\ estates, namely, those of George yi Crocker, Frederic Bonner, Alice Ne comb, and Emily H. Moir, held in t bright and attractive ballroom of _ Plaza Hotel Wednesday evening la: _/was not only most successful in its u expectedly high total of $236,000 for 82 _ numbers, but sensationally broke the} world’s records for any examples of | - Corot and the later Cazin, at public sale. | _ The combined collection contained} the rarely fine and large Corot “Lake Nemi,” which brought $17,000: at the Mary Jane Morgan sale of 1886, ta record price at that period, and a sus] . _ perior example of Cazin and of the} _ Americans, Wyant and Tryon, with an| _ unusual Inness. Speculation was rife in} art circles for some days previous to the] sale as to the probable price that would} . __ be brought by the Corot in particular, but} _ the astonishing figure of $85,000 which} it obtained—the highest ever secured for _ one of this master’s works at auction, and $5,000 higher than was brought by} the larger, and by most critics consid-: ered the finer, “Fisherman” in the Yerkes’ sale, surpassed the guessés of even the most optimistic dealers. The ™ appearance of the Corot was the signal - j\for applause. The fitst bid of $25,000} was made by Knoedler & Co., who, it! was reported, had an unlimited order \from a customer. When the bidding |reached_ the $50,000. mark, Durand-Ruel 5 bid $55,000 and withdrew. Knoedler & _ Co. continued to bid with again several _ competitors in $1,000 bids, until $61,000 was reached. Then came a bid from _ the Knoedler box of $65,000, followed by a competitive offer of $70,000. From this point the auctioneer, whose task had | up till then been the one of simply an- nouncing the bids, had to work, and suc-|| _ ceeded by a series of $500 bids in ob- taining the, astonishing total and world auction record figure for a Corot of $85,000. The picture will probably have a place in the noted collection of Mrs. W. W. Kimball of Chicago. The Cazin, _ although a good example, brought an un- \expectedly high price and was bought by Mrs. Charles B. Alexander, formerly | ocker, aS a memento of her broth- jer. Some pictures fell in price, notably ' “\the Diaz, which brought $8,650 at the Morgan sale of 1886, and the Zamacois, ‘which brought $3,100 at the Martin sale ;of 1909, | The Corot was originally purchased fromthe artist himself by M. Durand| Ruel, Sr., in 1865, for 6,000 frs. ($1,200). ‘It was painted and shown at the Salon Se” | ee i ‘ings of the principal pictures owned by! ‘them. It was etched by Laguillerais and -|Arts Exhibition in 1875. _|sold it to Mrs. Mary Jane Morgan for a - Sulley of London, Heinemann of Munich ick ‘picture from M. Larrieu, and it to Baron de Villars for Me frs. ($2,000), from whom they repur- | ased it for 12,000 frs. ($2,400). It] was owned by the firm in 1873 when they; ‘published, in several volumes, the etch- > Durand-Rue is No. 136 in this catalog. Mr. Heeht | sa next bought the picture for 15,000 frs.) — ($3,000) and exhibited it at the Beaux! The late Will-} — iam Schaus was the next purchaser and price not recorded. It brought $17,000, at the sale of her pictures in 1886. The ballroom was crowded to its ca- pacity, and in the audience were all the) — leading New York, Boston and Chicago! dealers, as also Messrs’ Hodgkins and | and Mersch of Paris, while all the other leading foreign dealers were represented | by agents. There were also in the audi- ence a number of well-known collectors, | notably Mr. and Mrs. Charles B. Alex- | ander, Mrs. F. F. Thompson and Messrs, j Flugo Reisinger, Henry Babcock, Will-| jam T. Evans, C. K. G. Billings, P. W. | Rouss, A. A. Healey, William A.Crom-| well, Harrison Williams, Henry Ludlow, Alfred Jaretzki and Judge Dugro, and Mr. J. H. Secor of Toledo, Ohio, the bayer of the fine Diaz at $12,000 at the. recent Schaus sale. Unusual secrecy was noticeable on the | part of the principal buyers, and agents” names figured more largely than usual as purchasers in the list given out by the | American Art Association, which con-- ducted the sale. Mr. Thomas E. Kirby } .- was the auctioneer, and was at his best. While in several instances, as above | — noted, unexpectedly large figures were | obtained and the average of prices ruled | high, happily so in this dull art season, | the low figures following some great | names such as Lawrence, Gainsborough — and Hoppner, tell their story to the Cog- noscenti? But the proportion of poor ‘or questioned pictures in the unusually good selection from the four estates was small. The excellent examples of Bou- ain from the Bonner estate sold too low, and it was evident were not “sustained,” as had been anticipated. _ The significance of the sale, both to tie trade and the collector, was that, as the American Art News has continually, consistently and: persistently argued for ten years past—really good and high "= AND CAZIN. p best authority fc former Senator Will- the purchaser at the pe Lee. See 756 1,000 1,900 Kk, of the remarkable ex- o's “Lake Nemi,” which Bes S678, American record auction ae 925 a 21750 example of the French OMpson ... be. . alae 3,400 rf 85,000. : bigny, “Brenine on the Stine’; Geo. 7B, : 5 i Se a ie eras 8,000 t is known that Senator Clark, and cane “Shepherdess | and. Sheep”; Geo. © a Wee Ss 3 See Ob Peas 1,350 yt ‘Mrs. Charles B. Alexander, to ] ba ae and a Georges Petit of ‘ } . | MOM tit ek 5,100 LUE Rare a ieee 4,300 4s oe Soi Lt & eee gon. oD. Wittfamns: 6,000 oe “Springtime”; ae D. Williams.. 9,000 orot, “Lake Nemi’’; W. W. Seaman, agent.. 85,000 the fine eanves. by Cazin, “Artist’s Home at Ecouen,” which brought also | the record auction price for a Cazin at eee t aS ike G, Hudson... 1,000 | the same sale, of $251200 eee “Berck-sur Mer”; | c. & N. M. | Clark has long admired ce s works “Sti ie rece land has several other fine examples of Lees 78 ‘his brush. 700 | In consequence of a remark of an Dy re oc sa ak ~ | auctioneer’s assistant after the sale ? eRe Pee Sais ae that “the picture had gone West,” it | es os 2 eee a 2,400 ee assumed that Mrs. W. W. Kimball WES AR Ne ee oY a. of Chicago had been the purchaser, Wha A A. coal a but this is now denied, ce Biss “ oud = be og 1,900 The consensus of opinion after the sale By corer? Dinner”; PW. Rouss. 3330 was that if the picture went West, it would eee Geren Hour’ fis priate 600 be found in the collection of Mr. Harold AST i Ss eee 575 McCormick of Chicago, who paid $52 ¢ Dee othe Latics Arundel wre. Fie ye 900 for the’ Corot “Morning,” at the | i Perr. “Empress Josephine”; Ed. Brandus. i000 Yerkes sale; and that if it remained in ar: Backs. *epavid “Garrick; Wiese ithe East it would possibly be found in ynods, Lord Sfelpoxine’; fot Singleton. 100 the collections of Mr. George F. Baker, yen Couture, Lig Republican, 1788";- _ |the purchaser, through Duveen Broth- J Nicol, “'Bachelor ie fA Brown’ 804 ers, of the great Corot, “The Fisher- i Hos ci eee ee 3700 -man,” for $80,500, and of the equally 4 ne 8 Land”; Khoedler ee Troyon, “Going to Market,” for Hoots Lod, *afirandary, Wine te Evans, *980 $00,500, at the Yerkes’ sale; and who me eft yneance 3} Be ing | also. recently secured the great Rous- C ana “Noank Hie FRE EN, ‘a ee iseau, “Le Pecheur,” from Knoedler & Te Weeks, "Moorish Sircet“Seene™“O. Co., for the record price of $175,000. eGR ODT. Be 431+ Sielp ee eos cin ve eee a 1175 ; , “Hunting’; Mrs. Alfred Jaretzki,. 1,250 tee of the Artist at Ecouen’’; 200 Meraries G. Alexander .v.0.2..0%-5.0ee0nns 25. Robie Pil Life”; H. Reinhardt..-........ ak | A. Cabanel “Meditation” O. Bernet, agent.. Bouguereau, “Amour Voltigeant Sur Les ea), ) Eaux” ; Mrs. Porttigner WB . Ses dete aires 4 Kaemmerer, “French Wedding Procession” ae Judge Dugro ...:.----secceee eee cesceeers 545 he.salewas-credited, purchased picture sale at the. - IMPORTANT PAINTINGS eins TO THE ESTATES OF THE LATE GEORGE CROCKER eee ALICE NEWCOMB : EMILY H. MOIR FREDERIC BONNER TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF THE EXECUTORS ON WEDNESDAY EVENING, JANUARY 24, 1912 Wei as pascal BEGINNING AT EIGHT 0’ CLOCK IN THE GRAND BALLROOM OF THE PLAZA Firth AVENUE, 58TH To 59TH STREETS ) start (ONCE: BoveHt FOR $14,000 i : he > iitte leke' soy “two trivatea: mas ©. Kirby of the American Art As- sociation sold a landscape lby Corot, called | “Lake Nemi,” for $35,000 last night, a| | price that beats the high wecond for a painting by this master, establigheg in the Yerkes sale two years ago by $5,000, There were six competitors for the can- vas, Knoedler & Co,’s representative mak- Ving the first offer of $25,000, and’ reinaining: athe contest until the figure of $84,500 | was reached, when W. W. Seaman, acting the agent for-aw out-of-town collector, | refused: to. ‘Bive: his. name,. oftered | “000, and secuted the prize of the night. | Ve painting’ was’ from the estate of Mrs. | “Newcomb, _ whose husband hid “bought tt at the Mary Je! Morgan sale in - 1886. for $14,000. - ‘Phis sensational- price was the feature of the sale of eighty-two paintings tost had* been. collected: in their ‘lifetimes by) George Crocker, Alice. Newconib, Kmily H. Moir and Frederic Boner, It was keld in the ballroom of the Pliza, and that spacious” auditorium ‘was jammed with a brilliant audience sufficiently in-| terested in the paintings “to break into, frequent outbursis of applause when the | ‘best. of the canvases were placed on the ‘easel ‘and Gee high figures were called. Next to the sale ef the Corot the picture! that attracted the most attention ug Cazin’s “Home of the Artist at EHcouen,” Soe went to ‘an agent for $25,200, a new| | record for a painting by this Frenchman. i. IX. G. Billings was the ‘runner-up’ in) ithe ; ‘competition for, this...canvas;. he: Stopping at $100 below the final figure, | | While an excitable Frenchman in the rear jot the room who had. known, Cazin 1ex= | elaimed, “And you could have bought that | home of Cazin’s for $100.”’ The high prices began to be paid early j in the session, the first of these being the $8,000 paid iby George D, Horst for Dau- | bigny’s “Hivening on the. Seine,’ while a few minutes later Boussod, Valadon & i gave $4,300 for Jacque ’s‘‘Sheep in Stable.’ That the French school is still in fashion was shown by $6,000 paid by D. Williams for Diaz’s “Sunset after. Storm’; the $9,000 paid by the same. buyer for Van Marcke’s “Springtime; $3,350 paid by P. W. Rouss for Vibert’s “Canon's Dinner’; the $3,100 by Latimer for Boldini’s ‘“‘Music.” Schreyer’s ‘Arab ‘Scout’ went to Ww liam A. Cromwell for G “$11 pid,’’ uguereau, Wi Be. “$2,550; amour ti Bouguereau, Latimer, $2,700 ‘Pnocession,” Kaemmerer, . $1,450, ‘The total for the wy IM BELONGING TO THE ESTATES OF THE LATE GEORGE CROCKER. ee MB EMILY H. MOIR teen ae gp FREDERIC BONNER f } i | TO BE SOLD BY ORDER OF THE EXECUTORS AT UNRESTRICTED PUBLIC SALE IN THE GRAND BALLROOM OF THE PLAZA FirtH AVENUE, 58TH TO 59TH STREETS ON THE EVENING HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION NEW YORK 1912) 187-139 East 25th Street, New ¥ An he » ~ . . 4, jos CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arises between two or more Bidders, the Lot so in eg shall be immediately put up again and re-sold. 2. The Auctioneer reserves fe right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re- sold. _ 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of 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. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, and make no Warranty whatever, they will, upon re- ceiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof for damage or injury occasioned thereby. 6. To prevent imaccuracy in delivery, and inconvenience in the settle- ment of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money de- posited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The Undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. Tur AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, AvcrTioneeEr. SALE WEDNESDAY EV: «JANUARY 24, 1912 IN THE GRAND BALL a THE PLAZ AMS FIFTH AVENUE, 58th TO 59th § BEGINNING PROMPTLY AT 8:15 O * ’ : \ * 7 No. 1 E. CASTRES TRAVELING BEARS Height, 5 inches; length, 9Y inches (Panel) A Road, which is raised above the foreground on a bank coy- ered with snow, crosses the composition horizontally. A sign- post appears at the left, toward which is approaching a hooded wagon drawn by two horses, the one in advance being ridden by the driver. Behind the wagon follows a man in red cap and pale blue breeches, who carries a bundle on a stick over his shoulder and leads two dancing bears. Signed at the lower left, “EK. Castres.” Owner, Estate of the late Mrs. Alice Newcomb. eS ee ee eh a Se eS eS ee a oe, COE wae Oe Oe BAY No. 2 A. SIEFERT GERMAN HEAD OF A YOUNG GIRL Height, 81/, inches; mae 61, inches (Panel) Tue neck and shoulders are exposed, three-quarters to the front, the head being inclined over the left shoulder. The eyes glance farther to the left, while the lips are parted in a slight smile. The lady wears a cap of old rose velvet, quilted with gold threads and pearls and edged with lace, from which the blond hair falls in a flat fringe over the forehead. A ruff en- circles the neck, above a brown velvet bodice which shows a sleeve of pinkish-lavender and creamy tones. ‘The whole is silhouetted against a drab background. Signed at the lower left, “A. SreFeRt.” Purchased from Reichart & Company, New York, 1884. Collection Mary J. Morgan, New York, 1886. ~ “fea OxXx , m Owner, Estate of the late Mrs. Emily H. Moir. No. 8 CHARLES THEODORE FRERE FRENCH, 1815-1888 CARAVANSERAIL Height, 6°24 inches; width, 5 inches (Panel) A pack donkey faces us in advance of a row of Orientals, the group being in the shadow of a building with overhanging eaves at the left of the foreground. A man in blue robe and red turban is emerging from the shadow, as he walks toward a Nubian who sits beside a basket of fruit to the right of the middle distance. In a farther plane are seated figures in blue and white draperies under a tree, beyond the sprinkled foliage of which appears a minaret. Signed at the lower left, “Tu. FRrEr£.” Owner, Estate of the late Mrs. Alice Newcomb. No. 4 EDUARDO ZAMACOIS SPANISH, 1842-1871 JUDGMENT! Height, 61 inches; width, 41/4 imches AN ancient servitor in knee breeches, jacket and cloak, all of red and heavily adorned with gold braid and lace, stands before a sideboard in a paneled hall, his broom poised over his left shoulder, his right foot planted on a suit of fallen armor—hel- met, breast-plate, battleaxe, etc.—lying in disorder on the floor. He is seen in full face as he turns toward the spectator, smiling in glee. His features are strong and fine of his type; he has a well-modeled brow and a broad, high forehead whence his red hair is receding; fat, ruddy cheeks, and keen, twinkling eyes. His left foot on the floor, his right on the corselet of the fallen idol, the old rascal extends his right arm over the pros- trate suit that once protected a gallant knight, palm open and fingers directed downward, as who should say: “Behold, I have vanquished him, I!’ Signed at the right, “E° ZAmacois, 66.” Owner, Estate of the late George Crocker. No. 5 a Me a MARIANO FORTUNY Y CARBO SPANISH, 1838-1874 A SPANISH HORSEMAN | Height, 14 inches; width, 734 inches a (Water Color) A Spanisu horseman in gay colored attire, with heavy boots and spurs, has dismounted and quit his horse (which is not seen) to read a display poster announcing a bull fight. The figure is full of action, yet in perfect poise. ‘The poster is at the right, nothing legible on it in the glare of the sunlight to the spectator except the word s-lorgs eat thetop. Uhereader has approached from the left and as he reads is turned three- quarters from the spectator, his face seen in sharp profile, the light falling on his broad back and illuminating his resplend- ent apparel. His jacket of blue, in spots greenish, is brocaded in dull gold tones and sustains heavy, ornate epaulets. His body is wound with a purplish- red sash and his yellowish-gray trousers are bound to his boots with purple ropes. ‘The sun, back of him, throws his full-length silhouette on the poster- board. Signed at the right, “Fortuny.” Owner, Estate of the late George Crocker. No. 6 LUDWIG KNAUS GERMAN, 1829-1910 CHILD'S HEAD Height, 814 inches; width, 74 inches S Pio, eo (Panel) NG VL ole A LITTLE girl, whose bust is seen in profile toward the left, — turns her face to the front, as her large brown eyes glance to our right over her left shoulder. A rose and bud with leaves deck her dark brown hair, which is brushed smoothly from her forehead and hangs behind her back. Her figure, so far as it is shown, is dressed in a dainty Watteau gown of café-au-lait silk, damasked with purple and claret. It is edged with pale blue ribbon. The whole is projected against a golden brown _ background. Signed and dated at the lower left, “LL. Knaus, 1877.” Purchased from William Schaus, New York, 1887. Owner, Estate of the late Mrs. Alice Newcomb. ' No. 7 J. BEAUFAIN IRVING, N. A. AMERICAN, 1826-1877 THE REMINISCENCES ~ Maer ies os Height, 10 inches; lengthyA1 Vy inches (\ a Oo = AANA ere Horr |} Farmtey In a room with high paneled wainscoting and otdy walls two 4 men in seventeenth century costumés are sitting at a carved . wood table drinking. Each is seated on a carved chair up- holstered in green, while over a third similar chair, back of the table, is thrown the cloak of the visitor, who wears full, gray breeches, blue coat, an undercoat of yellowish-brown with lace cuffs, and a broad red sash. He sits in the center across the canvas, facing the right, where sits his host at the corner of the table and facing the spectator. The caller is leaning far back in his chair, his left arm raised and bent as he places his hand solemnly on his heart and looks aloft into distance (or as at some unseen portrait hung high), and with sad and serious eyes pledges some one—with a preliminary apostrophe—his tall, filled glass poised high overhead in his right hand. His host, with tousled, sandy hair, is in dark corduroy trousers, buff coat and red-topped boots, with spurs. He holds his long stemmed clay pipe in one hand over his chair back, and doesn’t seem to take his guest’s emotion seriously. He is suf- ficiently stimulated from sources on the table to be merry, and is laughing heartily as he leans on one elbow. Signed at the right, “J. Brauratn Irvine, N. A., 1874.” Owner, Estate of the late George Crocker. “doa No. 8 GIOVANNI BATTISTA QUADRON E ITALIAN, 1844- IN THE STUDIO ee JO 2° Height, 12 inches; width, 9V4 nck i In the corner of a European skylight studio with ae walls lies a portrait of a.man’s head. ‘The paitter’s palette has been hurled to the floor also, landing face down and smearing its colors on the boards. The artist, gripping a chair with his left hand, extends his right arm toward the wreck as though in an attitude of clenching his fist, but with fingers spread and curled up instead—a familiar Italian gesture—as he contemplates the ruin; and his dog crouches behind him. Signed at the right, “B. QuapRong, 773.” Owner, Estate of the late George Crocker. \ od / rvo No. 9 BERNARDUS JOHANNES BLOMMERS HOLLAND, 1845- SHOVELING SNOW e& Height, 14 inches; width, 10 mches Pek Snow lies on its roof and the edges of the bro h-red ane ters, while icicles hang from the eaves. A wall-like fence, com- posed of clapboards, has an opening in the center, where a little child in a long frock stands with hands folded, watching her mother shoveling snow. The latter, stooping at the left of the foreground, is clad in a white cap and chemisette, lavender waist and a light blue apron over a slaty colored skirt; all the hues being broken up into a varied and delicate tonality. Be- yond the woman’s figure appears a picket fence which adjoins the cottage. Signed at the lower right, “B. J. BLomMeErs.” Purchased from Cottier & Company. Collection Mary J. Morgan, New York, 1886. f 950K, 1 bata Owner, Estate of the late Mrs. Alice Newcomb. STE TS TN Se Oo See ae «ee, 6a nthe ays RAO CINE EE Mic th, ; % : ? eR hee, ba / : e “pee 5 # Pe nee yy aati at Pye y he i gla ae ct! + x ties A nthe eet? < exre) Sa * " No. 10 G. TAMBURINI ITALIAN BROTHER CELLARER Height, 141% inches; segs 11 inches hag : ep EUR. AN aged monk in white habit, and a white skullcap from which his sparse gray hair comes forth in a fringe over the center of his forehead and behind the temples, makes his way through a dark cellar, lighting his path with an old-time candle-lantern which he holds in his left hand. On his right arm he carries a double basket filled with bottles of wine and liqueur, still sealed. He is shown turned three-quarters to the spectator, his eyes on the ground to guide the better his halting steps. He is of large features that once were strong, now bearing marks of senility, and the high color yet in his cheeks tells of his having lived a life of good cheer and plenty. His lips partly opened in a comfortable smile reveal that some of his teeth have gone. Signed at the upper left, “G. Tampurtnt, Florence.” Owner, Estate of the late George Crocker. No. 11 JOSEF BENEDICTER GERMAN, 1843- | y A MOTHER AND CHILD _ Height, 1614 inches; width, 1134 inches /— f awd : (o< Lp Vi») y, / 7 O EVs Ve Ce, ONE sees across a foreground paved with cobblestones, where a grindstone stands, the front of a cottage. The window is open showing a cosy interior, in which a mother sits looking tenderly at the baby on her lap as it grasps her finger. A cradle stands on the floor beside a curtained tester bed. At the back of the room on the right appears a vertical strip of window with sunlit circular panes. = é 4 Signed and dated at the lower right, “J. Benepicrer, Miinchen, 1864.” Purchased from M. Knoedler & Company. Collection Mary J. Morgan, New York, 1886.9 37 — nes “= hiweret . Owner, Estate of the late Mrs. Alice Newcomb. No. 12 JEAN LEON GEROME FRENCH, 1824-1904 A GENTLEMAN OF THE TIME OF LOUIS XIII oO ov ee. Height, 184% inches; width, 10 eh ae Ie ie ; Ow a floor of large gray flags a cavalier stands, booted and spurred, his sword at his side, against a somber background. His boots of reddish-brown leather take various reflections from, the floor as he stands with left foot advanced, his weight on his right. ‘The rich black cloak is drawn under his right arm, which, held akimbo, shows the white silken lining of the slashed golden-drab sleeve. Signed at the right, “J. L. Gérome.” Purchased from Martin N. Colnaghi, London, 1900. Owner, Estate of the late George Crocker. No. 138 EDUARDO ZAMACOIS SPANISH, 1842-1871 THE STROLLING PLAYERS vs weer on / 9 po ee Height, 12% inches; length, 15 mepes f) . IN an inn room with walls of a reddish Pahoa tone, “and a stone and brick floor, a dozen variously costumed men are gath- ered, watching a red-headed young man fencing with a monkey which is perched on a table. Beside the table stands mine host, in blue and green, napkin on arm, smiling and clapping his hands in due encouragement. Behind him a buxom, comely daughter of his household rebukes an impertinent who has attempted a maudlin embrace. Signed at the left, “E° Zamacois, 1864.” Purchased from the John T. Martin Collection, New York, 1909. A oe, is : Owner, Estate of the late George Crocker. No. 14 JOHANNES HENDRIK WEISSENBRUCK putcH, 1824-1903 HOLLAND MEADOWS Height, 121% inches; length, 22% inches é a ore (Water Ce. v Vn ee Vea Intro a lush green meadow runs the head of a canal which enters at the left foreground and runs to the middle distance, where a boatman is poling a punt. Nearer the spectator a broad and heavily built boat for oars or sail is moored against the bank at the right, and along the bank, which is green as the luxuriant meadow beyond, extends the customary path. At the left of the canal in the immediate foreground stunted bushes push their limbs over the water. In the middle distance is a hamlet, on the outskirts of which three ancient windmills raise their long sail-arms, and in the green meadow white cattle are seen grazing. ‘The day is bright, though one of the windmills appears under the shadow of a passing cloud, and gray cloud ramparts are building all along the horizon. Signed at the right, “J. H. WxissENBRUCK.” Owner, Estate of the late Frederic Bonner: No. 15 ANTOINE VOLLON FRENCH, 1833-1900 A DONKEY —— ie _. Height, 124 imches; length, 1594 oe oS A sturvy baudet is shown standing across the oreground, toward the left, the head turned three-quarters to the front. His coat is a rich brown, lighter round the muzzle and under the belly. The forefeet are planted side by side, as are also the hindlegs, on a patch of dusty ground, beyond which is a back- ground of scrubby grass. This slopes up at the right to an eminence, where a white house appears amid trees. Over them hangs a fluster of white-gray clouds in a gray sky, which shows toward the left an interval of blue. Signed at the lower left, “A. VoLuon.” Purchased from Cottier & Company. Collection Mary J. Morgan, New York, 1886. : , f] sa Owner, Estate of the late Mrs. Alice Newcomb. FI 2 - Sxx G: | a a er a a ANTE Nn at Se a a No. 16 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH, 1807-1876 FLOWERS e 4 Height, 6 inches: lengt , 8 imches a pet eT EE A BUNCH of creamy roses, tinged wee laventieg -pink and dyed in the center with pale claret, occupies the center of the com- position. They are interspersed at the left with some ane- monies of pale sapphire blue, and on the right with dull red poppies. A few yellow petals, as of wallflowers, appear at the lower right. ‘The bouquet rests on a gray-buff surface against an indication of greenish foliage. : Signed at the lower right, “N. D.” Purchased from S. P. pe New York, 1885. Collection Mary J. Morgan, New York, 1386. F106 SX 9. Poke Owner, Estate of the late Mrs. Alice Newcomb. "No. 17 EDGE OF THE WOODS BY NARCISSE VIRGILE DIAZ DE LA PENA No. 17 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH, 1807-1876 c 0 EDGE OF THE WOODS m/ 2 i Height, 121% inches; length, 1614 inches ? (Panel). ; on ee +, ane Tuer foreground shows a partial clearing, vovered with coarse grass, interrupted here and there by the suggestion of a pocket of water and sprinkled with brown shrubs and dark green scrub. About the center a woman approaches, bending over a faggot which she carries in front of her. She wears a deep blue skirt and white cap, a touch of scarlet enlivening the neck of her chemisette. At her right stands a_ straight- stemmed oak, topped with a mass of yellow leafage, while farther to the right an oak with orange foliage joins its branches with one of yellow hue. In the middle distance at the left stands a single oak, which, like the other three, catches a white light on its trunk. The background is closed in with a wood, above which hovers low a puff of white cloud, the sky overhead being blue, sifted over with a dove-gray vapor. | : Signed at the lower left, “N. Diaz.” Purchased from William Schaus, N ew York, 1885. Tis aa x ~ Mi] i baie Collection Mary J. Morgan, New York, 1886. 662 ~ nes Owner, Estate of the late Mrs. Emily H. Moir. i al BOATS ON THE SHORE : “ES | fused with gray vapor, me Gi Leage- a Ch \ dale 3 Fam sxe _ Purchased from M. Knoedler & Company, New York. 4710 - Th . Collection Mary J. Morgan, New York, 1886. FY Aon. W ¢ We | is No. 18 CHARLES FRANCOIS DAUBIGNY FRENCH, 1817-1878 Height, 13 inches; length, 221% inches | (Panel) 0 - val Pee citar fishing boat is beached upon the brownish buff sand in the foreground, her olive-slaty hull being propped by a plank. Other planks are strewn around, while two long yel- low ones slope from the gunwale to the stand. On these hang nets, one of them with floats attached, over which a man, dressed in olive-drab, is working. In the boat appear a red- faced boy and a fisherman in a dark green waistcoat and blue woollen cap, striped with red. ‘Two fish-baskets stand on the sand to the left, and farther back a number are grouped around another sailboat. Some black and white figures stand near a dark rowboat at the edge of the water, as if watching a boat which has a pale yellow sail. In the distance a line of .dove- gray and blue cliffs lies along the horizon, beneath a_sky suf- - Bateau hed Signed at the lower right, ‘““DauBieny.” ? Owner, Estate of the late Mrs. Emily H. Moir. No. 19 EVENING ON THE SEINE BY CHARLES FRANCOIS DAUBIGNY No. 19 CHARLES FRANCOIS DAUBIGNY NY > Ww WAR \ Frencu, 1817-1878 EVENING ON THE SEINE | O: Hae 181% inches; length, 2614 inches VITO x ONE of Daahipnse s charming pr ssentea tee ote partly idyllic, partly sylvan, French landscape on the borders of the changeful Seine, which now threads the crowded communi- ties of cities, now wanders with many turns through green fields or about the edges of woodland. Here it is moving in broad ripples that are almost wavelets under the even impulse of a summer breeze, which is otherwise betokened in the multitudinous clouds which tell that the wind has not died with the sun. Back of the water in the foreground the farther bank of the stream rises steep to a ridge surmounted at the right by red-roofed cottages, which lie at the edge of a dense grove. F'rom the grove the land slopes in the middle distance to the left to a pomt around which the meandering river sweeps to be lost in the landscape among distant, misty hills. Over-their low summits the clouds hang rosy, tinged by the glow from the vanished sun. Signed at the right, ““Dausieny, 1874.” Purchased from the Frederic Bonner Collection, New York, 1900. b72- KA Owner, Estate of the late George Crocker. ‘ No. 20 Vs \é cs \.0_ CHARLES EMILE JACQUE ft FRENCH, 1813-1894 i SH EPHERDESS AND SHEEP Ca od Height, 1814 inches; width, 15 inches / 3.50 — Gg barn a flock of sheep, just emerging from their fold; are seen, their greasy fleece tawny in the veiled indirect light. At the left chickens which have been feeding in the barnyard look up inquiringly at a sheep which is eager to begin browsing right there. At the right, beside the doorway, stands the shepherd- ess, a sturdy young peasant woman in a blue skirt, coarse white stockings and heavy, clumsy shoes. She wears a dark red blouse with white edging at the neck, a brownish-gray cape with a darker hood hanging over the shoulders, and a white kerchief performing the office of a headdress. The sheep have all the pathetic expression which Jacque knew so well how to give to these animals. Signed at the right, “Cu. Jacque.” * Purchased from L. C. Delmonico, New York, 1900. Owner, Estate of the late George Crocker. | | 4 Ue VENUS SEEN ie eee et, # Y No. 21 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH, 1808-1876 AY a Vv Vv \ peeks Q4 chee: w es / t — Xi, Coe fy Venus at full length, standing nud ing her weight on her left foot, her right knee gently flexed, the heel raised from the ground. She leans to her right, her right arm encircling a winged cupid who is perched there. She inclines her head affectionately toward him, and he, nestling against her shoulder, offers her a red apple toward which her downcast eyes are directed. His hair like hers is flaxen. The figure shows considerable modeling and the flesh tones in their various gradations are fresh, though mellow... Venus appears in a full, strong light, against a background of deep-toned brown, reddish and green woods, through a small opening in which at the right is seen a patch of blue sky with grayish, curling clouds. Across one limb and falling back of her feet is a pale, dove-colored mantle. At her left another cupid stands, this one with reddish-yellow hair and draped in a pink wisp. | f / {Signed at the left, “N. Diaz, °56.” Purchased from Arnold & Tripp, ee is. Owner, Estate of the late George raster aces whe spectator, rest- 5 a No. 22 CHARLES EMILE JACQUE FRENCH, 1813-1899 SHEEP eh eta tte as \ a eight, 17 inches; length, 26 inches YA No Ai Tes ve C2 a1 THE interior, which occupies the foreground, opens at the back to another stable, where a shadowed doorway admits to a third. On the silvery-gray wall at the right of the foreground a shep- herd’s bag hangs above a rack, filled with yellow hay. Stretch- ing their necks up to it, some sheep stand in a row, while others are scattered over the straw-covered floor, one of them lower- ing her head to some curly cabbage leaves, near which stands a black hen with bright red wattles. This part of the scene is brightly lighted, whereas some sheep and a black and white hen at the left are wrapped in shadow. A fainter light il- lumines other sheep which appear in the inner stable. c FF | Ong Pn xx qe F } 56 se at the lower right, “Cu. Jacauz.” Purchased from M. Knoedler & Company, New York, 1887. SAIS” 1420 Owner, Estate of the late Mrs. Alice Newcomb. WA No. 23 JEAN BAPTISTE CAMILLE COROT FRENCH, 1796-1875 LANDSCAPE NEAR VILLE DAVRAY fy J. Qmstne Height, 184% inches; length, 22 inches <—BI0 — ArT the right a mass of trees surmounts a }6w bank, which is cut away in front of the spectator. The hght coming from beyond them casts shadows upon the green foreground, where at the right a figure appears in the herbage, and throws the filmy outer branches of the trees into relief against a luminous sky. The sky is a light blue, overborne by swirling masses of yellowish-white cumuli. At the left a small tree stands before a home which is suggested in shadowy form, a smaller build- ing appearing near it. Beyond is a glimpse of a lake in the middle distance, and yonder are indicated low hills. Signed at the left, “Coror.” From the Collection of the late Irwin Davis. [4 #bo —~heeh 7 Purchased from Baron Randolph Natili, New York, 1900. Owner, Estate of the late George Crocker. 40 WRAL _ No. 24 N ape eas VIRGILE DIAZ DE LA PENA OVA A Cus FRENCH, 1807-1876 ey vee AFTER A STORM 7 y D pegs 2614 inches; length, 34 inches on TS Se i ane - 4 THE angry storm-stirred sky is embroiled with blackish-purple vapor, paling in the center to a drabbish tone, where it is blis- tered with scars of creamy rose, lying over a dull red blurred horizon. ‘The desolate foreground shows toward the left a boulder beside a small pool which reflects the glare of the sky. At the back of it near a bush, a young tree is violently bent over by the force of the wind. The latter also blows close to its body the tail of a dog, as he follows at the heels of a shepherd who, holding his cloak tightly around him and bow- ing his back, plows his way heavily through the gloom. Signed and dated at the lower left, “N. Diaz, *71.” BM : Purchased from William Schaus, New York, 1884. sadiessiidniaichonstn ® Collection Mary J. Morgan, New York, 1886. pp aaj YIS% jee Owner, Estate of the late Mrs. Alice Newcomb. ot “a fr : No. 25 gt \ A EMILE VAN MARCKE FRENCH, 1827-1890 a 4 | oe Ni VPP \) vw Height, 32 inches; width, 251% jnches es CeO; Vee A LITTLE pool occupies the foreground, fed from a sluice gate ‘at the right, beside which grow fresh green reeds and yellow iris. At the left of it a dark brown cow stands in the water, lowering her head. Beside her, occupying the center of the composition, stands a pinkish-brown one which has approached from the left and turns her face to the front. A brownish-dun with white forehead comes forward at the left, where a shaggy dog is lapping the water with his pink tongue. ‘The bright green meadow slopes up at the back to an apple tree that spreads a mass of blossom against the brilliant blue of the sky. A hedge extends to the right, in front of which appear part of a brown and white cow and the head and body of a girl in dove- gray cap and bluish jacket, who carries a sheaf on her back. 3 K© Mey Pao xvi Signed at the lower left, “Em Van Marcxe.” Purchased from M. heed & Company. HG 2/ has x= Collection Mary J. Morgan, New York, 1886. psy —nmes Owner, Estate of the late Mrs. Emily H. Moir. wr} Wi ” Fe tia onsen oe BB: se : Ya No. 26 JEAN BAPTISTE CAMILLE COROT FRENCH, 1796-1875 LAKE NEMI (Souvenir des Environs du Lac de Nem) Height, 3834 inches; length, a Vito» Vi. dare STRETCHING back from the foreground, the lake drowses placidly in the waning light. Its surface reflects the dark olive- green tones of a hillside, crowned with a creamy-colored Italian villa and out-buildings, which passes across the middle distance and curves round to the front at the left. Here a single, al- most leafless, tree springs from beside a boulder. At the right the bank is clustered thick with verdure, out of which rises a group of tree-stems. Their foliage unites in an olive tawny mass, sprinkled with silvery and dull green and fringed around its margin with blurs of sooty brown. From a root of one of the trees that grips the edge of the bank a nude bather hangs by the. arms, the figure curved over the water as if in sitting posture. ches Signed and dated at the lower gt “Corot, 1865.” Exhibited at the Salon, Paris, 1865. Oe rie Exposition Universelle, Paris, 1867. Exposition al Ecole des Beaux Arts, 1875. Illustrated in The Century Magazine, June, 1889. Described in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Néla- ton, No. 1636, under the title 2 “Souvenir des Environs du Lac de Nem.” Purchased from William Schaus, Mev York, 1884. Collection of Mary J. Morgan, New York, 1886. FUG an apie, Owner, Estate of the late Mrs. Alice Newcomb, deceased. A GROUP OF WORKS By Evctne Bovupin No such number of paintings by Eugéne Boudin as the group of nine in this collection have been sold at auction before in this country. Although a successful painter in Paris for many years, and known here by a comparatively few examples of his work, Boudin is not yet appreciated in America in the degree that he is in Europe. He was born at the seaside and he came to be its interpreter. His birth- place was Honfleur, on the coast near Havre, and he started life as a _stationer and framer. He studied art and after his twenty-first year had the advice and criticism of Millet, and the city of Havre pensioned him as a student for three years. At Paris he essayed portraiture, then landscape, in oil and aquarelle. While living again in Havre he made his first entrance into the Salon, in 1859, with a picture, le Pardon de Sainte-Anne, although on his first return to Havre he had appeared to be attracted by Corot and by Rousseau at the same time, as a land- scapist. It was not until later that he found his true course in marines. He went up to Paris again in 1864, and thereafter let scarcely a year pass without exhibiting at the Salon. For three successive seasons he sent paintings of Trouville, to which his birthplace was neighbor on the Channel coast. In 1867 his picture was “The Jetty”; in 1868, le Depart pour le Pardon; the next year, la Plage a marée basse and la Plage a@ marée montante (the beach at low tide and at flood tide). Among others that followed were the Brest roadstead, Pécheuses de Kerhor, Camaret Harbor—a subject found in one of the important paintings of the present collection; “At the Shore,” “The Shore of Portrieux” and the quay at the same town; “The Port of Bordeaux” and the same port as seen from the Quai des Chartrons; the beach at Berck—a subject again found in this collection; “Rotterdam,” la Péche, and la Meuse a Rotterdam. 'This last canvas, exhibited in 1881, won for the painter a medal of the third class in the Salon of that year. The next year he pursued a similar theme, exposing “The Meuse Near Rotterdam,” and in the following year he was put hors concours with two canvases, l’Entrée and la Sortie. In.1884 he showed ‘“‘Low. Tide,” now in the museum of St. Lo, and among his Salon paintings which followed were l’A ppareillage et la Meuse, “A Squall,” which was purchased by the State and hung in the museum of Morlaix ; and “Low Tide at Etaples.” There is to be found in his work a sincere interpretation of the sea- coast and the ways of the late nineteenth century at and about the shore, while his skies are a study in themselves in their revelation of celestial nature. He was not without a considerable influence in the movement toward the study of light, of plein air. Wier No. 27 » : LOUIS EUGENE BOUDIN 4 v FRENCH, 1824-1898 TROUVILLE Height, 1414, inches; wid co if — , 1034 inches eB. A Posy. Tr jetties of the harbor entrance of Trowyville, with their lighthouses, project from the right and léft of the canvas, leading seaward from the spectator. The foreground is taken up with the smooth water of the protected haven, extending to the Channel in the distance, seen beyond the phares. Within the shelter are small boats, propelled by sail and oar, while other sail appear at the harbor mouth and out at sea under a sky blue at the zenith, with white cloud masses banked above the horizon. On the high banks of the jetties gay sum- mer sojourners in bright colors, and sheltered by parasols, sit on benches or promenade in the ocean breeze. Boudin began exhibiting regularly at the Salon with a painting of Trouville. He had shown there once, in 1859, when he exhibited a subject picture, before he found his life work as a marine painter; but it was not until 1864 that he commenced his long series of years as a regular exhibitor there, with a motive from this, the most famous watering place on the Channel shore of France. His Plage de Trou- ville of that season he followed with further interpretations of the same coast life in the two succeeding years. Signed at left, “E. Bounry, 791, Trouville.” Owner, Estate of the late Frederic Bonner. No. 28 HARBOR SCENE BY LOUIS EUGENE BOUDIN No. 28 __ tO LOUIS EUGENE BOUDIN FRENCH, 1824-1898 HARBOR SCENE . Height, 16 inches; length, 21°4, inches 13 oO. j In a small but populous haven sub rtgetaere and lesser hulls are lined against the shore-front, some alongside wharves, a few just in the stream. In the foreground a small boat with three persons, one of them rowing, is crossing the harbor. At the right and left high warehouses and other buildings of the town rise beyond the shipping, while all the vessels are flying bright flags from their mastheads, and one square-rig- ger is dressed from rail to main truck with multicolored signal pennants. Their hulls show black, red and green against the shore. Low land in the center of the composition appears be- tween the two sides of the town as a flat connecting sand strip. Over all cirro-cumulus clouds, their tops whitened by the sun- light, and dark below, floating across an azure sky, are mir- rorred in the harbor waters with the many hues of the flags and pennants, and dark shadows from a group of shore buildings at the left. Townsfolk people the shore-front, and voyagers appear on one of the moored boats. Signed at the left, “E. Bounty, °92” (with a place name not -clearly distinguishable) ; marked at the lower right, “August 14, 792.” Owner, Estate of the late Frederic Bonner. - Cpe y Furry, * No. 29 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 CHERBOURG Height, 161% inches; length, 22 yarches as } —— 7 O Ao. — Tue roadstead that has been made into Cherbourg ibe shown here in all the picturesque effect of the busy days of © sailing ships, when steamers were fewer, and tall spars, not giant bulk, made the conspicuous feature of a commercial waterfront. The picture was painted in 1888, the year in which the artist was put hors concours at the Salon. The harbor is filled with sailing craft of many kinds. Across the foreground is the water of the broad entrance, its ceaseless motion slight at the moment, reflecting in many hues the varied colors of the buildings on the shore, the high encircling hills, and the heavy cumulus clouds that are rolling majestic- ally across the sky. The background is the tall hills which partly surround the harbor, mainly green in full summer foliage, here and there russet where the soil is exposed, and dotted with occasional dwellings. At their foot the waterfront of the town curves through the middle distance, thickly- clustered buildings showing at the left with red, green and brown tiled roofs of various shapes. At the center and to the right are more buildings, many of them obscured by the craft of many sorts which are grouped there. Square-riggers are so thick that their masts and spars seem almost a tangle in the perspective, while fore-and-afters with sails up add to the lively nautical picture. In front of the closely crowded cargo vessels, two heavy working sloops, their gray sails tinged with red, are making slow way about the harbor mouth. Signed at the right, “KE. Bounty, ’83, Cherbourg.” Owner, Estate of the late Frederic Bonner. No. 30 BERCK-SUR-MER BY LOUIS EUGENE BOUDIN No. 30 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 BERCK-SUR-MER Height, 18 inches; length, 301/ inches Gas (Co mM Tuer tide has gone far out from a broad expanse of sandy shore under the lee of a small town, at the left, whose buildings at the shore line show among others a church and some houses painted in red and green. High on the strand of the fore- ground a half-dozen fishermen’s sailing boats are lying, the tide being out, all of them so placed that they rest on even keels. Men and women with gay colors in their peasants’ apparel are assisting at the boats’ unloading. Far out, at the water’s edge, are other fishing boats, some with sails still up. .Toward these people are walking across the sandy beaches. One group is making its way by cart toward another section of the shore where bathing machines appear to have been hauled into the surf. Light cumulus clouds move across the sky over this life of a lowland countryside at the sea’s edge. This was the title of M. Boudin’s painting in the Salon of 1876, and as the present canvas is signed and dated in that year, it is possible that this was his Salon picture. Signed at the left, “E. Bounty, Berck, 1876.” Owner, Estate of the late Frederic Bonner. No. 81 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 COAST SCENE - dog ee Height, 1814, hh length, 2644 ya A BroaD, flat beach sweeps athwart the canvas. ae rupted by a river, which, entering the composition from the right foreground, flows slightly to the left and outward, emptying in the middle distance into the blue sea. ‘The ocean fills the distance to the gray-blue horizon of a bright summer day when only the fleeciest of striated clouds show against the cerulean dome. Reflections from these in the placid water of the river mouth give it a lighter, paler tone than that of the ocean beyond. Just without the line of the breakers a dozen or more sailing vessels, their white and red sails brilliant in the sunshine, add gaiety to this day of Nature’s joy, and two or three small pleasure craft ply the waters of the river. On the beaches on both sides of the river mouth holiday makers stroll, sit or repose, in the genial atmosphere, with children playing around, and the bright colors of protecting parasols accent the brown symphony of the sands. Signed at the left, “EK. Bounty, 1884.” Owner, Estate of the late Frederic Bonner. No. 32 CLIFFS AT VILLERVILLE BY LOUIS EUGENE BOUDIN and seem to float low over the land. Height, 191% inches; length, 2914 inches. No. 82 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 CLIFFS AT VILLERVILLE STRETCHING straight away from the spectator a broad beach road leads along the foot of the tall chalk cliffs of a bold coast. At their top are seen the houses of the village, and the church built so that its steeple shall be conspicuous from the sea. The scene is not far from Trouville. In the foreground the flat beach, slightly broken with weed-grown stones, extends from the road to the left and forward; beyond it an arm of the sea continuing to a distant shore line. ‘The tide is out and some fishing boats that have been beached at full sea lie, slightly canted, above the line of the waves. In the road under the cliffs, in the middle distance, a man in a two-wheeled cart drives a slow horse, and near him two figures are approach- ing, laden, from the beach. ‘The clear blue sky is lightened by masses of white clouds which are coming in from the sea Signed at the right, “E. Bounty, 93, Villerville.” Owner, Estate of the late Frederic Bonner. No. 33 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 ST. V AAST mf ie at Height, 22% inches; wo ee P. Wrascck "Oa “ | See Be From the left the sea comes in a broa bay of placid water which gently laps a level, rock-strewn coast. The rocks begin in the center of the immediate foreground, extending to the right and along a shore that in the middle distance sweeps again to the left, a point of it sustaining a tall structure, pos- sibly an ancient fortification, a farther point vanishing in the blue distance. Beyond the foreground rocks a rider has taken his gray Percheron into the shallows, and two other figures who have waded in are reaching under water for submarine growths or products. On the shore at the right rise a group of village dwellings near a small grove, their red and brown tiled roofs standing out in a low toned landscape. Dark but not threatening cloud masses obscure the blue of the sky, ex- cept for small patches here and there and a great rift some- where far off where the unseen sun penetrates, turning the cloud bank just above the horizon a brilliant white against which a portion of the landscape appears in sharp silhouette. Signed at the right, “EK. Bounty, 792, Vaast.” Owner, Estate of the late Frederic Bonner. No. 34 CAMARET .HARBOR BY LOUIS EUGENE BOUDIN No. 34 LOUIS EUGENE BOUDIN — FRENCH, 1824-1898 CAMARET HARBOR v8 bo <& . Height, 2144 MEET 1 Oe ate ingles. > A sINGULARLY charming combination of marine and rural life brought close together in and about a picturesque harbor. At the left is the Atlantic, its rollers breaking gently against the long arm of land, projecting from the spectator, that gives the little Finistére village its port. Around the far end of this peninsular projection the ocean waters sweep to the right into the harbor, which occupies the middle distance. In the dis- tance beyond, the high line of the coast, seen first at the ex- treme left of the composition, ranges to the right, around the harbor, meeting in the right foreground: at a lower level the land end of the peninsular arm already mentioned. Here on a plot of flat pasture land some black-and-white and red-and- white cows are grazing, attended by a peasant woman in a black skirt, blue apron, yellow kerchief and white headdress. Beyond these, low houses and one tall one are grouped along the hither shore of the bay, and over their roofs the spectator looks to the quiet water of the port. Vessels of diverse rig lie perfectly protected in the landlocked cove, while beyond these, which have taken position at will, a great number of other ves- sels under sail or in an anchorage line are seen from the en- trance all the way up the harbor. Outside, fishing boats and cargo carriers ply in various directions. At the right the build- ings of the town continue, extending up a hillside, and on the high land of the coast across the harbor a windmill rises against the skyline. The sky is a dense mass of grayish-white clouds. In this comprehensive picture of the westernmost coast of France, near Brest, Boudin pursued the theme of his Salon contribution of the previous year, Une Rade de Camaret (the roads, or harbor, of Camaret). Signed at the right, “E. Boupiy, °73, Camaret.” Owner, Estate of the late Frederic Bonner. LY No. 85 LOUIS EUGENE BOUDIN FRENCH, 1824-1898 WEST WIND—HAVRE ve Height, 26 inches; length, jee Anches, 4(/ “wo — ComInG in at the entrance of the Katber df full-rigged ship is seen, head on, both bowers hanging at the hawse-holes in prep- aration for the coming anchoring. On her starboard bow a tender is passing, outbound, with a yawl-rigged working boat in tow just breaking out her sails, her dinghy trailing under her stern. She is momentarily blanketed by the big ship com- ing in with a quartering wind, courses and topsails full, while the canvas of the coaster flaps. A pall of smoke issuing from the tender’s funnel is driven down the wind across the bow of her tow, whose shaking sails cut the billowy black Ime. At the left an inbound tender rounds the leeward jetty, over which the smoke from her stack is blown, and in the offing another steam vessel is indicated. In the foreground sundry small boats with sturdy oarsmen have put out from the quays and are standing by ready to pass lines or do other service for the incoming sailer, while still others are to be seen going about their various business near a landing stairs. The jetty at the right, or weather hand, has besides its lighthouse a tall signal-mast and yard, from which are displayed varicolored flags, and further inshore are the quay buildings before which the usual crowd of busy idlers are to be seen, ready to greet arrivals, to speed the parting, or merely to muse upon the active scene before them, or to listen to the waves dashing at the base of the great stone harbor works on which they stroll or loll. Beyond is the ocean, over a part of it blue sky, but from the weather quarter coming driving masses of dark clouds. The edges of their advance guards are whitened by light from the unseen sun, which falls full upon the harbor mouth, its ighthouse and signal tower. Signed at the right, “E. Boupty, 1887, le Havre.” Owner, Estate of the late Frederic Bonner. No. 36 CLAUDE MONET FRENCH, 1840- LES JARDINS DE LINFANTE YO : Tis is an early work of Monet, impressionistic, but accom- plished before he had made synthetic coloring his distinguish- ing characteristic. His point of view was above the gardens at the eastern end of the Palais du Louvre, presumably in an embrasure of the Colonnade du Louvre, commanding a vista across the westerly end of the Ile de la Cité and the Pont Neuf (here obscured by the trees), where the statue of Henry IV stands, to the great dome of the Panthéon in the central dis- tance, with the church of St. Etienne du Mont at its left and the Hopital du Val de Grace to the right. On either hand are the roofs of Paris, above gray buildings, at the right the build- ings being carried down to the street level of the rive gauche, seen beyond a bathing establishment of the Seine. The middle distance is filled with the trees of the Quai du Louvre and the Cité, before them passing the busy life of the quay and the broad rue du Louvre, while the foreground is taken up with a corner of the palace gardens.. In this formal enclosure the central grass plot of a rich, full green, is bordered by paths, shrubs and flowers, and children appear within the tall iron fence. In the busy square outside people are loitering, or hurrying on foot, cabs are moving, and an omnibus is pass- ing with its impériale filled, the passengers exhibiting bits of red color in their black mass above the brown body of the vehicle which is seen against a group of the green trees. A diffused luminosity pervades the whole and the shadows are few, under a sky filled with rolling clouds that sereen the sun’s light without darkening the landscape. The flowers of the garden are red, green and white. Signed at the right, “CuaupE Monet.” Owner, Estate of the late Frederic Ronner. © Height, 361, inches; widthg)24 inches. ; ae beg Meee A ats TAA i" i +e? res <8 ya a 5 j No. 37 CLAUDE MONET FRENCH, 1840- NEAR VERNON is ; , ecHeight, 2816 inches; length, 361 inches. ie Gere: q A Monet of a later period, the subtle colorist of whom the world talks, with the sublimated efflorescence of his Ile aux Orties. On a point of the Seine bank at the right rises a mass of luxuriant blossoms and greenery—the most delicate of green, the flowers a delicate lavender cooled by the green and warmed by faint touches of yellow, which also tinges their white tops—the whole reflected faithfully in the gently rippling river, which winds on past the point and is lost at the left in a pinkish haze through which is barely discernible the obscure blue line of a distant landscape. Over all, the pale blue sky of a hazy day. A painting of the charm of color, rather than of flowers or river, of land or sky—a painting as of a rainbow, not fixed, but with its fascination enhanced by the very suggestion of its imminent vanishing. But why attempt to describe a Monet? Just a restful, chromatic vision—a summer sym- phony of Nature, rendered piano. Signed at the left, “Cuauprt Monet, 797.” Owner, Estate of the late Frederic Bonner. Ae , No. 38 JOHN HENRY TWACHTMAN AMERICAN, 1853-1902 “4 Z ‘THE BROOK, GREENWICH, CONN. inches. = tL ? Height, 25 inches; length, 34 Down a ravine between low hills/comes a brook, its courses not seen but marked by trees along the banks. stream emerges into view in the middle distance at the left, whence it comes bubbling in lively force, separating presently into two arms, one stretching across the picture to the right and the two uniting again and forming with the island thus made the foreground of the composition. ‘The trees of the brook sides, extending back into the narrow valley of the middle distance, are all but bare of leaves, the few clinging to occasional branches carrying still the dull, rusty colors of late fall, and the hillsides and valley are covered with a light snow. Up the valley in the distance a few heavier trees are clustered, and on the right one of the evergreens adds its touch of color half way up the bank. ‘The sky is a cold blue, with low-hanging white clouds. The painting is boldly and broadly done in the artist’s most characteristic manner—a careful study of nearly related values. Signed at the right, “J. H. Twacurman.” Owner, Estate of the late Frederic Bonner. 4 No. 39 oa JULIAN ALDEN WEIR, N. A. AMERICAN, 1852- : Height, 241% wmcehes; length, 33 ‘Sn hog 600 — > ) LAK - WILLIMANTIC THREAD FACTORY Here industry, or the home of industry, is made picturesque. Not expending himself on too much detail of the factory it- self, the artist has let the building be seen in a kindly effect of light and line, its grayish-white mass rising beyond a rolling, grass-grown hillside and standing out against the higher, tree- crowned hills, whose green slopes are populous with the houses and other buildings of the bustling New England city. Shapely trees and bushes, and bits of color in the sward, dot the rolling foreground. A severe sky—a narrow strip of it—is seen above the high hills of the town, a few cirrus clouds drifting across the blue. Signed at the left, “J. AupEN WeEtrR.” Owner, Estate of the late Frederic Bonner. li | No. 40 \ ' ¥ ADOLF SCHREYER (NV pee GERMAN, 1828-1899 AN ARAB SCOUT | ‘ Height, 321% inches; width, 27 inches. A, SOTO oo ar. VL. Kony GRASPING a finely decorated musket and glancing alertly over his right shoulder, a single Arab horseman is approaching from the left. His steed, a silvery dapple gray, with soft mane and long creamy tail, is accoutred with rosy lavender headgear, a gold embroidered saddle from which scarlet cords and tassels hang, and a dull blue saddle-cloth. The rider’s head is covered with a creamy scarf, fastened with a pale yellow-green band. He wears a lavender-rosy short jacket, a sash of some- what less rosy hue and loose white trousers. He carries pistols at his waist. A buff and grayish-green slope appears in the rear, but the man’s figure is seen against a sky of turquoise, in- terrupted with dove-gray and white cloudlets. Signed at the lower right, “Ap. SCHREYER.” Purchased from William Schaus, New York, 1884. Collection Mary J. Morgan, New York, 1886. NW try. OSs xX br. id Owner, Estate of the late Mrs. Emily H. Moir. oy, No. 41 JEAN LEON GEROME FRENCH, 1824-1904 A % y A LVS -P THE DEAD LION nee eoHeight, 32 inches; width, 2534 inches. if Y Go Ve . VO: : THE scene is one of Moorish architecture that recalls the Room of the Two Sisters, opening out of the Court of Lions in the Alhambra. An are of the parapet of a fountain-basin appears at the left of the foreground. Here a dead lion lies extended, the blood flowing from his nostrils onto the marble pavement. A. white bearded Arab, in long black robe bordered with fox’s fur, as he gazes down at the beast, clenches his right fist. At the back of him stands a man, in yellow gown and green drap- ery and a high scarlet turban, who is a little in advance of a figure in brown and a soldier in armor. In the rear, two steps under an archway lead from the court into an arcade, where an opening surmounted by a horseshoe arch admits to a room. Beyond the latter is an inner room where a tall standard light is placed beside the blue pillow of a couch, on which a man, wrapped in rose-colored drapery, lies asleep or dead. Signed on the foot of the pillar at the left, “J. L. Gérome.” Owner, Estate of the late Mrs. Emily H. Moir. No. 42 BENJAMIN VAUTIER SWISS-GERMAN, 1829- J THE BOTANIST AT LUNCH Height, 23%4 inches; length, 33 inches 1G 00 coe) ae In the center of a rude table that extends along a white wall which occupies the left of the composition, a man sits facing us, intently plying his knife and fork. A green specimen box and some flowers, lying on the table at the left, explain his hobby, while a buff umbrella lined with blue, rests against a chair on which his cloak and satchel are disposed. At the right of the table a dachshund stands on the floor eagerly watching the eater, the spectacle also enlisting the interest of two girls. One is seen over the lower half of the entrance door, her smil- ing face crowned with yellow hair, which is bound round with a red handkerchief. The other, with folded arms, stands leaning against the doorpost. She is dressed in a white chemisette and a slaty-purple skirt, bordered with red, over which lies an apron striped with tones of blue. Signed and dated at the lower right on the doorstep, “B. Vautier Dsf. AL, | 4s ‘ ~ : fo ‘HOME OF THE ARTIST AT ECOUEN ; ( U a ‘) Height, 82% inches; length, 40 inches. ve ? ONE of the loveliest of Canina te tato of ae a her charms. It is direct—for this artist—but loses nothing of poetry by being straightforth and truthful. The composition shows a cottage, long and low, with its white walls and red-tiled roof, where the painter at one time made his home, its partly tumbled down outbuilding, and a modest neighboring cottage with a blue dormer window like one in the painter’s own home. In the foreground are remnants of a fence gone to decay. Yet over all is the betwitching charm of his campagne—dear to all F'renchmen—with which Cazin knew so well how to invest the soft, alluring Gallic countryside, on canvas. Here are the slender trees that Corot made wispy; moist, inviting green shrubbery, and patches of white flowers in a wild, not a formal, garden. France is wild; it is not all Versailles! A water car- rier leaving the door of the cottage comes toward the flowers, and at the left, in front of the cottage, a bended arm of the blue sea lies far below the painter’s blossoming bluff, under a luminous, cloudless sky. Signed at the right, “J. C. Cazin.” Purchased direct from the artist by the American Art Association. Purchased by the late owner from the. American Art Association’s sale, New York, 1900. $70 By rejc Owner, Estate of the late George Crocker. No. 76 JEAN BAPTISTE ROBIE BELGIAN, 1821-1899 STILE LIFE Height, 36 inches; width, 32 inches. Pe A coLoRFUL still life, presenting a profusion of flowers in natural colors and sizes, in two principal bouquets and scat- tered loosely about on a mahogany sideboard in a room with dull gray walls. Below, the furniture is overlain by a rich coverlet of a deep, brilliant sapphire-blue. On this at the left a silver molded and repoussé vase holds a resplendent bouquet of pink and red and white roses, and other blossoming plants, intermingled with leaves of a tender green, on all of which the hight plays with a bright and fetching attraction. The petals and texture throughout are painted with much care. Pansies and other cut-flowers lie strewn around, and at the right stands a vase of chalice form, with a porphyry-colored globular sec- tion and silver mountings, the cover surmounted by a silver figure of aman with a spear. Back of these a blue jardiniere of decorated porcelain holds a bouquet of a greater variety of flowers, these appearing in hues of deeper tone and taking their place behind the more gorgeous roses. 7 “ Signed at the right, “J. Roster.” Owner, Estate of the late George Crocker. Now77 ALEXANDRE CABANEL FRENCH, 1823-1889 MEDITATION Figen Height, 55 Balser sae ie . A DARK-HAIRED, clean-lined inns full figure, her 1p hth ’ clothed only in a filmy wrapping of white which at the waist is loosely tucked into a figured robe of brownish-purple, leans back languidly against the tall stone pillar of a balcony, her right arm resting on the parapet, the left falling at full length at her side. Her hair is bound with a jeweled ornament, and a black mantilla about her head is pushed aside, revealing her face and low neck, and thrown over one shoulder. She is turned slightly to the left, gazing out over the blue sea which appears below the parapet, while resting from her rug weaving. A part of her loom is seen at the right, with a side border of a many-colored rug on which she has been working, a strand of yarn leading from it to her languid hand from which the other end has fallen. In a basket on the floor are green, red, yellow and other wools, and behind the stone column and the loom dark trees shut out the skyline. Signed at the left, “AtEx-CaBanEL.” Owner, Estate of the late George Crocker. i | ay (ti. No. 78 WILLIAM ADOLPHE BOUGUEREAU FRENCH, 1825-1905 AMOUR VOLTIGEANT SUR LES EAUX Height, 68 inches; width, 41 imches. WS, we A FANCIFUL composition. Swinging from slender, low-bend- ing branches of a tree whose thick foliage makes the back- ground, Love in the guise of a nude boy of abstracted expres- sion, with a mass of black, curly hair, is lightly suspended at arms’ length, his feet just touching the surface of a shallow sylvan stream that ripples about them in the foreground. His full extended body is curved out at the left as he hovers there, and he leans his head forward to the right to gaze down into the water. At his feet along the stream the purple iris blooms above its flag-like leaves. Back of him the light percolates among: the leaves of the large tree, rendering them in many tones -from deep to pale green. ‘The figure is drawn and modeled with all of Bouguereau’s academic mastery of his pro- fession, the flesh tones are exquisitely rendered, and there is a remarkably subtle play of lights on the bended torse. Signed at the left, “W. Boveurrrav, 1900.” Exhibited at the Salon of 1901. Owner, Estate of the late George Crocker. No. 79 HECTOR LEROUX FRENCH, 1829-1900 SLEEPING VESTAL _ec Height, 55 inches; width, 2744 inch) hf 2 ve eiee Vu Va, A Vesta Virgin is seated in a graceful attitude of sleep upon a brown chair of Greek design,. which surmounts a marble dais. Her brown hair that grows in soft wisps over the forehead is partly covered with a white veil. The latter falls over the shoulders and, passing under the right arm and around the left, crosses the girl’s lap, on which her arms are folded. She is dressed in a Greek gown of creamy material, which leaves her bare feet prettily exposed, as they rest upon a footstool. On the floor at the left stands a copper brazier, supported on three winged forms that terminate in hoofed legs. A shovel leans against the dais. On the marble wall, above the girl’s head, is incised the warning against taking any liberty with the Vestals: “Lacentra Vesrauipus INTERDICTA.” Signed at the lower right, “Hrcror Le Rovx.” Purchased from S. P. Avery, New York, 1884. Collection Mary J. Morgan, New York, 1886. H4/ Ques 7 -¢ Owner, Estate of the late Mrs. Alice Newcomb. No. 80 H. HUMPHREY MOORE A SPANISH COURTYARD oe 7 é —e¢¢ Height, 28 inches; length, 4 Dee nee ( ta oe th OMA Vo tn" y - Lt oe THE artist has depicted with minute care a corner of the court of a Spanish building of Alhambraic architecture. Tall green trees and vines rise at either side, enlivened by bright red, pink and white roses. In the center, before a wide-arched doorway, a joyous party of Spaniards—young men and maidens—in gay attire, are merrymaking about a table. One of the young women has mounted the table to do a Carmen dance, hips active, holding in her hand the plumed cap of the musician. Eyes languish and snap, pink lips part, and the fan is eloquent. Signed at the right, “H. Humeurey Moore, Paris.” Owner, Estate of the late George Crocker. No. 81 JEAN GUSTAVE JACQUET FRENCH, 1846-1909 SUSANNE Height, 5384 inches; width, 87 inches. (Oval) 7 eS eS yin AQ (Dmrarrr Tue attractive figure of a pretty serving-girl in-gala costume is shown nearly to the feet. It faces three-quarters to the right, the head, however, being turned to the front as the girl looks back. She holds a glass of red wine on a small salver, while a buff-gray decorated pitcher is slung by a brass chain from her waist. Her dark brown hair is drawn from the forehead under the dainty frill of a close-fitting white cap. A broad white frill encircles her neck, above the square-cut opening of the bodice. The latter is of gray and whitish-green satin damask, with pan- niers of the same material puffed over a skirt of creamy golden hue, damasked with pearly flowers. A trim white apron adds the finishing touch. Signed near the lower left, “G. JacauEtT.” Purchased from Reichart & Company, New York, 1884. Collection Mary J. Morgan, New York, 1886. + 15 Owner, Estate of the late Mrs. Alice Newcomb. wes f) hacen No. 82 FREDERIK HENDRIK KAEMMERER puTcH, 1839-1892 FRENCH WEDDING PROCESSION Height, 39 inches; length, 64 inches. LeeSo M A ScENE of color and joy and gaiety, Beretiatte or all save. the bridegroom, who is self-conscious as usual and a bit awk- \ ward in consequence, and the bride, who, also as usual, more successfully disguises her perturbation. Behind her, a former admirer looks wistfully at the bride, giving his partner a chance, seemingly not unwelcome, to smile on someone else—the spec- tator, for instance. ‘The next couple are spooning, and the followers, mainly girls, are having a jolly time of it with gar- lands and gay colors. The procession moves along a quay, beyond which colored sails and masts rise from the river against the skyline, and sidewalk venders with their wares appear at the right. The parade is led by a fiddler in green-gold breeches, bestrung with brightly colored paper ribbons which flutter from him. The bridegroom wears buff breeches and a drab coat. The bride is in the customary white, with neck cut as low as modesty allows. ‘The others are costumed in purple, yellow, lilac, dove- white, pink and brown. Signed at the right, “F. H. KarmMerer.” Owner, Estate of the late George Crocker. AMERICAN ART ASSOCIATION Managers Tuomas E. Kirpy Auctioneer ARTISTS REPRESENTED AND THEIR WORK : ogaasee AUBERT, Ernest JEAN, Matinale 43 BENEDICTER, Joser, Mother and Child 11 BLOMMERS, Bernarpus JOHANNES, Shoveling Snow 9 BOLDINI, Grtovannt, Music 65 BOUDIN, Louts EvceEne, Trouville 27 Harbor Scene 28 Cherbourg 29 Berck-sur-mer 30 Coast Scene 31 Cliffs at Villerville 32 St. Vaast 33 Camaret Harbor 34 West Wind—Havre 35 BOUGUEREAU, Wit11am ADOLPHE, Cupid 64 Amour Voltigeant sur les Eaux "8 CABANEL, ALexanpre, Meditation CASTRES, E., Traveling Bears CAZIN, JEAN CHARLES, Home of the Artist at Ecouen COROT, Jean Baptiste CAMILLE, Landscape near Ville d’Avray Lake Nemi COUTURE, THomas, A French Republican DIAZ DE LA PENA, Nanrcisse Viretre, F lowers Edge of the Woods Venus and Cupids Sunset after a Storm DAUBIGNY, Cuartes Francots, Boats on the Shore Evening on the Seine DAVIS, Cuartes H., Noank Hillside Noank Hills Deep Valley CATALOGUE NUMBER fit 75 23 26 59 16 Bi 21 24 18 19 48 70 fel DETTI, Cesare, Cavalier with Violin FLEMISH SCHOOL Portrait of a Lady FORTUNY Y CARBO, Mariano, A Spanish Horseman FRERE, CHARLES THEODORE, Caravansérail GAINSBOROUGH, Tuomas, R. A., Portrait of David Garrick GEROME, JEAN LEon, A Gentleman of the Time of Louis XIII The Dead Lion HENNER, Jran Jacques “Thoughtful” HOPPNER, Joun, R. A., The Empress Josephine INNESS, Georer, N. A., English Coast—Penzance IRVING, J. Beavratn, N. 4., The Reminiscences JACQUE, CHar Les EMite, Shepherdess and Sheep Sheep in Stable JACQUET, JEan GusTAvE, Susanne CATALOGUE NUMBER 73 49 58 52 69 22 81 KAEMMERER, Frepertk Henprik, French Wedding Procession KEITH, Wit1.1am, The Golden Hour KNAUS, Lupwice, Child’s Head KOWALSKI VON WIERUSZ, Atrrep Hunting LAWRENCE, Sir Tuomas, P. R. A., The Ladies Arundell LEROUX, HeEcrTor, Sleeping Vestal LOEB, Louts, N. A., Miranda MARCKE, Emite Van, Springtime MONET, Cuaupe, Les Jardins de l’Infante Near Vernon MOORE, H. Humrpurey, A Spanish Courtyard NICOL, Erskine, R. S. A., Bachelor Life CATALOGUE NUMBER 82 46 74 50 79 68 25 36 37 80 62 CATALOGUE ieee NUMBER OLD DUTCH SCHOOL A Jolly Toper 57 PARTON, Arruur, N. A., Landscape and River 60 PIOT, A., | Adoration 63 QUADRONE, Giovanni Bartisra, In the Studio 8 REYNOLDS, Sir Josuva, P. R. A., Lord Melbourne 55 ROBIE, Jean Baptiste, Flowers AS Still Life 716 SCHREYER, Avotr, An Arab Scout 40 SIEFERT, A., Head of a Young Girl Q TAMBURINI, G., Brother Cellarer, 10 TISSOT, James JosEPH, In the Louvre 61 TROY, Francois pg, Portrait in Red 53 TRYON, Dwiecutr Wittiiam, Daybreak 67 TWACHTMAN, Joun HeEnry, The Brook, Greenwich, Conn. VAN DER NEER, Eciton HEnprix Portrait of a Young Man VAN LOO, Jaxon Le Duc de Bassompierre VAUTIER, Bensamin, The Botanist at Lunch VIBERT, JenAan GEORGES, The Canon’s Dinner VOLLON, Anrorng, A Donkey WEEKS, Epwin Lorp, Moorish Street Scene WEIR, Juuian Aven, N. A., Willimantic Thread Factory WEISSENBRUCK, Jonannes HeEnprik, Holland Meadows WILLIAMS, Frepericx Bauuarp, Block Island WYANT, Atexanver H., N. A., No Man’s Land ZAMACOIS, Epuarpo, Judgment! The Strolling Players CATALOGUE NUMBER 38 56 51 42 44. 15 (Qu 39 14 AT 13 Oe: ‘ae 4 od ~_ a « - n= ~ rr r -- e oa -, es ~ =D pres - - SEARCH wre % on ly J { qe ae 4 ine iy ) et ( Pa ik ‘ae 3) Py ne a fe y f ne PG te ct ae tun th vy eee . 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