Height, r2 inches; length, 18 inches. r 12 i SSO. 5 @/7. S. Beecher GEORGE INNESS Rocky Dell Masses of tree forms are at the left, all in deep shadow; on the right smaller groups of trees gradually recede into the distance, while a rug- ged pathway, full of rocks, comes down the centre. The picture is half in sunlight, half in shadow, the contrasts being effective. With a feel- ing of warm yellows on rocks, trees, and in the sky, there is alsoa careful searching for form. The work is especially interesting, since it is one of the artist’s early efforts after leaving the engraver’s bench. Signed, Height, 32 inches; length, 42 inches. 6 ‘ ete ©. : I5 ?? pet ot LeOPe 2226022 : PHILIP B. HAHS Lullaby Seated upon the steps of a rural home, embowered in the summer verdure of a luxuriant garden, a little mother, playing at the more serious duty of her future, soothes her doll to sleep. Signed at the right. Height, 11% inches; length, 8 inches. 4 157 Te ol WILLIAM A. COFFIN Sunrise in January It may be said that this sky is truly American in character, for such brilliant, clean-cut cloud masses and such intense ruddy color are only seen in our clear northern climate when the thermometer is near the zero mark. ‘The cloud masses are lighted by the rising sun, which is just about to show itself above the distant range of hills, and the rifts of clear sky near the horizon appear green by contrast with the intense vermilion glow. The snow on the ground is deep, and newly fallen, for it absorbs the light instead of reflecting it, as would be the case if the snow had melted and frozen again with a smooth and icy crust. In the middle distance, a bit of the frozen surface of the brook reflects the glow of the sky, and forms an effective note of color in the wide } 1 ® u : iq Ae eto Pn — ~ rr Ahelleere Sa a ee Se a a ath ir ra expanse of white. The landscape is enveloped in the half light and mystery of the world’s awakening, and the effect is handled with a comprehensive sense of the ensemble. It is broadly painted, and notable for the fine drawing of the trees. In the foreground, where the wind has had a clean sweep over the country, the snow is blown into long drifts. _ Signed at the right. Dated, 1896. Height, 30 inches; length, 4o inches, 158 calge' QF Le teie,), +d Maes A. C. HOWLAND A Pot Boiler A page from the artist’s New England sketch-book, so prolific in droll and quaint subjects. The title of the picture is derived from the em- ployment of an old woman at the pot in which the family linen is being laundered in the courtyard of the farm. Signed at the right. Height, 12 inches ; length, 18 inches, 159 WINSLOW HOMER 4 36>. Fodder «# “eo ° is MceFecr (Water Color) _ The cattle have had dry pasturage, and a farm hand carries them some fresh cornstalks from the field where the harvest of the maize is in progress. As he crosses the parched and weedy meadow with stal- wart strides, the cattle, recognizing his approach, gallop joyously to meet him, Signed at the right. Height, 14 inches ; length, 20 inches, oa 160 Pe, 4 a ae | GEORGE INNESS | SOS rata End of the Rain “ot” A hot, fierce summer shower has swept over the country, and is break- ing away before the close of the afternoon. At the left of the canvas yrot : » egh * MO Le eg ag Chae "OLA atm 7 COR Shee ¢ ort the brightness of the sunlit sky shows through the dividing masses of sulphurous vapor, which are driving in turbulent flight, but still darken- ing the dripping earth with their shadow. ‘The storm, while it has spent its force, preserves sufficient power to drench the distance with the last downpour of its accumulated moisture. In the foreground, knee deep in the luxuriant grass of a rich pasture field, a white cow, which has ventured forth from her shelter under the orchard trees in the middle distance, seems to watch the departure of the tempest. The landscape shows the ripe and sumptuous vestment of midsummer enriched and refreshed by the rain, and emerging, strengthened and revived, from the storm with a serene repose which renders the tur- bulence of the sky more vivid by contrast. The tonality of this canvas is wonderfully beautiful. ; Signed at the right. Dated, 1891. . Height, 30 inches; length, 45 inches. - 3 F ‘ : 7 ce I61 a4 CC. Mberts pltocy§ gee, LOUIS MOELLER ’ “4 j Argument About a table are grouped four workmen, listening with suppressed excitement to the argument of their employer, who, with gray beard and dressed in black, makes an impressive foil to the others. Each face is a study in expression, and all are rendered with rare character ~ searchings. To.the smallest detail, nothing has been neglected: The costumes are realistic, and worn easily; the poses are nature itself, while the surroundings give an absolute air of verisimilitude. Not less clever than the faces are the hands, each an expressive study in itself. The disposition of the figures is well managed, the lines being happily arranged, and the eye centring on the central factor—the speaker. Signed at the right, Height, 18 inches ; length, 24 inches, . 162 "Wi ro LL : oe ; 2 fo f HOMER MARTIN ~ Ke fee A Brook in France a * A lovely transcript of nature depicted with artistic feeling, and show- ing in its scheme of color the fine qualities of the artist’s work. Signed. Height, 9% inches; length, 7% inches, mh ee , ; iy sone ce pa arg She a 2 : Ct IS Cee pee. OF 25 Vs EDWARD KEMBLE Temptation (Black and White) A little darkey’s head comes over a fence, and with longing look he gazes ata watermelon. The ‘‘ temptation” is obvious at a glance. Signed at the right. Dated, 1897. Height, 10% inches; length, 15 inches. 16 , 4 x he SOM SH Cire. Uy ae LEONARD Neenah | Autumn The interior of an American forest, with the trees splendid in their crimson autumn vestment, and the ground tapestried with fallen leaves. Signed at theleft. Dated, 1889. Height, 16 inches; length, 22 inches. 165 ¥ ’ Py 8} ‘ i ~% ... “GEORGE INWNESS at! t ed Cevaga . a2 ~ Sf / Pane, Ve Go by OWA tf K , “ Autumn Silence /““": “° “@erwr* l' 440. 0uk Aor) Here is a stretch of meadowland, out of which rise several grand old trees, impressive in form and tender in autumnal tints. These are rendered in nebulous shapes, half obscured by the Indian summer haze. A feeling of vastness permeates the composition, and the arrangement of delicate tones is well maintained. There is warmth in the air which, while not that of midsummer, is still grateful, and in this interpretation of the late autumn weather the artist shows himself both veracious in observation and sympathetic in depiction. Signed at the right. Dated, 1893. Height, 30 inches ; length, 45 inches. | 166 3 toes Ral vg SFO, CHARLES F. ULRICH “Granny” In a quaint old interior, seated in an archaic green rocking-chair, sits ‘* Granny.” The floor is covered with a rag carpet; the walls are white- washed, and everything is scrupulously clean. In an alcove in the cen- tre is seen an old-fashioned dresser. A blue curtain is hung up over half the opening. A towel, a tin pail, and other accessories are notice- able. ‘The woman dressed in blue with a brown apron and a cap, has her spectacles on and reads. She and her environment are quaint and interesting. The finish is almost microscopic, and the panel should be carefully examined. Signed at the upper left. Height, ro inches; length, 12 inches, 167 Jo©e M. A. WOOLF e% 347, Meller Little Housekeeper A little girl is at work in the kitchen, assisting in the preparation of the family meal, with her doll on the floor beside her chair for com- pany. Signed at the left. Height, zo inches; length, 6 inches. Lytfoo, 08 7% AL F3 kG : ay * "4 jaye’ WINSLOW HOMER 1 4%" Maine Coast The ruggedness of the Maine shore is given in this canvas with much impressiveness. The composition represents a heavy surf breaking in wild disorder on some dark rocks. The sea is surging with tremendous force ; the flying foam, blown by sharp gales, is thrown shoreward, and the impetuous movement of the mighty ocean is presented with striking power. ‘This is one of the artist’s finest works, and fully deserves the name of masterpiece. Signed at the right. Dated, 1896. Height, 30 inches; length, 44 inches. 169 fee. athe we aid nn : ‘4 ih Soleo GEORGE INNESS \/ Wi y Wood Gatherers | | i . _ A glade in a woodland contains two figures returning home with a load of fagots. A white house is seen in the distance on the right, and a group of buildings appears at the left, with a low hill behind them. The color scheme is composed of the opalescent grays of early morning, such + as the artist delighted in, while the general treatment is simple and ie broad. Tree forms, suggested rather than made out, but given full Bp | value both of mass and color, are effectively rendered, and the darker oe , notes of gnarled trunks outlined against the more tender tones of back- v4 ground are of value in the composition. Here is seen again the wonder- ful control the painter had of his palette, for, though he has used the strongest tints, the ensemble is blended in an exquisitely delicate har- mony. Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches, 170 7 | 7 J3Qreze MNorsered Tee ree ow S/O. OW ot R, Sunset A vista looks across a valley to some distant purple hills, which are silhouetted against an evening sky of pale yellow topped by dramatic leaden clouds tipped with blood-red tints. Here the forms have been carefully studied, while great depth has been given to the receding valley. Tothe left are some rugged pines showing against the sun- set sky. Signed. Height, 8 inches; length, 13 inches, ihe PORE ae Naty a NN fA. : Mee We REPEC Cereape DENNIS M. BUNKER DEMON. In Blossom Time (Water Color) On the left of this decorative composition stands a young girl looking pensively at her hand, upon which flutters a butterfly. She is dressed in white, her robe being caught up with a golden girdle. From her shoulders is draped a pale blue scarf, one end of which she holds with her right hand. A fillet binds her golden hair, and her feet are bare. : Behind her, in graceful lines, are two young trees in full flower, their blossoms of pink and white telling against a sky streaked with blue and white. Scattered on the ground are white leaves from the blossoms, and in the distance are purple hills. It is a delightful conception, grace- fully and skillfully executed. Signed at the right, Dated, 1882. Height, 22 inches ; length, 17 inches. d 172 LL, Sant Ap is F. D. MILLET SEN Lacing Her Sandal Seen in profile, at full length, and turned toward the right, a charm- ing young Greek girl stands, with her right foot placed upon a stool covered with a leopard skin, repairing the loosened lacings of her sandal. Signed at the right. Height, 12 inches; length, 8% inches. | i 173 i h a7, eR wh ©» F. DE HAVEN oe OC os Autumn Twilight Through a pathway past an old tree a shepherd drives a flock of sheep. The distance, lit by the departing sun, is warm by contrast with the foreground shadow. A crescent moon is in a luminous sky, which | fades into delicate purple tints. The quiet of evening pervades the ‘ picture. Signed at the left. Dated, 1893. Height, 16 inches; length, 20 inches. » I74 y Noo posi Shen dae fio JOE EVANS ler of ae C Landscape te A study of suburban nature, in which artistic expression is given to a simple scene with much dignity and charm. Signed at the left. Dated, 188s. Height, 24 inches; length, 16 inches. I75 Spo" ei | | 75 A kweeherelle > - wae Pe RA BLAKELOCK |... Encampment _ Under a'storm-laden, turbulent sky is an Indian encampment, the tents i. catching a burst of sunlight. Beyond is a background of great trees, a, rich and profound in color, while the distance on the right is illuminated | with warm tones from the break in the sky. The loaded pigment is skillfully managed, and conveys a sense of richness. __ Signed at the left. Height, z2 inches ; length, 20 inches. , ee 176 ett. ti ermn tee, AES JOSEPH DECKER The Gluttons "FECL In a great heap of nuts sit two squirrels, gorging themselves with their favorite food. The bright eyes of the little animals sparkle as they make away with their meal, and the action and expressions are excellent. Incidentally, the painting of the nuts is an achievement, for each one is given as a piece of still life, while the mass is unified. The squirrels’ winter store, which is gathered in the hollow of a tree, is mingled here and there with an autumn leaf. Signed at the upper left. / Height, 11 inches; length, 17 inches. v RTT " in dl“ / led FP » in the ideal she invokes to his eye. The structure of the trees in the foreground, the solidity of the earth, the limpid and transparent placidity -of the mill pond, and the details of the farther shore, resolve themselves, upon analysis, into substantial facts. Even the boat, floating upon the pond, preserves its distinct character without obtruding itself as a special object. Signed at the right. Dated, 1889. Height, 36 inches; length, 24 inches. 178 GEORGE FULLER —.7 gee Early Portrait of the Artist The virility, the charm, and the sentiment of this painter are all fully in evidence in this canvas, which represents his art at its best period. The portrait is simply conceived, with the face in contrast to a rich, mellow background. Modelled with appreciation of mass and form, there is a sumptuous quality of color rarely obtained. The work is dis- tinctly personal and is a fine example of the individual style of the artist. Signed, Height, 22 inches; length, 18 inches, Pail a9 “208 y Qe ‘rr eCerre De We TRYON ae Hb “A Dewy Night—Moonrise The moon has commenced her ascent, on one of those still summer nights, when nature seems to hold her breath for hours together, and when the earth exudes a haze, as if breathing for relief from the oppres- _ sion of the air. This vapor softens the moon’s tranquil brightness, and gives it a mellower color, without depriving it of its diffusive quality. The sky is made luminous by her pervading power, and the darkness of the earth is converted into a vision, in which one may trace the sur- roundings as in the dim pictures of adream. In the foreground area farmhouse, where a lighted window makes a spot of warm color, and a couple of haycocks, defined in broad masses. The distance shows the shapes of some fruit trees in the orchard beyond the farm. Absolute tranquillity is the essential spirit of the scene. Signed at the right. Height, 20 inches; length, 32 inches. ° 180 BAe, H. SIDDONS MOWBRAY “44. Leoy/Ftcoe we Evening Breeze A troop of graceful sprites, in delicately tinted and diaphanous dra- - peries, float over a flowery mead upon which still linger traces of the light of fading day. The figures are subtly differentiated in charac- ter, and the suggestion of soft and easy movement strikingly conveyed. Just as their draperies repeat the tenderly tinted colors of the early _ evening sky, the slow cadences of the instruments on which they per- ~~ “form express the languorous rustle of the evening breeze over summer fields and bowers. i Signed at the right. Height, 24 inches; length, 30 inches. : : | . ; 181 Bi ald ¥ ie aaa pw Clee Orce se Che oO oe CHARLES H. DAVIS “ a HP! The Deepening Shadows (Vi) Pi a hes Meo. fy ; It is the hour when, day being ended, earth awaits, in momentary an- ticipation, the complete mastery of night. The veil of darkness com- mences to obscure the final illumination of the sky, and to blend the details of the landscape into a harmoniously indefinite suggestiveness. The scene itself is a masterly construction in two broad and simple planes. From the foreground the moor, covered with herbage which glistens with dew, rises to a ridge in the middle distance, over which appear the roofs of houses, built on the farther slope, and a couple of trees at the right. Beyond this hollow the moor rises again to a high horizon, its monotony broken on the right by the windings of a road. There is no attempt at an embellishment of these simple facts. The charm of the work is in its subtle grasp of that sense of solitude and rest which belongs to such scenes at such an hour. Signed. Height, 30 inches; length, 45 inches. | / 182 3 ¥ : J. G. BROWN A. Mes teres > ao 8s A Merry Air and a Sad Heart Old age and poverty form a contrasting combination with the light avocation of this poor street musician, whose face mirrors the sentiment of his soul. Adversity has taught him philosophy, however. Resigna- tion to his lot mingles with the expression of sadness which he turns to _ the world as an appeal for sympathy and aid. In its pathetic submis- siveness of attitude, its imploring earnestness of feature, and its fortu- nate selection of a type of humanity familiar to all, this picture forms one of the most notable character studies the artist has produced. In color and technique it belongs with the highest efforts of his art. Signed. Height, 30inches; length, 22 inches, Edge of the Forest A sturdy oak tree, a stately elm, and, behind them, a forest of other trees, form a substantial mass on the left of the canvas. Caught by the last rays of the sun, they are illuminated and make colorful notes amid the surrounding shadows. A streak of green light in the sky and a touch or two of pink give variety to the general effect. The work is full of personal feeling and possesses remarkably fine qualities of color and handling. Signed at the right. Height, 32 inches; length, 48 inches. Me ~S ,” “GEORGE INNESS A Sunny Autumn Day LP$O°D + 4 k \/ 184 OC @. 78 Zees- ~ Running through the centre of the picture, a row of stately trees is outlined against the sky. In the distance, still another row of trees and a town may be seen—all in brilliant sunlight. The foreground, in dark shadows, makes a strong contrast. There is profundity in the blues of the sky, with again a contrast in the brilliant whiteness of the clouds, which shimmer in the sunlight. A pathway runs along to the left. The whole picture is a series of contrasts—darks against light, lights against dark—and, with the introduction of brilliant autumnal tints of crimson and yellow against the blue and white of the sky, the scheme is further accentuated. Notwithstanding all this, however, no law of harmony has been violated, and there is great refinement and subtlety in the general effect. Signed at the left. Dated, 182. Height, 32 inches; length, 42 inches. | 183 Coors retse hat Covet. we” CHARLES MELVILLE DEWEY ~~ *- ~~ & a X a : Early Morning This large composition represents a phase of nature difficult to realize, } for the effect is most ephemeral, and its fleeting qualities are only caught 4 by a profound student of nature. A clearing in a woodland carries the spectator’s eye over a long stretch of distance, dotted here and there by tree forms, mistily made out in the nebulous light of approaching day. A large tree at the right centre rises up with sturdy dignity, and branches out at the top of the composition. All is kept quiet and sub- dued, in tones of rich color, and the sky is indicated with a knowledge born of much observation. A red sun struggles out from the clouds. Altogether there is a feeling of solemnity, of the hush preceding the activity of full daylight, a sentiment which the painter has admirably interpreted. ‘ Signed at the right. Height, 37 inches; length, 50 inches. z ae 186 i 444 DO HAF Ate re | é P WINSLOW HOMER _ = iZ e, An The Life Line Stretched across the upper part of the composition is a great cable, attached to which is the boatswain’s chair, wherein sits a sturdy seaman, clasping in his strong arms the fainting figure of a shipwrecked woman. Her clinging garments, saturated with the salt water, outline her form, except where they are distended by the force of the gale. The sea breaks and tumbles about in awful turbulence beneath the seaman and his charge as they are being drawn slowly but surely on the life line to the shore. This is a dramatic scene rendered with striking and original force, and it is marked by the best qualities of the famous painter’s art. From the collection of the late Catherine Lorillard Wolfe. Signed at the right. Dated, 1884. Height, 30 inches ; length, 44 inches. SO. S£S8.-- poe THIRD NIGHT’S SALE THURSDAY, FEBRUARY 16, 1899, AT 8 O’CLOCK AT CHICKERING HALL 187 Low Tide Here is a study of sandy beach, with rocks and seaweed, beyond which the ocean lies in quiet mood. The sky is filled with clouds, a patch of blue showing at the top, and some sea-gulls are flying about. It is a genuine bit of nature, just in values, and ably rendered, while the » colors are harmonious and true. . Signed. Height, 12 inches; width, 16 inches. 183 WINSLOW HOMER #& 2: /2¢ne The Buccaneers (Water Color) Under a group of spreading palm trees half a dozen swashbucklers watch with interest the progress of a naval fight. The dark blue ocean stretches away, and a bright sky makes the greens of the palms tell forcefully. These are wonderfully indicated with great breadth and truth. The figures are only suggested, but they seem full of detail. Signed at the right. Dated, 1885. Height, 14 inches; length, 20 inches. GEORGE H. SMILLIE ~7" Ate Zorer nad ee, (> Ayo ROBERT F. BLOODGOOD a ris po A Miss is as Good as a Mile _ The sportsman has flushed a quail, but his aim has played him false, and the bird takes rapid flight across the foreground. A puff of smoke in the thicket, which closes in the background, indicates the spot from which the unlucky shot was fired. 4 Signed at the right, Height, 14 inches; length, 21 inches, ce er 1272. Keewesch ree ge ** » \ WAKEMAN HOLBERTON Brook Trout A study of brook trout, which have been thrown on a grassy bank to await being gathered into the creel. Wild strawberries and violets variegate and brighten the color scheme. Signed, Height, 12 inches; length, 16 inches, a # on Sl vas CLOSE Cc eee D. JEROME ELWELL Breezy Day * Sunlight and shadow, with clouds of white, in a sky of deep, cerulean blue, produce a varied effect of tones over a landscape of fields and trees. One great, dark clump is in the middle, and shows deep shadows. Others run in lines across the composition, while a yellow field of grain in the distance, receiving the full effect of the sun, blazes out in strong contrast. A fence runs across the foreground. The greens are notably veracious. Signed at the right. Dated, 1887. Height, 15 inches; length, 27 inches. A ih ~ if AE cee Pies, rs €. % i. Mesa Piss, _— 192 ‘ah ol (7 AS arg ¢ Peet” CHARLES X. HARRIS» The Scouts Two horsemen, clad in the sombre brown and gray of the Cromwel- lian epoch, sit upon their steeds, and look with anxiety over the landscape stretching far in the distance. Both figures and animals are drawn in great detail, and are carried out in a thoroughly conscientious manner. Over all is a breezy sky, indicated with breadth, which contrasts agreeably with the minuteness of the personages. The sunlight shows through the clouds, casting shadows, or lighting the grass and distance. ° The composition is exceedingly well arranged in harmonious lines. Signed at the left, Height, 18 inches; length, 12 inches, " 193 att. Helles -< WORTHINGTON WHITTREDGE Summer Evening . Two figures are indicated walking in the shadow of some rocks ina cove. A warm glow is diffused over the sands and rocks, which ter- minate at the sea. This last is a deep blue, with an occasional white- cap. The impression is well rendered, and the work instantly suggests having been done before nature. Signed at the left. Dated, 1867. Height, 14% inches; length, 20% inches. 194 af. wre Aclhirrcarce LOUIS MOELLER News Four men are grouped about a table, while one, an old man, reads from a paper. As in all the work by this artist, there is wonderful char- acter study in the faces, each one of which reflects a different expression. Anticipation, eagerness, amusement, and surprise are all realized with fidelity. A chair to the right, with coats, hats, and papers, is an inter- . esting still-life achievement, while some books to the left are no less skillfully done. The background is a homely interior, with pictures on the walls, a screen, and a bookcase, Signed at the right. Height, 18 inches; length, 24 inches. | £6 Alazes7 teleZ@__. 1 i Tag Oo. 3 ¥ Ye fay e@zeticletz» 195 . ; FRANCIS C. JONES bo Won’t Play ! E The pet of the family isin a sulky mood. The wiles of mama and auntie fail to seduce it into amiability. From its post of vantage in the tall, old chair it defies their united advances with persistent petulance. The scene is the interior of a rich, old wainscoted chamber, and the cos- tumes are those of the Colonial period. The female figures, which are grouped in the centre of the composition, exhibit finely differentiated types of girlish and young matronly beauty. Signed at the right. Height, 20 inches ; length, 26 inches. | rf | at A * GEORGE INNESS , a. 4. Pool in the Woods |‘ The poetry of an autumnal wood interior is well rendered in this picture, which represents the tangle and heavy growth of undisturbed nature. Mysterious and vague, the tree forms and foliage gradually dis- appear in the distance, until they become masses of pale, purple grays. The yellow leaves in the foreground tell against the blues and other tender tints of the cool shadows, while floating on the winding stream is a boat-load of idlers. A sycamore tree is seen near the centre, behind which is a burst of brilliant sunlight. Signed at the right. Dated, 1872, Height, 22 inches ; length, 27 inches. ths “a 1907 hak ei ees Seely ‘i 4 A. H. WYANT aed The Mountain Road Ly} i) ' 4 : In the foreground, at the left, a rough road crosses a mountain ridge. Behind it a vast wilderness of many variations of surface stretches away to the horizon. Thesmoke of brush fires here and there, mingles with the moist vapors of a gray sky threatening showers. _ Signed at the left. Height, 12 inches; length, 16 inches. 13 198 © vA ZC pre ees mi GEORGE W. MAYNARD © Mermaid Lying dreaming on the crest of a wave, one of the fabled beauties of sea lore drifts aimlessly with wind and tide. The legendary tail is grace- fully curved, the supple form is only half concealed by the green waters, and the head is thrown back on the arm. Waves about her comb over, reflecting the turquoise of the sky, and the effect is of a lovely summer day. With the mermaid as the object of chief interest, the ocean forms are not less delightfully expressed than those of the woman. The conception is original and the execution spirited. Signed at the right. Height, 16 inches ; length, 20 inches. GEORGE INNESS Moonlight With a dark sky, and the moon shining in its full strength, the artist has, nevertheless, secured in his tree forms a fine sense of atmosphere and mysterious vagueness. One rather feels the masses than sees them—the highest sort of art, by the way ; for with a fine display of reserve power, there is suggestion rather than reality, and the abstract is always more fascinating than the concrete in pictorial work. The picture, though low in key, shows no traces of black. Signed at the right. Dated, 1890. Height, 22 inches; length, 36 inches, 200 j. G. TYLER ee First American Shipwreck A curiously ancient craft, battered and beaten by the gales, drifts helplessly in the trough of the sea. Her mainmast has carried away and her foremast is a wreck. The gaudily painted stern, carved fantasti- cally, and her high sides, form a good mark for the breaking waves. The rigging is all a-tangle, and one fanciful colored sail still holds. The crew is in a commotion on the deck, while the sea piles up and breaks over the ship. Above is a lowering sky kept simple to give prominence to the disaster that is taking place. Signed at the right. Height, 17 inches; length, 24 inches. vi 199 AK. dof ebieetise ass | Le Meller x AK, LS £902 Cry 201 HOMER MARTIN Vea Headwaters of the Hudson /¢* Out of its mountain fastnesses, the great stream breaks its way, making a silvery gleam amid the glowing richness of the frost-touched wilder- ness. The mountain ranges rise behind it, tier on tier, until they lose their loftiest outlines in the clouds already heavy with portents of winter blasts and torrents. Through the clouds which part sullenly, as if re- luctant to give passage to its genial warmth, the sunlight makes fitful gleams on the escarpments of the hills. The shadows of the sky lie darkly on the foreground, which is a broken country diversified with timber. The redeeming trait of a wild and savage scene is suggested by the artist in the thread of water, emerging from its stony cradle spot, to enter on its long and beneficent journey toward the haunts of men, Signed at the right, Dated, 1869, Height, zo inches; length, 32 inches, 202 BRUCE CRANE The Water Gate In the valley of the Brandywine, in Pennsylvania, the artist has chosen a sunny day to paint an old Dutch mill. The afternoon light illuminates the whitewashed side of the house, and the landscape is en- riched with warm color. Signed and dated, 1898. Height, 18 inches ; width, 16 inches. 203 . WINSLOW HOMER DB. 4, Leev es Rise to a Fly (Water Color) A splendid sunfish, half out of the water, is snapping at a gaudy trout fly, regardless of the deadly hook which lurks beneath it. The fish is wild with greed. The fisherman sits in a canoe in the back- ground, holding the rod whose cast has lured the voracious victim to its destruction. Signed at the left. Height, z4-inches; length; 20 inches:: CP ow { { a rt. ) PN fore srere es My Saha Rl PRE ECON RE EReTtEngEEE SS A SST LE TENE EE ES FT ETE peony pea Neh i er OG OG a aig age a SE Ra ¢ vd +o 1% be ay 4 i y Ff i ite i Le: Hy 204 A Ketter, THOMAS W. WOOD * His Own Doctor a The patient is an aged negro, who, to judge by his forlorn aspect, has | a serious case to grapple with. He has risen from his rocking-chair to prepare a prescription for himself. A bandage swathes his jaws, and a bedquilt is carefully pinned at his throat so that he may be protected from the insidious and malignant influence of a draught of air, while he is undergoing the operations of those remedies prepared according to the pharmacopceia. The scene is an interior with characteristic surroundings. Signed at the left. Dated, 1878. Height, 20 inches; length, 14 inches, 205 R. A. BLAKELOCK “4+ PL. PGE Cb cere | bad i Entrance of the Forest ) From a rocky dell, through which a stream trickles, there opens up a vista of woodland brilliant in the late afternoon sun. A yellow bril- liancy of distance enhances the depth of the foreground, and the warm glow of the sky is admirable in tone. Signed. Height, 16 inches; length, 24 inches, 206, Pf, Al. Feces? = oral WILLIAM T. SMEDLEY ah Sight Seeing (Black and White) An old man and woman, country folk, stand gazing aimlessly about. The poses are characteristic. The woman holds an umbrella and ret- icule. The man clasps his hands behind his back. Signed at the left. Dated, 1894. Height, 18 inches; length, 11% inches. 207 a I Wetter. i ‘WILLIAM M. CHASE A Stone Yard : | | / 4 0. A picturesque corner of the Brooklyn Navy Yard, vividly realistic in ~~ its open-air effect. Signed. . Height, 7 inches ; length, ro inches, 208 7, SS, M8 etev te’ ome oe GEORGE W. BRENNEMAN Ss af i My, nth a ip rd ite ; ie? y : Relics | 4 ar Ql if, & ° } b ‘oh ; t ; i ie eb. ON Apow Bs: a A venerable antiquary, himself a relic of almost as remote a past as some of the objects before him, is examining the treasured curiosities of his collection. Signed at the upper right. Height, 7% inches; length, 10% inches. 209 SAMUEL COLMAN AEM NL ag Valley in Mexico Great hills rise up to tall peaks from the meadow lands of a valley, in which is seen a great architectural pile, enclosed with walls. It is partly lit by the sun, which gilds the yellow grasses of the flat lands which border the river. A boat and barge float on the stream. The fore- ground is in deep shadow. There are some trees in the right centre, and the sky is broken by alternate light and shade of brilliant southern tints. Signed at the right. Height, ro inches; length, 18 inches. wh apie ee a # i . , vi 270) 9 ep «Oe CHR ESerzc e729 é Pa, Br ag < ae ee a fae 7 o] | WINSLOW HOMER To the Rescue Pe mu A life saving station man is rushing across the beach with a coil of nt rope, about to toss it to some unfortunate. Breaking on the shore, a | great crashing wave throws up a mass of spray which wets two women who watch the scene. Behind the foaming wateris a leaden sky. The composition gives a forceful impression of the terrific forces of nature, and is admirably painted. Signed at the left. Height, 24 inches ; length, 32 inches. i 7 * . 4 2I1 a r % ' Se% tvé £4 ” “GEORGE INNESS Old Homestead—Medfield % Characteristically American, the scene here represents a group of Higuk . () farm buildings with rigid, insistent lines of architecture, not without | 0) Wj picturesqueness. All those in the middle distance are lit with a warm ‘ | glow, while a mass of shadow covers the foreground, where some cat- tle graze. A group of trees is seen on the left, through which glimpses of sky are visible. Signed at the right. Dated, 1866. Height, 22 inches ; length, 30 inches. | 212 = | " %, a * te ~~ mi 1 LOUIS MOELLER »-4 102 ep ry | Hello! Y t oy i f\ iF, The omnipresent telephone makes its way into art in this composi- | WV tion, which represents the business man in his office with his face to the . instrument. The surroundings pertain to business life—a desk, a safe, the chairs, and all the accompaniments of the office are here, and the man is intent on his conversation. His pose is characteristic as he leans forward listening. It is one of the artist’s most truthful studies, wherein a hundred objects are admirably rendered. Signed at the right. Height, 16 inches ; length, 12 inches. ¥S s eta 5 ARN | Ry ae Ny I IE EE EE ee “ @ Sy « iw e ‘a alo tether? ¢ 231 a: ep eco nchjeee C GEORGE INNESS 4 p pe Twilight Wi § a The expiring fires of the day are smouldering among cloud banks, whose forms have the brooding heaviness of midsummer heat. The marshlands, which reach away from the foreground to the horizon, are growing dusky with the extending shade. The sluggish waters of the winding creek are yet slightly flushed by the reflection of the sky, and the leafy bulk of a clump of trees in the middle distance makes a mas- sive landmark on the background of crimsoned cloud. In the profound and pervading calm, the wild ducks on the water float fearless of intru- sion or peril. 4 Signed at the left. Dated, 1876. Height, 16 inches; length, 24 inches, ¥ "i 232 a, SLA CTI CE. el Getl- HORACE BONHAM The Issue of the Cockpit A group of excited men, leaning on a rail or on each other’s shoulders, who gaze earnestly below them, occupy the foreground. One does not need to be told that some exciting sort of sport is in progress, for each face reflects the emotions of its owner. The gentleman, the barroom hanger-on, the workman, all sorts and conditions of men— ’ there are more than a dozen of them, including some negroes—are impelled by a common cause, and the issue for the moment is the one supreme thing in the world. Every figure is a study; every face is carefully analyzed and painted in great detail, and the types show remarkable observation. The time is about the middle fifties, per- | haps, and the composition is a veritable bit of history of a certain | phase of American life, by a painter whose work should be better | known. Signed at the upper right. Height, 16 inches ; length, 27 inches, 233 0 0 VCCI FEF EVES 4 ARTHUR PARTON I a elie. Summer Clouds Two figures wend their way over a heath, through a path lined with great rocks. A splendidly colored sky, however, is the most striking feature of the composition. This is full of luminosity, and conveys an idea of great space. Signed at the left. Height, 18 inches ; length, 26 inches, rt Af. 4 eheleF LET I ¢ 3 GILBERT GAUL a ; Wounded—to the Rear , 9! ' A night attack is raging on the outer line of battle, where the troops £ V - have lain upon their arms. The flash of musketry lights and warms 4% the cold, pale brightness diffused by the winter moon over the snowy earth. A young officer, wounded perhaps to the death, is being assisted to the rear by one of his men. The stricken man hangs almost help- lessly upon his strong supporter. The soldier, as he drags his com- mander’s failing feet along, still clutches his musket and listens to the noise of the conflict which is raging behind him, and which he is eager to rejoin. Duty and humanity have overcome in him the ardor of battle, without depriving it of that fascination to which all soldiers, once they have had their baptism of fire, succumb. Signed at the right. Height, 18 inches; length, 30 inches, 235 oe CoP! Poarsler \ CARLETON WIGGINS \y Ds Harvest Moon The moon rises in a sky lightly veiled by the hot haze of summer, in which a flush of daylight still reflects itself. In the foreground, at the centre and the right, three cows are grouped at rest. In the middle distance at the left other cattle graze. The landscape yale vl CISC AE! re resre 1 exhibits the close observation and sympathetic skill of the artist in his happiest vein, while he displays his power as an animal painter in the cattle, which give to the picture a sense of life in keeping with its spirit of pastoral poetry. The color is mellow, and the atmospheric effect is delicately rendered, Signed at the left, Height, 20 inches ; length, 32 inches. S aA Srretelee "236 H. SIDDONS MOWBRAY The Last Favorite A newcomer has been introduced into the harem. She sits alone, embarrassed and uneasy, in the foreground, at the left, while her three predecessors criticise her from the divan along the wall which forms the background. There is a marked contrast between the gayety and rich- ness of their garb and the modesty of her own costume, but it is likely that it will not be long before she outdoes them in the richness of her finery; Signed at the right. Dated, 1886. Height, ro inches; length, 13 inches. ee Peaveres: 237 GEORGE H. SMILLIE . Landscape, Easthampton In the middle distance are the houses, mills, and barns of a pictur- esque Long Island town. Sheep graze in the pastures of the fore- ground, and the sea is seen in the distance. The sky is filled with grey clouds. The color is agreeable and the execution free and broad. Signed at the left. Dated, 1883. Height, 20 inches; length, 26 inches. pe Pls L. C. TIFFANY View on the Hudson From a hillside, covered with a luxuriant growth of pine forest, one looks down the broad stream, its banks lit by a warm sunlight glow. White sails dot the river, while the far distant hills take on a tender tint of blue. Signed at the left. Height, 7% inches ; length, 16 inches. Sy ete er 4 iv 4 Ae tl Cea ° ‘FO SEA He ’ 239 ib re 3 t ex t lp pre? ee eens amp- -fire Pore hes Deep in the wilderness the fisherman has made his camp, near a con- venient trout stream. Beneath a storm-uprooted cedar, whose sturdy branches support it from falling prone upon the ground, he has built his hut of saplings, with open front, walled with bark stripped from the trees. Under this shelter his guide lies, sleeping soundly, after a weary day, on a bed of aromatic pine needles cut green from their branches, The sportsman, relieving his servitor from the watch, sits with his back against the improvised cabin. The gloom and loneliness of the place and hour have set him thinking, and the face the camp-fire lights is serious and pensive. The fire blazes in front of the hut, sending up a stream of sparks like fiery serpents, and rolling from its fresh logs the smoke that protects the camp from insect pests. All around is the mysterious obscurity of the primeval forest, that obscurity and mystery which provide the spice of the true sportsman’s life. Signed at the right. Height, 24 inches; length, 40 inches, ® » * ; mag A, CL Leave SE GEORGE INNESS ‘September Afternoon An intense blue sky, banked with clouds, shimmers above a landscape rich to repletion with the ripeness of a splendid summer. The opu- lent profusion of which nature is susceptible under fortunate condi- tions of fertility and weather, here finds full expression. In the fore- ground, where natural richness of tint is enhanced by the shadow which deepens it, weeds and wild flowers make a play of varied color. The trees in the middle distance are sumptuous in their full dress of fo- liage. At the right, a flash of sunlight on a white house wall deepens and intensifies the color effect. Like the music of an organ, the scene makes a vast and powerful harmony, and out of its imperial magnificence of construction and completion, communicates the sensuous luxury of the season it typifies as by a necromantic spell. Signed atthe right. Dated, 1887. Height, 36 inches; length, 24 inches. WINSLOW HOMER o | a je : A £ : P A * 241 oy A es7on enpy R. POORE Baying Hounds A pack of hounds have lost the scent of their quarry at the crossing of a water course in marshy ground. After the manner of their kind they signify the interruption to their chase with uplifted heads and eloquent throats. The dogs are shown at nearly full length, and are close and characteristic studies of living originals. Each has a distinct individuality, and is a spirited type of its kind. This picture received the second Hallgarten prize at the National Academy of Design in 1888. Signed at the right. Height, 30 inches; length, 33 inches, 2 PD. ec Bi 4 ce Y odterree W. L. SONNTAG A Sunlit Valley A great pond in the foreground of this picture leads up to a bank, on the left of which is a group of trees. Rocks loom up from a field to the right, and the distance ends in a high sky line. Cattle graze in the fields ; a man is at a nearby fence, and clouds are reflected in the water. Signed at the left. Dated, 1884. Height, 16 inches; length, 24 inches. thre pe SetcFeer Se & _ 243 FRANCIS MILLER A Local Freight Caboose It is the custom, on certain local trains on Western railroads, to pro- vide passenger transit on freight trains, by allowing the use of the rough caboose car to such travellers as may have occasion to pass from one station to another, and are willing or compelled to accept this rude form of conveyance. ‘The local freight caboose is the parlor car of the rural poor, and comes as near to the third class carriage of European roads as our railway systems know. The artist shows us the interior of one of these conveyances. Independent of its interest as an episode of American life, the picture represents an ingenious and original mind on the part of the painter, and is executed with a technical excellence of a high order. we Signed. Height, 18 inches ; length, 26 inches, 14 | raf Pf Autumn Tints at Tenafly ot ee, ij " A cedar tree, deep and rich in its greens, is overrun by brilliant red Yt strain upon a pipe. A white peacock stands in the grass-bed in the fore- 244 a) Sine ao D'- R. A. BLAKELOCK ni Moonlight The moon is up over a quiet sea ; its reflections, shimmering over the water, are broken by a pile of rocks. A cloud flits across the sky, and the rich color for which the painter is noted is apparent throughout the work, which is full of feeling. Signed at the right, Height, 8 inches ; length, 6 inches. 245 Ase i ae GEORGE INNESS. clematis. Both appear against a sombre blue sky, full of depth, and diversified by a few white clouds. The work is in the nature of an impression, and is powerfully suggested. Signed at the right, Dated, 1880, Height, 14 inches; length, r2 inches, 246 THOMAS W. DEWING C,. &,. Yeassna “ A Garden a f’ fos “al A marble garden bench crosses the canvas. Seated upon it, at the left, tind a young woman in a flowered robe touches the strings of alyre. Re- clining at full length on the bench at the right, another blows a drowsy ground, in which some poppies and melons grow, and the upper por- tions of the sails of vessels show over the top of the garden seat. A languorous and listless atmosphere pervades the scene, in keeping with the lassitude of attitude and expression in the figures. Signed at the left. Dated, 1883. Height, 16 inches; length, 24 inches, 247 Ra Show “\° WALTER CLARK ee Sunset A golden sunset is fading out in the sky. A slumbrous haze rests over the landscape, reducing its details to large and effective masses. The foreground shows, in the dim light, a grassy bank rising towards the left from a pool of water. The middle ground is occupied by trees. Signed at the right. Dated, 1888. Height, 30 inches; length, 45 inches. 248 ee VN Kase. WILLIAM M. CHASE m < « Girl in Costume A picture of the head and shoulders of a young girl in Japanese dress. The face is full of a tender expression as it looks directly out of the canvas. The flesh tones are harmonious, and the modelling is sim- ple yet effective. Signed at the upper left. Height, 15% inches; length, 24 inches, he yon YiQusery 249 meow CMR OTL In the Tropics One of the favorite compositions of this artist, the scene here is of a distant snow-clad peak of a South American mountain, which rises up with stately form and is caught by the sunlight. The color changes lower down the mountain as the clouds which cross it send a turquoise reflection. Below it lies a lake, and through the centre is a gorge with rocks covered with verdure on either side. The sky is beginning to take on twilight tones, and there are glints of sunlight here and there. Signed at the upper left. Height, 12 inches; length, 18 inches. So, Q = \ SP SCREEN IL OIE OT a | re : 250 Wan 0.9. isheanen é) ; GEORGE INNESS New England Valley A great stretch of country is depicted in this composition, the varied phases of which are very interesting. From an eminence where a figure walks, to the left, are successive fields with cattle, woodland, farm- houses, and a bold promontory. There is a windy sky with piled up clouds, and the landscape is partly in sunlight and partly in shadow. A yellow tree is seen on the left, and the season is the early autumn when the leaves are just beginning to turn. | Signed atthe left. Dated, 1878, Height, 30 inches ; length, 45 inches, PS ‘ , : | 25% MM, H. pee ig Aya 4 | CHARLES F. ULRICH x : ys a - The Glassblowers id ih 1] lL» Seated along each side of a long table, a double row of workmen n.’ é manipulate their vitreous material into various shapes at the flame of i ew) miniature gas furnaces. Their faces are illumined by the conflicting lights of the gas jets and of an unseen window, and the contrast of rich 3 and cool color is finely expressed. The mechanical accessories of the craft are rendered with the utmost fidelity, and each figure presents a distinct and individual character. The color is powerful, rich, and har- My a monious, and the execution, while carried to a high degree of finish, is \F A so admirably subordinated to the higher pictorial quality of the subject, \ that the suggestion of breadth and simplicity in the totality of the picture is not impaired. The artist painted this picture from the actual scene \ in New York city. It was first exhibited at the National Academy of % C\ Design in 1883, and was shown at the Salon of 1885, evoking flattering \ notices from the Paris art critics. X Signed at the upper right. Dated, 1883. , . Height, 18 inches ; length, 23 inches, KH 44 a) @ Ww 2,, 252 D. W. TRYON Autumn > The spectator looks across a fallow field, and over trees to a blue dis- tance. To the right, a group of young oaks and saplings have taken on dark rich reds ; to the left, bare branches are softly outlined against the sky, bits of autumn foliage here and there making vibrant notes. The arrangement is graceful, and is heightened by a brilliant burst of light along the horizon, breaking out from a leaden sky. This streak of yellow light runs along the entire length of the composition. Some rocks are seen here and there, with long grasses and weeds. All is sober and toneful, and the color is agreeably subdued, Signed at the right, Height, 20 inches; length, 30 inches. ; 253 GWeANG: £. Cc TARBELL Amethyst The curious lighting of this study is most interesting. With the face in shadow, the neck, shoulders, and side of the head are bathed in a warm illumination from a light placed behind the figure. The young woman has her head inclined forward, her hands on her breast, and wears a white dress with a touch here and there of darker tints. Signed at the left, Height, 18 inches; length, 24 inches. SEAS «si — 254 » Se WOAG WILLIAM A. COFFIN Choppy Sea The water is tinged with yellow, somewhat as it is in the English Chan- nel in the shallow places, and the waves inshore are made short and choppy by the fitful, gusty winds. Off in the distance there is a point of land, with its sandy beach lit up by the sunshine which breaks through the clouds, and a rift in the sky shows a patch of blue. Signed attheright. . Height, 14 inches; length, 14 inches. ihe 255 se Lov : * th iro” a fe A Corner in a Barnyard ; Leaning over the rails of a barnyard, a man is looking at a horse, | which is under a straw-thatched shelter roof. In the yard are some chickens and a calf. A typical American country scene. Signed at the left, Height, 9 inches; length, z2 inches. 1 G. bene ' 8 NM. Srey ther H. W. RANGER © a For ain ee” orenoon yy In a grayish atmosphere of half sunlight a little farmhouse is ensconced among some delicately drawn trees. Its bright note of red is harmoniously blended with the landscape tones, and the distance is tenderly felt. In the foreground are some long grasses coming up from ; a little pool which has gathered from a small stream flowing from the be left. It is an atmospheric achievement of delicate and sensitive beauty that is unusually successful. Signed at the left. Dated, 1892. Height, 12 inches ; length, 16 inches. 25” mS S 72s ecg: . @ : en ee aft é é \ ¢ Absorbed 3 }¥ fpf Oe, | f t | he An old gentleman is engaged in the solution of a problem at chess. His entire attention is engaged by the task. Signed at the upper left. Height, 6 inches; length, 8 inches. £) RICHARD CREIFELDS | ,/* q Hef. Becke 258 ELLIOTT DAINGERFIELD Moonlight Here is a cabin in a morass on a moonlight night, wherein the full moon makes a brilliant spot in the sky. A big cauldron is burning on the left and on the right a man climbs toa bird-cot. Everything is kept low in key. Signed at the right. Height, 20 inches ; length, 30 inches. 259 LZ tester F. DIELMAN 7 | Puritan Wedding A young man and woman, the former clad in the sober gray costume of the period, the latter in white satin, stand together plighting their troth. He holds her hand and looks fearlessly to the front. Her modest glance is to one side. There is a nice harmony of color, for the two figures and the background are in simple tones of gray and brown. To the left is the edge of a window ; to the right, on the table, is a piece of faience. Signed at the right. Height, 24 inches ; length, 40 inches. : 260 ® Herc » OEE e S78 tgp GEORGE INNESS gant wth sit ol Se ( \Gray, Lowery Day { "et . It is a rainy day in midsummer. Clouds, swollen with moisture, obscure the sky. In the humid air, the motionless landscape awaits the fusillade of the next shower. The whole scene is saturated with moisture, from the gray heavens to the land, cut up by water courses, on whose q banks dense thickets, make verdant walls. The oppressive sultriness ; that accompanies these days when lowering storms suffocate the breeze, broods in the painted canvas with a power that communicates itself to the senses through the eye. The composition is in large masses, admir- ably balanced, and is of a simple but powerful organic form. Signed. Dated, 1877. Height, 16 inches; length, 24 inches. ve wd. PELE . 261 © x i— THOMAS SULLY aot Pal Portrait of a Man : . ‘ PA A luminous head of a man of thirty, with sandy hair, brushed in with eo certainty and directness. A blue coat with brass buttons, an old-fash- ioned high stock and collar, compose the costume. Time has mellowed ~ the tones, and given richness to the quality of the color. Signed at upper left with the initials ‘‘ T. S.” Height, 19% inches; length, 1334 inches, Pe ar a ; > eee: PBI? 8: reer eu ’ ig SAMUEL WALDO ae an ale Portrait of a Lady if Y Ae : 2 This interesting and well-painted head of a woman seems to have been put on canvas only yesterday, so fresh is the color and so brilliant is i the tone. The face, turned almost directly to the spectator, is some- / what florid, and is beautifully modelled. About the neck is a ruff, and the dress is black. The flesh tones are very luminous. Height, 20 inches ; length, 16 inches, 263 @7, & Die ree. rece &- A HENRY G. DEARTH 4 Fa i 4 en, Evening : a % me : 1 In the mystic glimmer of the lingering twilight, the landscape is seen "gs Oe \ as through a veil. Across a broad plain in the foreground, the eye an travels to a gap in the hills, in which a flash of firelight makes a spot of brightness. At the left a farmhouse is visible, and the moon is ris- ing dim and feeble of radiance, in a clouded and hazy sky. Signed at the right. Height, 24 inches; length, 45 inches. At.C:, Ae ern idor erg, | RO: ! CARLTON T. CHAPMAN wee The Lighthouse " The scene is a ledge of rocks, whereon stands a lighthouse. The time is night, and the powerful illumination of the signal throws its bril- liancy over the waters. The breaking waves catch the reflections, and on the sea, which stretches out in the distance, a ship looms up faintly. Signed at the left. Height, 14 inches; length, 22 inches. J) KRoeketreéll ec, - 265 | EASTMAN JOHNSON (> “a, The Pension Agent 5 : The scene is in a farmhouse, in the humble room which serves at once for kitchen, family meeting place, and bedroom for the crippled son, whose bed is seen on the right, with his musket and other military equipments hanging over it on the wall. The pension agent sits at the “> window in the centre. At the left are the father and the mother of the 9 9 | ~ mutilated soldier, who himself stands on the right, supported on a ‘a a crutch, detailing to the agent the circumstances by which he received his injury. The old house dog watches him as he speaks. His young sister, pausing in her work of apple paring, listens with a pained and awe-stricken face; and even the poor serving woman of the farm turns her head from the duties of the moment, to hear again the story of her young master’s sacrifice of himself upon the altar of his country. It was by this at once touching, dramatic, and thoroughly national com- position that the artist scored one of the signal triumphs of his career. From the George I. Seney sale. Signed attheright. Dated, 1867. Height, 24 inches ; length, 36 inches, yy AS, Sere t lheers 266 f) 70 GEORGE INNESS ay / Harvest Moon The time is early evening, and in a dark but rich-toned sky the green-yellow moon is just above the horizon. Upon astretch of meadow land it sheds a warm glow, which catches the grasses and softly dif- i ty fuses its light over all. A group of farmhouses is seen on the left, \s while on the right some stately elms rise above the other tree growth p Vy and are silhouetted against the sky. In the foreground is a pool, which ‘‘ fo reflects the pale green blues of the heavens. Thin films of smoke are L 7 wafted from the chimneys of the houses, indicating that the fires are lighted for the evening meal. The figure of a woman is introduced in the foreground, and in the distance the yellow light of the moon illu- mines the hills and far away houses. The hush of evening falls upon the world, and the aspect of the landscape suggests repose and quietude. Signed at the left. Dated, 1801. Height, 30 inches ; length, 45 inches. 267 DOCS uareatiaern ‘ & Puzzled eS LOZ An aged professor, who has been grappling with some abstruse geographical problem, pauses in his work at a loss for a solution, Upon the floor at his feet is the ancient book of voyages whose ro- mantic statements he has been endeavoring to reconcile with the fixed .facts of the modern terrestrial globe. He holds the calipers with which he has been measuring in one hand, and passes the other through his long and bushy hair. The expression of his face is that of perfectly helpless indecision. The picture is rich in detail of the most accurate execution, which does not, however, detract from its breadth of effect. It is one of the master works of this well-known artist. Signed at the right. Height, 16 inches; length, 12 inches. \W “LEONARD OCHTMAN —.-4¢% aillare Le Moonlight Shadows 3 At the left, in the middle distance, a group of buildings i is massively , ee a defined against the sky. On the right the wall of a house is seen ~— ? . \ a™ through trees. A road winds out of the foreground across a turfy plain mid into the distance. The moon is behind the spectator, and the light falls softly on the landscape. Stars are twinkling in the sky, and a gleam of yellow lamplight in one of the house windows makes a minor note, contrasting with the pale, silvery sheen. Signed at the left. Height, 24 inches; length, 36 inches. ee ee ee a. or Leenre were y Sabo / WINSLOW HOMER f Perils of the Sea (Water Color) eects pein toe The entire community of a coast settlement has turned out to watch a wreck off shore. On a pier in the foreground two women stand in attitudes expressive of intense and anxious attention. Below the pier, on the beach, many figures crowd, with all eyes bent upon the raging of the wintry surf. At the left a part of a summer cottage is seen. Signed atthe right. Dated, 1881, Height, 14 inches; length, 20 inches, 270 JOHN LA FARGE Autumn 1 eet ea Two stately tree trunks stand boldly out from a grove. Slender branches are vaguely seen in the distance, covered with a delicate green that has already felt the touch of frost. A stream is indistinctly shown, with some blue hills far away. There is a warm, yellow, Indian summer sky, and a feeling of haziness over all. The note is just, and the sentiment of the season is admirably suggested. Signed, Height, 9 inches ; length, 13 inches. 271 Za MMi top » RICHARD PAULI ’. Harvesting Across a field filled with shocks of grain, farmhouses and outbuild- ings are seen in the distance, silhouetted against the gray sky. A few poplars stand out prominently, and piled-up clouds are broken here and there with a burst of sunlight, which makes a strong note of bril- liancy in the centre of the upper part of the composition. This sunlight illumines the stubble in the middle foreground, the immediate fore- ground being in shadow. The scene is characteristically rural, and is expressed with rare sympathy and truth. Signed at the right. Height, 32 inches; length, 48 inches. 272 Pi A Beh 272 ChFC J. G. BROWN @f Watching the Train A familiar episode, seen almost every day from a car window, is represented here in Mr. Brown’s inimitable manner. Seven children, perched upon a rail fence, are looking at the passing train. The ex- pressions are characteristic—a smile here, a serious face there—the child mind being carefully reflected. The sun glints their faces or lights their hair and dress, and the attitudes in their naturalness outdo the snap shot of the camera. Behind is a red farmhouse with trees. The composition is well balanced. Signed at the right. Dated, 188r. Height, 28 inches; length, 44 inches. \ ‘ 273 posi oh ha . D. W. TRYON he Freer Winter Evening ee Cold and bleak, a snow-covered field lies under a gray evening sky, ~~ M enlivened only by the yellow light of the setting sun. A forest on the right, denuded of its leaves, lets some of the light filter through the ‘branches, and on the horizon may be seen a line of dark hills. A fine quality of atmosphere characterizes the landscape, and the sky, with its well-composed masses, is agreeable in color and fine in effect. Signed at the left, Height, 20 inches; length, 32 inches. 274 | GEORGE FULLER i ate A Romany Girl di o Aetel VOSS This charming figure is seen in half-length, looking out of the can- i \ : vas, with her body turned towards the right. Her olive-tinted face, \y framed with long locks of raven hair, exhibits an expression of suddenly G3 aroused interest. She wears a rustic hat, decorated with a spray of wild flowers, and the waist and sleeves of a garment of coarse linen show above her bodice. The dim vista of a shadowy forest provides a back- ground for her figure. Signed at the right. Height, 28 inches; length, 24 inches. THOMAS, ALLEN ,/ @, Maplehurst at Noon ij he A New England pastoral landscape is seen in the glow of midsum- mer. The luxuriant vegetation is in its full richness of verdant leafage, and a herd of Jersey cattle seek shelter from the oppressive heat of midday in the grateful shade of a meadow grove. The landscape is a delightful study of greens, extremely realistic in character, yet full of the poetry of nature. This picture was shown in the National Academy of Design in 1879, and attracted great attention. Signed, Height, 29 inches; length, 42 inches, ® i 270 FORGE INNESS | / The Clouded Sun Pi aiete A trang wil scene expressed with deep poetic sentiment. A valley Stretches off to low, distant hills, and from the foreground a stone wall runs towards a farmhouse. On the right are several trees and outbuildings with some cattle, and on the left are a few houses. A | figure of a woman is vaguely indicated, and some crows are dotted in to | the right. The color is in subdued yellows, very beautiful in tint and : very subtle in gradations. Pale sunshine is spread over the middle distance, where a river is seen winding its way through the country, and soft enveloping atmosphere gives subtle delicacy to the composition. . Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches, « i ) . Cetr*re2 evee cet Fel ~, 277 NL _ ig ee 6 Re “WINSLOW HOMER The Gale The figure of a fisherwoman standing firmly planted on the rocks is silhouetted against a dreary black sky. At her feet the sea breaks and is churned up ina great mass of foam through which, in places, the tops of the rocks are seen in naked ruggedness. Enormous billows i 7 a hl ho i £ | Ae : na ne : i = det ‘aie, r & WY 2 yas | «pile themselves up, and the force of the storm is further seen in the | "swirl of the woman’s garments as they are tossed about. The composi- tion is quite unique ; the arrangement of light and shade unusual, while the whole conception is of remarkable power and interest. This picture received a medal at the World’s Fair in 1893. © i ae ™ a i 3 Signed at theright. Dated. Height, 32 inches ; length, 48 inches, 278 H. BOLTON JONES eee frie Fe Springtime LP OLET CTF biel “a From a marshy meadow, where one looks across a level stretch of y fields, there is seen a row of trees, tender and delicate in their dainty — ; greens, The foliage is not yet dense enough to conceal their structure, which is well expressed and drawn with understanding. A line of blue hills is faintly seen in the distance. In the foreground, tail, yellow. reeds catch the sunlight, and the wild cabbage is brilliant in its greens. The details are given with fidelity to nature while the general effect is broad and satisfying. White, flecky clouds, in a pale blue sky, are in harmony with the atmospheric conditions of the vernal season. Signed.} Height, 36 inches; length, 64 inches, ZZ a, bie 19 Cl areccs care C477 WILLIAM (Ls PICKNELD lavedle "al gre, tear 8 The Road to Concarneau 14 U Oh is A broad, white road bakes in the sun, in its straight course over one 4 % & ” * By of those spacious Breton plains whose scattering and stunted vegetation 8» «,—s« indicates the proximity of the sea. A peasant drives a cart along in the direction of the town. The heat of the earth responds to that of the sky, both burning in the fervor of midsummer noon. The blue sky is remarkably luminous and atmospheric. This picture won for the artist his first recognition at the Salon—an Honorable Mention in the year 1880, and was highly praised by the Paris press. Signed at the right. Dated, 1880. Height, 40 inches; length, 80 inches. yea ES. Pow ONIGHTS SALE FRIDAY, FEBRUARY 17, 1899, AT 8 O'CLOCK AT CHICKERING HALL 280 / 2S 7 JOSEPH DECKER A Bachelor Seated on his hind legs in a solitary corner of a woodland, a little squirrel munches a nut selected from a goodly store scattered about the ground. Evidences of a feast are about him, in broken shells cast aside. Hedoes not seem to mind his loneliness, and his bright eye is alert for any danger. ‘The painting of both animal and still-life is very cleverly executed, and the harmony of color is well preserved. The scheme is in grays and browns. Signed at the right. Height, 14 inches; length, 2x inches. LOUIS MOELLER ge pu 1 % ons Connoisseurs 4. Two men, one of them with a print in his hands, are seated before a picture. A pile of engravings is thrown carelessly on the floor on the left, while at the right on the mantel is a statue and some bric-a-brac. A bookcase, a table, and a screen compose the rest of the furniture. The attitudes of the men are natural and easy ; the intense look of interest, scarcely seen in the faces, is made evident in the poses, and, it is hardly necessary to add, no detail has been slighted. Signed at the right. Height, 8 inches; length, ro inches. pet Mf, iAeviovecece 281 wofrs Ce Sek Me gb eC * > 282 «/w sy Besser : | LEONARD OCHTMAN C@ © * October The interior of a forest, with the trees splendid in their crimson autumn vestment, and the ground tapestried with fallen leaves. Signed at the left. Dated, 1889. Height, 12 inches ; length, 16 inches, 283 . ie Oe ARTHUR PARTON €¢. &.. em "h Passing Shower A shallow stream, which occupies the foreground, is darkened by the shadow of the clouds shifting across the sky. The landscape on the : farther shore is brightened by sunlight at the right, and loses itself in shade at the left, where the shower is passing away. The midsummer tints are warm and rich. 4 Signed at the right. Height, 18 inches; length, 30 inches. 284 * : rey : Danger (Water Color) Two fisherwomen trudge along the rocks, unmindful of the gale, to give warning of a ship, to the left, laboring heavily and obviously in trouble. Their faces are set in determination, and their skirts are blown by the terrific wind which piles up the sea against the shore. The sky is dark and fierce looking, in effective contrast to the brilliancy of the white breakers, which dash furiously on the shore. Signed at theright. Dated, 1887. Height, 14 inches ; length, 20 inches. eee (NP, 5 em is 285 7 Oe GEORGE INNESS Italian Landscape °°” yi a ange ,. $. Carre if Ves Aart” An old ruin to the left, tlte top of which is brightened by the late afternoon sun, is outlined against a low-toned sky. Some shepherds ° and their flocks are in the foreground, and a plain stretches away in the distance. An early moon is in the sky, and a few straggling buildings are scattered over the country. The tone of the canvas is warm and rich, and the general aspect is extremely agreeable. This picture was painted about 1875. Ds acalial Signed at the left. Height, ro inches; length, 14 inches. we Ne MAT SAMA | | 286 2 2.NN | on oe EDWIN A. ABBEY © A @eze#oe ee - An Ode to Spring (Pen and Ink) A quaintly garbed man in doublet and cloak, great collar, and sugar- loaf hat, finds himself surprised at the apparition of a. lightly clad maiden floating along as she plays upon a harp, presumably singing the charms of spring. Signed at the right. — Height, 14 inches; length, 11% inches. / \ a i Me i ae Se oe a aT a: a ey ‘ * : 287 /y / ‘ er >» of 3 C.D. GIBSON <47-°R. DPeavncer- 7 @ wheat are New Leaf An old gentleman stands talking toa young woman, Twowomen are on the right. The caption informs us that the young woman’s New Year resolution is ‘‘ to do to others as she would have others do to her.”’ Hence, she has quit speaking to the Grigsby girls. Signed at the left. Height, 20 inches ; length, 21% inches. 15 * bart Akg y Pew, ‘ oat aint bong eo . wea ® ‘Po XV, Meee SE 288 ua > OT NE ce #- 7 ? “4, Le? + a = RALPH A. BLAKELOCK ‘om Near Cloverdale Twilight descends, curtaining a sky still pulsating with the glimmer of sunset. Trees are massed in the left foreground, and a line of dusky verdure marks the line of a water course, a range of hills show- ing on the horizon beyond. Signed at the left, Height, 12 inches; length, 18 inches. & 4, Sleeveler- 289 » Fr~hatamspatoreny:s FF S.ce ; JOSEPH DECKER The Orphan , A study of a white calf, in full sunlight, standing in a pasture field, in an attitude of suddenly aroused attention. The treatment of light is extremely skillful, and the delicate color of the young animal, in full illumination, is searchingly studied and subtly rendered. Signed at the left. Dated, 189r. Height, 14 inches; length, 17 inches. = eee S7eyveler* ; on 290 « Aembcaasmorestiesze | tre. WILLIAM M. CHASE, fin hiner | Weary /\,.1 eS i LA Pa ' Rud Seated on a sumptuous chair, her feet on a great red velvet cushion, a young woman in black reclines against the back, half asleep. A Japa- nese screen behind her makes a decorative background, and to the right is seen bric-a-brac, including brass pots and kettles and a great samo- var, rs : a { F, W. FREER , Morning Seated upon a couch in her bower, a Greek maiden, in the dawning of womanhood, burns incense to the goddess Aurora. The picture is a harmony of subdued tints warmed by the flush of morning. Signed at the left. Dated, 1885. Height, 14 inches; length, ro inches. 308 t-te? cer | ey Ae F. M. BOGGS On the Coast of France From the right, in the middle distance, the sea wall of one of the Channel ports crosses towards the left and ends in a jutting point of rocks. House roofs and a church tower are seen beyond the wall. A turbulent sea sweeps from the foreground and breaks in spray against the shore, and the sky is veiled by storm clouds driven by the blast. Signed at the left. Height, 15 inches ; length, 21% inches. | C8 es ee aia 309 OY, Preled. ee” CHARLES X. HARRIS Italian Quarter, New York In one of the picturesque courtyards found in the tenement section of New York, where the lower order of Italians congregate, rag- pickers and washerwomen are at work. A variety of detail is rendered with care and truth, and the gay colors of the coarse dresses of the women make bright notes in the quiet setting of the picture. Signed at the left. Dated, 1884. Height, 8 inches; length, 10 inches, 77@.- .. WINSLOW HOMER Under a Palm Tree (Water Color) A bright-eyed mulatto girl, in gaily colored dress, stands leaning against a palm tree. Her hands are folded, and she has a scarf about her head and throat. Evidently a belle, she appears to be keeping an appointment. Behind her are tropical plants, which make an effective background. TET Signed at the left. Dated, 1886. Height, 20-inches; length; 14 inches. . wy wy , : 4 — wm # a 4 w g11 - Hrs 4. Cveceeey # tf ¢?. GEORGE LED ' Ay ' ‘ 4 ay ane e af oe ity! The Sun ¥ : et anne wit The light is centred in a splendid glow of color around the setting sun, leaving the landscape in shadow and the foreground in the mystery of almost complete gloom. Trees at the right and left of the fore- ground make sombre masses against the darkening sky. Signed. Dated, 1886. Height, 12 inches ; length, 16 inches. 312 ‘ wl OO WILL H. LOW LDS AePberr "Neath Apple Boughs The orchard is gay in its flowering livery of spring. Through the blossoming branch-work, the sun dapples the ground with golden gleams. Fair and delicate in her beauty as the flowers that embower her, a maiden is about to enter a pool of pellucid water in the foreground. Her figure is seen erect, graceful in pose, and classical in the purity of its outlines. The color is a tender harmony of half tones, and the mod- elling of the flesh is firm and finished. Signed at the right, Dated, 1888. Height, 24 inches ; length, 12 inches, 313 Sto D. W. TRYON 43 Pfeereni#ecZed | Newport at Night Amid the atmospheric darkness of a summer night, the lamps and electric lights of the summer city, which occupies the middle distance, flash like jewels. The harbor in the foreground shows the yachting fleet at its anchorage. A remarkable harmony of color is shown in deli- cate gradations of richness, and the movement of clouds in the sky and lights reflected in the water lend spirit to the scene. Signed. Height, r2 inches; length, 16 inches. SS i , - “ % SN NGS OLS, wee 2.F & J. B. BRISTOL New England Scenery The view is from the hills skirting the shores of Maine. The valley spreads out towards the ocean, which, quiet under a soft summer sky, is dotted with vessels. The greens are harmonious, with much depth of color, and the arrangement is on lines favored by this artist. Signed at the left, Height, 14% inches; length, 22% inches. # ¥ 2552. 315 ae - GEORGE DE FOREST BRUSH | \ MP es ‘ An Aztec Sculptor ae al z ace” " His tawny figure is seen, seated on a rug, in profile, against the gray stone of the temple wall, which he is enriching with emblems with his mallet and chisel. His right arm is encircled by a bracelet of ham- mered gold, and his clothing consists of a jaguar skin, yellow leg- gings, and deerskin moccasins. His expression is one of intense absorp- tion in his work, and the rythmically regular movement of his figure is admirably expressed. Signed at upper right. Dated, 1887. Height, 12 inches; length, 23% inches. f f 4 f ind 316 fo c JO , HORACE W. ROBBINS ) TLOn ery s Mountain and Valley From a level foreground, shaded by a scattered growth of trees, a wooded ridge ascends in verdant undulations. Beyond it are the craggy heights of a mountain chain. A noonday sun lights the landscape and marks it out in large masses, which are rendered with great pre- cision of touch and fine feeling of color. Signed. Height, 12 inches; length, 20 inches. Sh : THOMAS MORAN © 079" €2@ — Vera Cruz A view of the Venice of the Caribbean Sea at sunrise. The city, with its castellated custom-house and other buildings, is seen at the left. Craft of all sizes and descriptions animate the harbor. The sky is bright with the sparkling splendor of a tropical sunrise, whose tints lend variety to the water and give an aérial lightness to the white-walled edifices on the shore. Signed at the right, Dated, 1883, Height, 20 inches; length, 30inches. | ; 318 re, SlechK leor- : a DOUGLAS VOLK | | ©. % Puritan Maiden Leaning against the tree, whose shade has sheltered them upon many a tryst, she watches the departure of her lover, whose recent presence is indicated by his receding footprints in the snow. The landscape stretches away in wastes of snow under a sad sky, and the picture is per- vaded by the sentiment of parting and regret. Upon its exhibition at Bi the National Academy of Design, in 1881, this picture had appended i to it the quotation: ‘‘ The snows must melt, the trees bud and roses bloom, ere he will come again,” Signed at the left. Height, 30 inches; length, 24 inches. 3190 Lg Nelerze te FL _— WILLIAM H. LIPPINCOTT Garden in June A study of a garden and poultry yard bright with fresh spring vege- tation, and enlivened by domestic fowl. Signed at the right. Dated, 1882. Height, ro¥%4 inches; length, 14 inches. 320 WINSLOW HOMER os." ; nd i on ee ae Me teres Ke? Sea on the Bar : (Water Color) A breezy sky and sea, with surf piling up, and green water heavily moving. In the foreground is a sandbar on which the water surges, and, in the distance, a bit of shore dark under a gray sky. A small sail-boat labors stolidly, and the swirling clouds fly along, impelled by strong winds. A veritable bit of nature, realistically indicated. Signed at the left. Dated, 1887, Height, 14% inches; length, 2134 inches, 321 oe) .C Shee; epad2 POPUL e/ 2eo0,-~- WORTHINGTON WHITTREDGE Home by the Sea The weather-beaten buildings of the old farm, sheltered from the tem- pests by the weather-beaten trees, are seen at the left. A road leads past the farm and down to the shore. The view, taken from an elevated and rocky foreground, shows the beach, with a line of breakers fringing it with foam, and the sea, with many vessels passing to and fro. At the right a rocky headland juts into the sea. a aM nae en a ea SS (> 7 Fn ee OT ay ee NU Se Signed at the left, Height, 14 inches; length, 22 inches. % 322 4 b0 J. ALDEN WEIR Chl%'e,- 2 Col Roses 4 A study of pale-tinted roses, of a simple and harmonious color scheme and forcible execution. Signed at the left. Dated, 1883. Height, 23 inches; length, rs inches. es tA er < 323 Be 72. Nererrr Bette or q , ~ E. L. HENRY The Canal Lock Stopping for a moment to chat, a farmer and his wife have halted their horse and wagon on the road in front of a country store. On the steps are some typical loungers, Behind is a stretch of country with a canal winding off to the distance, and in front is the lock. Each face and figure is a study of character. Even the horse and wagon are in every way typical. The artist has lingered with loving care over each bit of detail, and the general effect is unified. Signed at the left, Dated, 1894, Height, 8 inches; length, zo inches, 324 H. BOLTON JONES Arete The Lily Pond Alte Fresh and sparkling in spring greens, the banks on either side of a stream stand out with brilliant emerald tints. Trees on the right are re- flected in the water, where float innumerable lily pads. A village is in the distance, the white houses standing out boldly in the sunlight, and a scintillating sky is overhead. White beeches on the right are reflected in the water. A sympathetic transcript of springtime. Signed at the right. Height, 19 inches; length, 30 inches. 325 F, Macie fe the r- ee WILLIAM T. TREGOU Battery Forward! . ~~ Ss The battery is advancing to the front under heavy fire from the enemy. One soldier, shot in his saddle, reels under the stroke, while a comrade seizes the bridle his hands can no longer control, in order to guide the flying charger. The hurry, dust, and heat of battle are rendered with a spirited brush, Signed at the left. Dated, 1885. Height, 20 inches; length, 30 inches. 26 yn ry ” 3 C. . fi ASO CATV EX. GEORGE H. SMILLIE View from Grindstone Neck 2° Be: From an eminence of rocks and stunted pines, one looks down and across a stretch of water containing some small islands and running off to distant hills, which, as they recede, become tender and blue. A calm has fallen on the water, which placidly mirrors the clouds above. In the distance a boat drifts idly along, and the sky above is beautiful in tender tones, diversified by a bank of clouds on the right. Signed at the right. Height, 20 inches ; length, 26 inches, 37 40. APL. Soe y eee >: THEODORE WORES l > ve Chinese Lantern Painter The artist is seated at the right, in front of a window, decorating the huge paper lanterns, like balloons, which are an indispensable feature of every Chinese festival, with the grotesque and emblematic designs dear to the Mongolian heart. The scene is in Chinatown, San Francisco. Signed at the right. Height, 32 inches; length, 17 inches. 328 %. 4, oP fhe reepr/e P Shs. } . 4 * Bacchante* 7“ Z V7 & Vrs Gy The sensuous head and bust of a Bacchante, her eyes closed, are against a background of autumn leaves, some of which are woven about her head. White drapery falls away from the form, which is painted in rich flesh tones, palpitating in luminosity. The conception is per- sonal, and the execution characteristic of the artist’s manner. Signed at the right, Height, 24 inches; length, 17 inches, 334 WYATT EATON py c ee , Daphne The head is painted in full face. Large eyes and full lips denote the temperament of the subject. The fluffy masses of blonde hair are inter- twined with flowers, and with her left hand she holds a cluster of blos- soms against her breast. The shoulders are bare, and the face and bust, painted entirely in half tones, are relieved against a simple dark background. Signed at the upper right. Dated, 1886. Height, 20 inches; length, 16 inches. « Oder Che I +e 16 AE fg: wl * hy Dr = er Ce, 335 C4 Des eet R, SWAIN GIFFORD Nashewanna Island e From the superior elevation of the foreground, the eye follows a coast line broken by projecting points of rock, between which the breakers play in flashing foam upon the beach. From the fore- ground, on the left, the moor extends its undulating surface variegated with heather. A sunny sky brightens the scene. Signed at the left. Height, 14 inches; length, 26 inches, 336 Aka Seis CHARLES C. CURRAN iy The Wreck yw Seated on the sands by the seashore, a little boy has sent out a model boat, attached to a long string, A wave has upset it, and with it his hopes. He mournfully drags it back. The little chap is cleverly painted with attention to detail, and the sea is put in in attractive tones. Signed at the right. Dated, 1886. Height, 9 inches; length, r2 inches. 337 Cerp2°*ccrr-et ret earl JERVIS McENTEE Cee Eastern Sky at Sunset The reflection of the sunset lends splendor to the clouded eastern sky. The landscape, which is viewed from a mountain top, is a wide- reaching expanse of partially timbered and sparsely settled country, wrapped in a mantle of snow. Shrouded in obscurity, with detail only dimly hinted at, gleams of light here and there suggest in the landscape the presence of human habitations, and relieve it of the gloom of com- plete abandonment. Signed at the right. Height, 24 inches ; length, 20 inches. } 338 C..¢*% . Bletes* ABO, EDWARD SIMMONS A Passing Train This admirably painted view of an overlook of St. Ives Bay, Corn- wall, is full of truth to nature, and is marked by beautiful qualities of color. The hour is just at sunset, with the spectator looking to the i east. The steam of a locomotive, supposed to be passing below, lends ‘os interest and variety to the foreground. t a | Signed, Height, 16 inches; length, 40 inches, . 4 a « 339 B70 Kees 22e.07 BRUCE) CRANE yaar? Afternoon Light © Two tall sycamores guard the sides of a brook that runs through a cultivated meadowland. It isa rich and brilliant landscape, painted in . the eastern part of Pennsylvania. hype et a ee oy] ieee Signed and dated, 1898, Height, 25 inches ; length, 30 inches. 340 . o : WINSLOW HOMER 42. Jy: 747 Leen The Breakwater i (Water Color) Two young fisherwomen, one of whom has a basket in her hands, lean over the stone wall of a breakwater against which the sea dashes. Other figures are seen at the end of the quay, and a cliff rises on to the right. In the distance some vessels are silhouetted against the horizon, and boats are drawn up on the distant beach. Signed at the right. Dated, 1883. Height, 14 inches; length, 20 inches. Io o- 341 Oe aol f Jy” “ “ ~ GEORGE INNESS ti wet - ye Waite ¥ Si “a Cs z >, Jan = Ls Tha r ; ati ©) & a haa e Pe ay 4 # ( £2 7, a Wl” “a Threatening : ays < The setting sun makes, at the left, a burst of dull, moist light in a sky heavy with showers. At the right, purple rain clouds hang heavily over the dripping earth, stirred into movement by the wind. On the left, inthe foreground, sheep are huddled under a sheltering shed, and their shepherd steps forth to inspect the weather. The gradation from the warmth of the sunset to the wet gloom of the storm fills the sky with subtleties of color and alternations of form. The landscape is depicted in broad, simple masses. Over a line of trees and thicket which crosses the middle distance, some roofs are seen, and the chim- ney of a workshop, with its smoke blown by the wind, mingles its vapor with the overhanging sky. The threat of the tempest suggests the sullen resonance of thunder in the gathering obscurity of a night of storm. Signed attheleft. Dated, 1891. Height, 30 inches; length, 45 inches. 342 | A$, THOMAS EAKINS +9 .C,Heenevnind Professionals at Rehearsal —— | Two Bohemian musicians are rehearsing in their room, At the right, in his shirt sleeves, a zither player sits at a table. At the left, his partner thrums an accompaniment on the guitar. Portfolios of music are upon the floor, and a wine bottlé and glasses on the table show that the musicians do not allow their work to be without refresh- ing relief. The vibrating color is in keeping with the character of the music which is being discoursed. A brilliant concentration of light adds to the richness of the chromatic scheme. Painted on commission. Height, 16 inches; length, r2 inches. —— B43 ie "rte, CCcceel & D. W. TRYON Evening Yoos, Seen ce Sra tr ee =o es recaea say > Ce a ean etn ne a POR yt ee A quiet, peaceful scene of rich, luxuriant meadowland, with a young tree in the left centre clearly defined against the sky. The sun just sinks beyond the horizon, leaving a glow behind it that sends its radi- ance over the whole sky, while some dark clouds, banked up to the left, are touched with streaks of deep crimson. Smaller gold-tipped clouds fleck the sky, against which some thin branches are silhouetted. Tran- quillity is felt throughout the composition. A pool in the foreground reflects some light ; a broken wail runs across the middle distance, and on the left lies a twisted branch. ‘This picture was awarded a Hall- garten prize in 1887, Signed at the left. | Height, 16 inches; length, 24 inches. Tr S Ses, ta pp SO SS feet t 344 if rs , a i ny wt" CRAAMD Corr ¢ oa _ EDWIN A. ABBEY i Picking Apple Blossoms q (Black and White) ‘ Some rustics, catching the spirit of spring, are roystering about a field. In the foreground one of the artist’s delightful types of young women, of exceeding grace and beauty, reaches out to pluck some of the flowering apple blossoms. , Py Signed at'the left. Height, 13 inches; length, 1534 inches. ’ ie J if th % 345 g H Z a ' e e tC” oe ra # ~ fy “4 i" ose. HOMER MARTIN » Seeretpoterey Indian Summer The painter here depicts a toneful bit of brook and woodland, with is the delicacy of autumnal haze. A shelving bank in the foreground runs i up from a quiet stream, reflected in which are the trees on the opposite shore. The distance fades away almost imperceptibly into tender blues and grays. Signed. Height, 161%4 inches; length, 12 inches. 346 “> Kochebhelbéler a oa GEORGE B. BUTLER Puss at Rest A domestic cat, of the gray striped variety, has found a resting place on the head of a barrel in a back yard. Puss has her forepaws curled under her, and has assumed a properly comfortable attitude, but her eyes are alert with the natural wariness of her tribe, and she keeps a sharp lookout for possible menace or peril. A masterly piece of color. Signed at the left. Dated, 1863. Height, 18 inches; length, 14 inches, ; 347 + 38: IRVING R. WILES ; ' FA Serecletet+* J Shady Lawn a A strong study of the contrasts of midsummer tints on house wall, | stone walk, and greensward, varied by intense light and transparent q shadow. . Signed at the left. Dated, 1887. Height, r4 inches; length, 18 inches. ~ “WILLIAM BLISS BAKER Silence The interior of one of the primeval forests to be found in the upper part of New York State. Absolute solitude is expressed in the untrod- den wilderness ; and in the motionless trees, whose branches do not stir and whose foliage does not rustle. The title of the picture is admirably borne out. The painting displays a perfect fidelity to facts and great wealth of detail, together with all the artist’s delicate ap- preciation of the subtler beauties of nature, and their appeal to the imagination. Signed. Height, 24 inches; length, 30 inches. 349 Cra lI “ye XS ee oe AL ERY DER | Christ Appearing to Mary The figure of the Redeemer is shown, turning as He crosses towards the right of the canvas, to extend His hand in benediction towards Mary, who kneels at the left. A fine harmony of rich color invests VF the landscape background, which rises to a high horizon. The figure of the Saviour is full of a touching dignity, superior to, and yet ex- pressive of, suffering borne with noble resignation. In the kneeling figure the anguish of intense grief and the submission of obedience to Divine command, contend for the mastery. Signed. Height, 14 inches; length, 16 inches, | 350 r po! #25 $ ¢> #) Yee top ftdo» >t & POLS O / Ge : WINSLOW HOMER ie OS ane : J i Rae “ a F ea ae if Moonlight—Wood’s Island Light \° J) tS The sea dashes monotonously against some rocks in the forefround. 4 On the face of the water the shimmer of the moonlight is reflected, I and in the breaking wave the deep blue shadows are seen. The moon ae is not shown, but a gray pale ring indicates its position in the heavens, and on the horizon flashes the brilliant glow of the lighthouse lamp, ie with a light or two on the shore. | Signed at the left. Dated, 1894. Height, 30 inches; length, 40 inches. 351 ee m eel es OFe/: rete 7 SOO, GEORGE INNESS Winter Morning—Montclair It is a morning of frost after a season of thaw that has left the snow in patches on the frozen ground. Across the middle distance the houses of a suburban settlement are seen through bare trees. Beyond, a range -\ of hills makes a barrier against a sky in which clouds are rising with threats of snow. Some of their summer leafage, now dead and meagre, still clings to the branches of the trees. In the foreground, at the left, the ruins of a great old tree that the woodman’s axe has levelled for fuel are seen lying scattered about. An old woman gleans some fagots for her fire, and from the village a teamster drives his oxen to drag the massive timber to the sawmill. The tingling atmosphere enshrouds iH the landscape, and the feeling of bleak weather is admirably rendered. Signed at the right. Dated, 1882. Height, 30 inches ; length, 45 inches. 352 , Skee 4 3 i ff «> - ? 7 « , v ee é . LOUIS MOELLER Inspection Having turned it, almost inside out, a man is still rummaging in a trunk from which he has extracted all sorts of odds and ends. An elderly man, on a bench near the wall, regards the searcher. Both figures are drawn with insistence on the detail, yet without any evidence of fatigue, for the execution is spirited. The still-life is no less inter- estingly painted, and the composition is admirably balanced. Signed. Height, rz inches ; length, 14 inches. | | 353 | " yi ,e i } i ey CHARLES H. Davis 7: #€% Mellen {Ge A Connecticut Valley Some meadowland, rich in full autumnal tints of reds and yellows, stretches down to'the sea, There are bare trees on the left, while in the right centre a sturdy young oak retaining its foliage, which has turned a reddish yellow, stands out prominently. Form is well indicated, and the trees tell effectively against a cool, gray, luminous sky, There are rocks here and there, and the distance is tender in color. As in all of the pictures by this artist, the sentiment of the time and place is well conveyed. The execution is broad and comprehensive. Signed, Height, 20 inches ; length, 27 inches, 354 ‘Kw3leexrvrele A. H. THAYER Lillian a The head of a young girl, shown to the shoulders, and facing to the He left, against a background of spring blossoms. It is broad and pow- % erful in treatment, well defined in character, and marked by a simple . and beautiful color scheme. . Signed at the upper right.’ Height, 20 inches; length, 16 inches. a - ——, a Pe OF WVeelreccen Zoe BENJAMIN WEST Expulsion from Eden From the brightness of the garden to which they have lost their title by their disobedience, the angel is driving Adam and Eve into an outer darkness of tempest and terror. Behind the angel at the left, a vast and awful form shapes itself in the celestial light which illuminates the lost Eden, and a majestic head is turned towards the banished pair with an expression of sad reproach. The movement of the flying figures is full of terrified. haste, and the attitude of the angel is that of menace and command. Height, zoinches; length, 30 inches, ’ eal 356 67$ GILBERT STUART °**¢+ 4 .¢/ewcesy, Senator Young First of the American portrait painters of his day, and an artist of sterling worth, Stuart brought to all of his likenesses not only virile exe- cution, but in every case he secured the personality of his sitter. This portrait shows the artist’s qualities of directness and truth. One may here see the man as he was, shown through the temperament of a “powerful painter, and there is the feeling of likeness though one may not have known the original. Such, indeed, is the impression made by all good portraiture. The color is rich and warm, and the forms are put in with comprehension of anatomy and construction. John Pope, N.A., owned this picture for many years, and it has been commended by Charles H. Hart, Eastman Johnson, Daniel Huntington, and William M. Hunt. It was exhibited in the World’s Fair in 1893, subsequently at the Metropolitan Museum of Art, and at the recent Portrait Show at the Academy of Design. Height, 29 inches; length, 2334 inches. 357 .34rss oS . Feet ers REMBRANDT PEALE , Washington This portrait of General Washington is characteristic both of the sit- ter and the painter. Enjoying exceptional facilities for painting him from life, Peale became thoroughly familiar with Washington, and the present work is thoroughly characteristic. The head is delight- fully drawn ; the mouth, somewhat set, is firm, and the eyes have a benign expression. A white stock and lace scarf are about the throat, and the figure is clothed in a black coat. This work is full of great dignity and decision. It is known as the Gilbert portrait. It came direct from the artist Peale to Dr. David Gilbert, of Philadelphia. It was inherited by his son, Dr. W. Kent Gilbert, who, dying some fifteen years ago, left the picture to his children. The canvas came into the hands of S. P. Avery, Jr., from whom it was purchased. Height, 29 inches; length, 23% inches. 358 sR. Hecersl CHARLES D. WELDON Dreamland 4 The little mistress of an esthetical mansion lies asleep upon a lounge in a richly furnished apartment. In her arms she holds her doll, a doll of the Caucasian variety ; while the dolls of her dreams, a troop of the Japanese breed, in characteristic attire, curiously examine their pale- faced rival and its mistress. The latter slumbers on, but her pet com- panion has awakened, and with astonished eyes stares at the intruders. This picture, which was shown at the National Academy in 1883, at- tracted much attention as a bright and organ satire on the Japanese craze which was then at its height. Signed at the right. Dated, 1883. Height, 24 inches; length, 40 inches. 7) ; f- bey The Spinner A character study from life at one of the Moravian settlements in Pennsylvania. An aged matron, seated at her spinning wheel, in a quaint, old-fashioned rustic interior, twists the flax from her distaff. Through a window a glimpse of an orchard is given. Signed at the left. Dated, 1882, Height, 12 inches; length, 9 inches, | BaP » Ge ae ae 3 | aie # we ¢ ill a wi g Danis # Sad WINSLOW HOMER | The Two Guides ig a 3rez >* The pioneer of the past is schooling his young successor, to whom he will soon abdicate his place, in some of the secrets of his craft. The old man, still stalwart and lusty for all the frost that whitens his beard, and the powerful young woodsman, are crossing a mountain ridge. The ground is wet and dark with dews and midnight showers. Out of the depths behind them mist rises from the streams and springs below, and floating flecks of cloud blow along the flanks of the mountains. The guides have halted at the summit of the ridge, and the older man points forward, at some landmark beyond. ‘Two grand and rugged types, amid a grand and rugged nature, they seem instinct with, and eloquent of, the spirit of a scene and life which is yielding steadily to time, and of which this picture will, in the future, be a historical re- minder and landmark. Signed at the left. Height, 24 inches; length, 40 inches. , 361 Summer Foliage This remarkable study in greens is a simple motif of a field with a few trees and some interesting foreground detail ; but with these modest materials the artist has evolved an astonishing result. A whitish gray 959 offs LL Sekleass ed /60.: CHARLES F. ULRICH GEORGE INNESS *”. 8. -S ce 4 ¢ * tree-trunk rises nearly from the centre; on the right is a little clump of bushes growing from a stone wall, and on the left, through other _ trees, is seen a bit of distance. Overhead, there are patches of blue sky flecked here and there with white clouds. Starting with these, how- ever, the painter has made a careful analysis of the relations of the dif- . ferent greens, one to the other, succeeding in the difficult task as only a ‘ man could whose knowledge of nature was all-embracing. Signed at the left. Dated, 1888. Height, 30 inches; length, 45 inches. Sis 362 i LOUIS MOELLER © e7e*e?ewcere C£s” | | Disagreement o ee i ¥ is A game of cards has been interrupted because of a misunderstanding. Eight men are involved. Three of them sit at a red covered table, | counting the chips and endeavoring to straighten out affairs. One . bi of these, a man in his shirt sleeves, is a character study by himself. : a Another, quite exhausted, sags down in his chair. Still another sits @ sulkily in the background, by a screen. Three more, standing, are earnestly engaged talking. It all seems a hopeless tangle, and the con- ; fusion is expressed in a masterly manner. The room itself is a library, ‘ for it contains bookcases, and there are evidences of more peaceful hours having been passed within its walls. Just now, however, the game has usurped all other considerations. It should be noted that this remark- : able composition, worthy to rank with the work of the Dutch genre ¥ painters of three centuries ago, is executed with a high degree of finish which is in no respect wanting, and as a study of character, life, and manners, it has not been surpassed by any work of its kind. Signed. Height, 24 inches; length, 34 inches. 363 | . ; en W. L. PICKNELL 144%, /fears© Sunday Morning iss tic Over a flat landscape extending to distant hills, the early morning sun beats down pitilessly, A sandy road starting from the right of the composition runs to a little cluster of houses, probably a Breton ham- let, nestling down among gorse and stunted oaks. An old woman wends her way to the habitations, supporting herself on her cane. Smoke comes up from the chimneys, quiet fills the air, and the scene is entirely peaceful. The yellow blossoms on the gorse sparkle in the light. The atmosphere is unusually clear, and the houses simmer in the sun- light. Painted broadly, the artist has differentiated all the subtleties of summer greens, and given them great variety and beauty. The sky is broken only by two or three clouds, and is luminous and fresh in color. Signed at the left, Dated, 1887. . Height, 39 inches ; length, 53 inches. B75 : 34K SS Beerrees ee H. SIDDONS MOWBRAY " a wf [i Aladdin Rant _ Yo ow | In the foreground, at the centre, the widow’s son kneels before thd) aa basin of a fountain in a blooming Oriental garden, rubbing his magic lamp to clean it. The sprites, summoned by this accidental invocation, descend in graceful female forms from the thickets at the right and behind him. He looks up from his work in surprise at the sound of their approach. The movement of the figures is alive with roguish spirit ; the color scheme is one of subdued and sonorous splendor, and the treatment of substances and textures is of the greatest fidelity and accuracy. Signed at the right. Height, 23% inches; length, 19 inches. : 305 Melita wv (ee DOLCOER «| \ iy S/O. GEORGE INNESS eet Delaware Valley f \ Magnificent in its vastness and in the fertility of its soils, bursting with that wealth of fruit and harvest which nature bestows in her most bounteous mood, the great valley of one of the great rivers of America loses itself in a distance gray with showers. On either hand its moun- tain walls rise to the clouds whose lower lying vapors curl along their forest-clad flanks, as if to interpose themselves as barriers between the ‘ tempest and'the land of peace and plenty committed to their guardian- ship, The valley offers an endless diversity of farm and pasture, orchards, and fields in which the golden grain is falling before the reaper. At the left, along the road which ascends into the elevated foreground, a hay wagon mounts, and behind the trees which shade the Corl “a road is seen the roof of a hillside farm. The picture breathes the glori- it ous spirit of the ripened season, intoxicated with the perfume of fruit i and the splendid strength of an earth rioting in its own richness. The color is of a ringing resonance of force and harmony, and the handling instinct with nervous power. Signed and dated, 1865. Height, 16 inches; length, 24 inches. 306 dy. O94 HE Le 17772 EASTMAN JOHNSON *, vw jb rn 4 < ia 4 New England Peddler + # iy Seated in a snug corner of the garden, the ancient vender of much- coveted trifles is parading the fascinating contents of his basket to a rustic lass who kneels beside him with open eyes and receptive ears. The persuasive accents of the adroit old chapman are suggested by the expression of his shrewd face. That his persuasion is scarcely needed to effect a sale the absorbed interest of his prospective customer makes manifest. Signed at the left. Dated, 1879. Height, 29 inches; length, 19 inches. 367 > * eh oat re 46H, A. H. WYANT €e2ffee7 Dawn—Keene Valley A dark and tempestuous night is yielding slowly and unwillingly to the day. The first light struggles through a sky banked with leaden clouds. In this gloomy wilderness of tangled thicket and tempest-ravaged hill- » sides, a cabin is seen on an elevation at the right, and on the left the foreground is brightened out of its blackest gloom by a pool, whose sur- face returns a pale salutation to the dawn. se ee la a IO LS Pa lg yn eee Signed at the left. Height, 18 inches; length, 30 inches. 368 yee ROBERT WYLIE Ceereeregoe (4 ea A Fortune Teller of Brittany nf eel Mr. Wylie’s long residence among the Brittany folk enabled him to. paint this group in a characteristic manner. In a rude interior, coun- oan terparts of which are easily found to-day in the west of France, a number of women sit listening to an old crone who plays upon their superstitions. They look with fearful glances towards her as she talks. The uncouth figures, the picturesque dress, and remarkable headgear add to the composition, while the touch of child life at the back gives the pathetic note. One may see here a survival of the peasantry of the middle ages, still to be found in this nineteenth century, and the artist has painted the episode with strong feeling and sympathy. % Signed at the lower left. a Boe hie 369 ATOEESS or 6d ie eT D.W.TRYON 4 Return Home at Twilight. gs i % =) y bas a. ie # ay Sy a s " Two figures are passing along a road which leads to some farm- houses, the windows of which are lit by the firelight within. Smoke rises from a chimney, and a crescent moon appears above the roofs. The sky, of a tender twilight tone, is of blue with clouds touched by the faint light of the departing sun. An apple tree and fences are other |, features of the composition. Full of sentiment, the picture has all the “suggestion of the moment, for the painter has rendered his theme sym- a pathetically ; while as a composition, there is fine balance and arrange- ment of light and shade. 3 Signed atthe right. Dated, 1883. Height, 22 inches; length, 33 inches. ¥ Le 370 YW Sefcece Ss’ f~ 4 St - oe ie Ae h- wt WINSLOW HOMER »,, W.\, Woe £ - oi B ins mt ? ‘e ‘i. ‘. fe, i? a ° pers F i eda ot” Eight Bells | Vel a ‘i Diu f 2% The scene is on the quarter-deck of a fishing schooner. Afteranight *»~* and morning of storm, which has blown their craft before it, the captain and his first officer are endeavoring to discover their location by an observation of the noonday sun, which the blowing and bursting cloud rack permits to shed a gleam upon the livid and unruly sea. The men are clad in oilskins, glittering with moisture, as if to remind one that this is the armor in which they do battle with the ocean and the tempest. The solid poise of their figures on the heaving deck is heroic in its simplicity. The mate reads the measurement on his we } { ‘ ‘ \ AA £6 A en anares (i ww whl | 4 Height, 3334 inches; length,47inches. . ee ¢ Say fe jee .— 371 Conipeare 4 x group of trees on the left. The leaves have turned red and lon quadrant, while the captain completes a more delicate cal the telescope of his sextant at his eye. Only a glimpse of t and a fragment of the standing rigging are shown. All the rest is ate tempestuous sea and sky, amid the fury of which these two, gig vo: yak strong men seem masters, painted with a master hand. ai Signed, and dated 1888. Height, 30 inches ; length, 24 inches, sf I ee MURPHY 1 ibd ~ October k field of acarasined pasture land is in the foreground, wit the trunks stand out in colorful harmony. In the distance a cornfield i 1S Moy made out, with a shock here and there. There is a breezy te after- noon sky, with some clouds caught by sunlight. This is one of the fin 2 est examples of the work of this well-known artist. 3 Signed at the left. Dated, 1888-93. Height, 32 inches; length, 5° inches. GEORGE INNESS — - Ab iedbee ; After a Summer Shower The scene is one of much dramatic effect, at a moment when, a storm . | passing to the right, the sun bursts out in dazzling brilliancy and makes a rainbow.on the mist. This last, starting from the top centre,makesa span half-way across the canvas, fading away to the distant trees ablaze with sunlight, the luminosity of which gives additional force to the sullen-looking bank of dark storm clouds. Three young trees and an — old trunk are’in the left centre of the composition—the formerin shadow, — the latter catching the glow of the sun. A road runs through the field, showing deep ruts in the grass, and in the foreground is a great broken — tree trunk. White clouds are beginning to bank up at the left, showing : the presence of wind. The scene is realized with dramatic force, and = a > the color scheme, interesting in its variety of tints, is full and rich. a Signed at the right. Dated, 1894. Height, 32 inches ; length, 42 inches. ee THE AMERICAN ART ASSOCIATION, ~~ MANAGERS, THOMAS E. KIRBY, i AUCTIONEER. | ii aad Cprerccvest Par Pec < a ner eo RD 2 SE cD try, paid pring Bachelor;” E. N. Lawrence. 21 er’s ‘* Connoi isseurs;”’ - Cnysevameala “October; "1 By- eee peewee en ea eee ee ee ee ed i 66 Danger;’’ Henry whee ess’s ‘ Italian Landscape;”’ we eee ee es | oa q:) a “The *Orphahy? ti ‘ Ce ee is Fi petit cy a ee ee ee) ee ee ee 5; ee Shower;” J.S. Bache. Dolph’s “Oat and Kittens;”” y Moore’s “A Moorish TE OMOGNY CYR. 6 <5 265. 1 aks epson, 8 p neat of a Brook;”’ ee eee ee ee ee Ce ee ee ee ee Ce ed i ee ee ee ey reer’s “Morning:” Ww. T. Evans... : nt ’s “On the Coast ise France:;’ es X. _ Harris’ 8 “Italian Quarter, New oepork. B Doelger rinslo ay Homer’s ‘‘Under a Palm Tree;”’ aes eo et Mipyeiand: 7) fi. ee. hs ness’ A 5 e Sun; Mrs, Alice Cheney. tow 8 Neath Apple Boughs; eee ee ee) eee ee ee ee ee ee ‘Burton Manstie B. Bristol's Pe ae ee eo ee b. Gores De Forest fluc Cee ee ee a ee us New iveland Scenery;’’ Pepsculpter: EB. N. Lawrence....5....0.... . Horace W. R sbins’s pe Sryaiae a and SUN ALLOY CMe Mi ANOTY, JD. os seeeke cheesey 17. Thomas” Motan’ 8 Vera Cruz;” ©. M. 818, Dousiae ‘Volk’s “Puritan Maiden;” aio. William E i ee ee i ee eo ey Lippencott’s “Garden in } MNEs 2h) As LOMAITEs.. oe ele ee. ; 820, Winslow. Homer’s "‘Sea on the Bar;’’ i Pe ATOR i458 l ac de ce ebeeee. a 821, “Worthington Whittredge’s “Home bed id eSea;” A. CO, ump reys.; is 322. J. tMden Weir's ‘ Vainaces ‘ Gotten & Go. Fee's E. L. cane iene Canal Medioce if i _Naumburg. . DR Gis ect amen alts a high ost-talked-of Fortuny ntly s here he complete list of the paint- $225 igs 1 150 480 300. 700 80 FUN OSHME. i ya litem ees 2,500 | 852. Louis Moeller’s ‘‘Inspection;’”’ Peter = POSUMSL ces 5 Pade ok ee ee nen bone eee 340° 858. Charles H. Davis’s “‘A Connecticut Val- ley)? Wy Mo Millan 03): .cc ones doar 700 | | 854. A. H. Thayer’s “‘ Lillian,’ R. Maxwell. 400» | 865. Benjamin West’s ‘ Expulsion from 5 Eden;” H. W. Watrous......0.....0d0020 200 . 856. Gilbert Stuart’s ‘‘Senator Young;” Mor- DiS Kei FORM eek oh 6 be te 675. 857. bic 38 ese be eale’s ‘* Washington;’’ 8. A ‘ ACER REIN ease AMIN gC 08s ,100 | | 858. Shares *D. Wéldon’s ‘‘ Dreamland;”’ W. j | O Eel 2 21: got ipa ent rpeaeeNUN Me Ue Geel Une chrngrd etl Meet 3 625° 859, Charles F. Ulrich’s "‘ The Spinner;’’ aa 160 ’ 360. Winslow: Homer's ‘‘The Two Guides;” eee | CT BLAED ieis Diailwlaoen ov aol eae ee aleiera nin hg al | 861. Inness’s ““Summer Foliage;’”? ———..... 5200/7 862. Louis Moeller’s ‘‘ Disagreement;”’ Cor- A uae) coran Ave Gallery: sols eaa een els 1,800 868. W. lL. Picknell’s i Ganaey Morning;” W. Bi; hearse sith esse eka encemenenee 900 | 864. H. Siddons Mowbray’s “‘Aladdin;” R. 8. ‘ Barnes. a 875. $65. Inness’s “Delaware ‘Valley;”” Metropoli- tan Museum of Art.. 8,106 | 866. Eastman x ohnson’s ‘New England Ped- Pe dier:’ O. Whitcomb... 480. 867. A. H. Wants ‘‘Dawn—Keene Valley;” $33 Oottier ds Ooi goers ase ca iove eee 2,500 - ® ie Woe os 880. ie other" a eae Trout; Bos- a9 831. a raed 8“ ie oe James Gain: Lo | 868, Robert Wylic’s Corcoran Art Gallery....... 1,400 } | 869. D. W. Tryon’ s ‘Return Home. at Twi- i sere Panay: from hath d- ocean hreys.. wees ae “3 " ‘Chios and ‘Sam; séum of Fine Arts.. sata stan Mes Pee R ed we ee ee ee eee ene tere MG. CLOSDY. oie. y ieee cy eset esse ee eens mA AINe: 834. Wyatt Eaton's ‘‘ Daphne:” Walters... Real eon 835. R. Swain Gifford’s Nashewanna stand)? ¢ ‘0. A, Durrell. 24.05. 836. Charles C. Currau’s “The ‘Wreck; Lene 337. Jervis ‘McEntee’ 8 ‘‘EKastern Sky ‘at Su pets’? Corcoran Art Gallery, /..2:..5.00 ae 838. Kwara Simmons’s “A Passing ‘Train; one . Blair, Chicago. . rg 339. Bruce Crane’s “Afternoon Light; a8? a. Ww. i ; aa) ; MOPS) iy ics ae in laden t aeeareee eae 840. Winslow Homer’s ‘‘ The Breakwater’? ® BE. McMillan... ... 841. ee thd Threatening;’” E. “McMillan. 842. Thomas Eakins’s * Professionals at Be hearsal;’’ A. C. Humphreys............ 150° 843. D. W. Tryon’ § “ Evening;’ " Pennsylvania eae Academy of Fine Arts. . 1,000" 844. Ei. A. Abbey’s 2 Ping ‘Apple ““Blos- Ba Ss soms:’”’.Mrs, T. L. Manson. ....,....... 604 846. Homer Martin’s “Indian Summer;” A.C, Went FUN DHPC VS is SS ales daete ce acing a) 7 BOO) 846. George B. Butler’s ‘“‘Puss at Rest;’ FF. WSO CKELALL OR lo sts ee Side sa ee ae ieee ee 250 847. Irving R. Wiles’s ‘‘Shady Lawn;’’ T. AL fA ETL OLRM cro saie iota ick ticks bial oleae woclleva eta eee aan 2385 $48. William Bliss Baker’s *‘ Silence;’’ 8. B area assis AVOTM I LEG Ok. viol icles eee pig enim caine 1,800 849, A. P. Ryders “Christ Appearing to ince, Marys) Cottier 8 Ooi i.6) i. awn ene . 1,000. 350. Winslow Homer's ‘“ Moonlight—Wwood’s Island Light;’’ Boussod, Valadon & Co, 3,650 851. Inness’s ‘‘ Winter Morning—Montelair;”’ ‘A Fortune Teller ‘of Brittany;’’ Boussod, Valadon & Co,...... i light;’” - “Bight Bells; H. 870. Winslow Homer’s Schatis.. ; 4,700 | 871. J. Francis ‘Murphy’: a ‘October;””. Corco- | 888. Pec Maynard's s“Bacchante;* Se 5 ae FAD ATE Gallery iiss ddatongean ty tawny 2,100. 872. dae hl s lexi a Summer aires E. McMillan.. alla abate eek BEOAPINUL WTO’: Total last evening. Fak oth TESA ER REI ef, $68,680, 00. NInesday evenine’s Sale... ......ecceeceeee 54,040.00 - Wednésday evening...... Beat clicty Vib bran illo 50, 555.00 | | Thursday eyening..... BEE ase ae 9 jake tip aidare 61,220, 00 cane | Toe ee for the 872 paintings of the collec- [oe a Fe Ups Wy PAC tere eamias nas bits irk oA | First three afternoon sales of objects of eres $2 84,495.00 ft PND ite ce Aaa aaah a's shea Mets alae aa iat $66,989.50 | Total to date........cleeeeeeeese- + -$301,484,50 cS _ ARTIST GOT was es ne arene “A GRAY, LOWERY Ten at Ser Pa: Artist Was Delightéd | to Get the Origi- nal Price, ISN'T THIS A BOOM. | IN NATIVE ART? Bae kg in the acuiaae of divine hue | manity it was not strange chat George Inness became convinced that he worked with the guidance of a divine power which directed him in his labor and led him to. an UW standing of what he painted and to ex | ing it truthfully upon his canvas. He did n | endeavor to paint nature. He considered that | | he was writing nature in colors’ He once. said to George W. Sheldon, whose biography » of him appeared in the Century Magazine:— Rivers, streams, the rippling brook, 3 e, the sky, clouds—all things” we see- will convey the sentiment of the highest art if we are in the love of God and the desire. of truth.” Inness was born in May, 1825, near wees, re, N. Y. He was a delicate, nervous hild, afflicted, as he himself often told, with awful dreams, which would ‘rouse eg dart Inness isa eBicws | Record in ae ) can Art. — HIGHEST nee FC OR | ite OF ITS SIZE. a eal ae ought with discretion assible invest: t SR N, at ‘His father and wanted him to go into , y had had some lessons pk) York city, 4 latent sense of color, | ' of Régis Gignoux, a | — io New ‘York. year i “He fap is ed to a while, but in 1850 went to 1 art was at this time under such glants as Millet, et, Corot and deeply in- eheinies 4 of cayeiedhane Past aid to have constructed from these | | on of his art. cri tS. @ aida ee an hg, moe Ate ake ee ee x + Piast Spey re es re enero . &: fT mee SS i ED Pe se ey to