Be Nagi ere SNe RA he PUG FN ia ok Hl Se A Py hy hl Be (PA f7 GANS Hn. I i 1 iin RS a ae he a Te mE Aah ig ¥. has het ae Bit eam ae ont BAP ry sh & Re aes 5 WARS 0 He pt tpt ul pail \ Ai a a e } ‘ , ss iw ‘. ers (Pee) Wer : } eat fil ae eu yt (ly By Mr ole ’ rs Ve \ a, } > at Sie x - > Ree Nak tw ‘ : 2 ses } aie i es a SSE = xt pF Sa aa 3 i ear oe Eat 2 . sae US Segene ie raaiears SE aay Ls Pr aie eee TS a SOE aura ie ete ae ey SS Or Se ns poe Le 3 ie os soe ae = SS ti Sy ee =f —o Se ak an se << eee) ZF hes $ ye = SY” ike & eke BY Se Gaiy s HS fn gine HM 3 <— Re Bas eee Genet Oe ee eee an aes SD ee Ss es : MW oh bis - < AS aS oe a, Se eh a> = Big cadg Dake Peg ere oS ss Cr ‘ 2 <1 t 2. aay ih Le n =a > if. wed teey SAA | S; PAINTINGS | : Water Colors, Drawings Objects of Art, etc. Including many Old Masters collected during the last forty years The Collection of Dr. Isaac W. Heysinger, M.A., M.D. of Philadelphia Captain Military Order Loyal Legion Member Military Service Institution of the U.S. Headquarters Governors Island, New York Author of Various Books of Science and Oriental Languages, etc. Now on Exhibition at The Philadelphia Art Galleries S. E. Corner 15th and Chestnut Streets Philadelphia, Pa. Entrance 103 S. 15th St. 5 | | i] | | Ge eenay pare renroet © ramen ee ee 2 a _ ooo | @ e € 8 Paes yh Lassalle a i Z Pe Re ew RE CO Te ER RE TE TF ut ee ¥¢ Se €2 88 88 ER EF fo) a ° a, iss) a CATALOGUE fh fhe: . of the _ Oil Paintings, Water Colors, Drawings and Objects of Art | Related Thereto | ie Including Many Old Masters and Rare ene Works of Art The Collection of Doctor | Isaac W. Heysinger, M.A., M.D. | Collected from Private Sources Mostly in Collaboration with many Eminent Artist-Friends during the past Forty Years To be Sold at The Philadelphia Art Galleries S. E. Corner Fifteenth and Chestnut Streets Second Floor Philadelphia, Pa. Tuesday, Wednesday and Thursday, May 27, 28, 29, at 2.30 o’clock, each afternoon Entrance—103 South Fifteenth Street (Elevator) (Bell Telephone, Spruce 6148) ITI. IV. VII. VIII. Terms and Conditions of Sale All bills payable in Cash before delivery. The highest bidder to be the buyer, and if any dispute arise between two or more bidders the lot so in dispute, shall be immediately put up again and resold. The purchasers to give their names and addresses, and to pay down a cash deposit of at least 25 per cent. of the purchase money, or the whole if required, in default of which the lot or lots so purchased to be immediately put up again and resold. The lots to be taken away at the buyer’s expense and risk within twenty-four hours of the conclusion of the sale, and the remainder of the purchase money to be abso- lutely paid or otherwise settled for to the satisfaction of the manager 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; and no goods to be removed unless receipted bills are presented. No claims allowed after the removal of goods. Articles are exposed for public examination one or more days, and are sold just as they are, without recourse. Upon failure to comply with the above conditions. the money deposited in part payment shall belong to the managers as liquidated damages for purchaser’s failure to complete the sale. All lots unclaimed within the time aforesaid, shall be resold at public or private sale, without further notice. The undersigned are in no manner connected with the busi- ness of the cartage or packing and shipping of pur- chases, 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 service. THE PHILADELPHIA ART GALLERIES Some Notes on the Catalogue of Dr. Heysinger’s Collection of Pictures. The pictures embraced in this catalogue are offered as the SEES original ‘works of the artists whose names are attached. They are the gathering of more than forty years, known and con- ; _ firmed by the most eminent artists of Philadelphia, and often of New York, with whom it was my good fortune to be closely associated since shortly after the close of the War of the Rebellion. Among these artists the one I knew best and loved most was the venerable George R. Bonfield, who died a dozen years ago, more than ninety years of age, under my care, and whose family physician I had been for more than thirty years. I may say that I learned art under his teachings and guidance, although the older artists of Philadelphia (and with them, of New York), were at that time more of a guild than they now are, and used to meet at each other’s houses, and with them our art collectors, and the whole talk was sociability and art. I was among the favored few, and through them, and most of all Bonfield, I gathered most of my pictures (for good pictures were far “more easily obtainable than at present), and gathered also the many thousands of prints, mostly of old masters, which now constitute my collection. In fact, these old artists all agreed that the best school for detecting genuine works of art was among, and by no means of, fine collections of prints and the older books and collections of art, and these were my study during all the intervening years, and are still. Most of my old artist friends are now no more, but their lessons and their memories are, to me, as vivid as when we used so often to meet, almost weekly or even oftener, with a few chosen friends in an atmosphere of art and close friendship. The pictures offered in this catalogue are genuine. These pictures are not copies; I can, and they could, usually determine a copy from the manner of work itself, and from the artist’s handling; besides, as these works are usually by eminent artists, whose pictures are known, if these, or any of them, are copies, then the originals do not exist. For example, the two small pictures by George Inness, Sr., came to me in this way: A friend and customer of Bonfield’s went to Paris in the fall of 1850, and while there purchased from Mr. Inness these two small panels, which the buyer dated in Paris, February 7, 1851. Mr. Inness’s son, the eminent artist, George Inness, Jr., wrote me a few years ago that his father was married in 1850, and, immediately afterward, went to Paris, from which he returned in the summer of 1852. 4 This gentleman, after returning, thought he would prefer a large picture of Bonfield’s, and swapped those two smaller panels for a large canvas by Bonfield. I purchased them from Mr. Bonfield just before his death, as he desired me to have them. Then my Rembrandt. It was brought over by an old Belgian, or Dutchman, and was the only picture he had, and it was the apple of his eye. He was a patient of mine, and he thrice insisted that I take the picture, which I refused. He lived in one room, and when — I had to send him to the hospital, I agreed to take the picture and keep it for his return, which never came to pass. At a glance, it looks like a replica of Rembrandt’s “Philosopher in Meditation,” (the ~ Vence picture now in the Louvre). But it is quite different on ex- amination; it differs in fact in a hundred important features, and is a broader, simpler, and better picture. In 1660 Rembrandt painted — three pictures, two portraits and a “Philosopher in Meditation.’ This latter was in the Bryan catalogue in London (brought from Holland) in 1803, where it was described as “The Philosopher in His Study,” in glowing terms; but it was not sold. Such a picture is described in the Rembrandt list (The Osgood Biography, 1878), as having been, at some time, in the Pourtales collection; but it has disappeared, as stated, and, but for this, is now unknown. The Gian Bellini came from Venice in 1797 at the disruption of the Ducal Palace, and since then had remained in the family, near the Rappahannock river, until I obtained it years ago; it is signed and dated, and with an ancient paper-tag on the back, and is on three panels. It is one of the most splendid examples of rich and subdued coloring I ever saw; and it has the advantage that it has never been retouched or repainted, which is quite the reverse of most of his pictures in Europe, as is well known of the few in foreign galleries. The Zurbaran came from Europe at the same time, and through the same purchaser, and was obtained by me with the Bellini. It tells its own story, and is the most splendid Crucifixion J] know cfi— purely Spanish—and painted in accordance with the decree of the Spanish Inquisition of 1630. The figure is anatomically correct, as I know, and looks like a bas-relief of ivory, which was Zurbaran’s test. The “Conception,” by Murillo, was in the Joseph Bonaparte col- lection, at Bordentown. Mr. Bonfield knew the picture well. My Both picture also came from the same collection; John Neagle bought this picture, at the sale, after Bonaparte’s return. to Europe, and Bonfield another, and on the way home they swapped pictures. I have Both’s large and splendid etching of this subject, slightly changed, as usual by artists. The little Bartolozzi oil painting is very beautiful, but its chief interest lies in the fact that an oil picture by Bartolozzi is not known. 5 He painted this on copper, a plate for one of his own etchings in fact, on the smooth back of which he had already squared out the plate for an etching; he painted this picture on the plain side, and then wrote his name with his etching needle on the partially etched back, in his well-known handwriting. Bartolozzi had studied painting under _two Florentine artists for some years before he went to England. The Titian picture, “Venus and Vulcan at the Forge,” is undeniably genuine. His kneeling Cupid is the same boy-model that he used in one of his pictures in Naples, which has been engraved by Strange. Of nearly all my pictures I have what I call my “Verificators,” fascimiles, drawings, engravings, mezzotints, and in fact all such evidences of type and feature as will show to any artistic observer the genuineness of the picture with which they are contrasted. Many of these “verificators’ were given me by my various artist-friends, who knew my originals. My large and splendid Borgognone (Cortese), undoubtedly the finest battle-piece by that artist in America (never retouched even), a battle between Turks and Christians under the walls of Vienna, speaks for itself. Rugendas had a habit of taking some group out of a Borgognone picture and “modernizing it,’ one of these groups he took bodily out of the central part of my picture, as anyone can see. My picture signed “J. Restout” is the most transparent picture in depth that I ever saw. An art-critic here, Mr. Hermann Faber, who had studied Rubens with the greatest care before he came to America, always insisted that this was painted by Rubens (for it even had _ Ruben’s faults, he said), and that a narrow strip of the lower margin had been cut off, and that someone afterwards put Restout’s name on a bit of the flowing drapery, far up the picture, which artists them- selves do not do. In London, the two John Restouts sold (for he was a great painter), in the same sale, practically as high as the Rubenses. So also, I have Casilear’s large engraving of Huntington’s “Sibyl,” which is in this catalogue. It is, I think, far and away the best figure- piece by Huntington, who painted it for the Cosmopolitan Art Associa- tion and received $500.00 for the work. My Joe Kyle is a beautiful picture, far better than that in the Metropolitan, and has a historic interest besides. The female figure is Mr. Kyle’s own daughter, Mrs. Dallas, and the babe afterwards became the celebrated Mary Kyle Dallas. Mr. Kyle (whose early history in the backwoods of Kentucky Bonfield never tired of relating), gave this picture himself to Mr. Bonfield, in memory of their long and close association, after Kyle had gone to New York. There is special interest in James Hamilton’s “Serapis and Bon Homme Richard.” This was his original, and he never would sell it, if he ever showed it, but from it he painted his large replicas. When he went to California, where he died soon after, his widow 6 brought it back with her, together with many of his drawings, and it came into my hands, with other Hamiltoniana, through Mr. Bonfield, though I knew Hamilton himself. It, like many original pictures or sketches by artists, as Rothermel and Bonfield told me, is better by far than any of his larger and later replicas. There is a story connected with my Mantegna. It is, in one sense, only a remnant; but all the figures and the drawing are there, un- tampered with, and most of the rest. It is one of his chiaroscuro wash drawings (“heightened with chalk”). Among my pictures are a large number by early American artists, which the catalogue will enumerate. These are absolutely genuine works by the artists named. My Jan Steen picture is one of three of the same class, a tavern scene, one of which is in the Louvre, one in England, and this one is the third and most decent, and also the best of the three, signed on the end of the bench. Steen was unique in one respect; he made every figure in his pictures work, to the combined result of the whole; he did not have a lay figure in any of his compositions, in which he stood alone, not even excepting Rembrandt. My Velvet Breughel is one of the best of that artist. It is on panel, cradled. Of an analogous composition, in general type, I have Le Bas’s splendid engraving. One glance will identify both as by the same artist. The Berghem is a fine picture of his usual mountain and plain scenery, with sheep, horses, cows, etc., and is quite large, but the little battle picture by him is out of the common; his commentators describe these little battle pictures of his in the most glowing terms. This one is full of fire and character, and anyone can see that it is painted with the same palette precisely as is used on the larger landscape above referred to. My Gainesborough is not only absolutely authentic, but is a splendid landscape example of his work. The black and white study for this picture is reproduced, altered a little as usual, in Chamberlain’s recent English life of the artist. This picture has a curious history; it was brought from London by “Old Scarlett,” for so many years Curator at our Academy of the Fine Arts, when on Chestnut Street. Scarlett died, nearly 100 years old, back about 1870, and i ropaute Mr. Bonfield was the only close friend of this surly old individual, but one who dearly loved art, though he could not paint. He claimed that he had helped Gainesborough before his death, by grinding colors, etc., in his studio, and that Gainesborough before his death, gave him this picture, and a number of his drawings. No one ever was allowed to see these except “Bonny,” but when he came to die he turned these iy things over to Bonfield, from whom I afterwards obtained this picture, together with a number of Gainesborough’s large and small drawings, * some of which, I still have. To show that Scarlett couldn’t paint, _I have put one of his attempts to copy an Adrian Vandevelde, signed _ by himself, into this catalogue. And I have another item, connected up with Gainesborough. It is Barker of Bath’s “Woodman,” which was reproduced in color by Bartolozzi, which I had, but was tempted by a large price to let go. Gainesborough and Thomas Barker were close friends, and each copied, with changes, some of the other’s pictures. Barker painted a number of large replicas of his original “Woodman,” and Gaines- borough afterwards repeated it, in a measure, in his “Woodman in a Storm,” painted shortly before his death, and which was afterwards _ destroyed by fire, as narrated by Chamberlain. Now, I have this _ original “Woodman” picture of Barker’s, and on the back of the canvas is an elaborated lot of scroll-work drawn, the purport of which is that Barker painted it, and Gainesborough bought it. “Bought and paid for, G.” The Krieghoff picture I bought from Krieghoff himself, just be- - fore he returned to Canada. I do not think that Hughes Merle ever painted a better child than that in my picture. My N. Diaz (“Clearing of a Storm”) is certainly genuine. My friend, Mr. Lindsay, now deceased, who long had it, from me, in his galleries, called it “a love of a picture.’ About 1873 or 1874, the Associated Artists of France joined, and sent over a consignment of Barbizon pictures, contributed by each other, and an unlimited public sale was made, first in New York, then in Philadelphia, and afterwards in Chicago. Pictures now worth thousands of dollars were sold for $40, $50 or $100 each, as they were sent out here to “convert the heathen,” which they did, for these were the nest-eggs which hatched out nearly $100,000,00c0 of American money, and well worth it, too. It awakened art over here. My next-door neighbor bought an early Corot for a small sum, which after his death was sold to an ex-mayor of Philadelphia for $1000. cash. This Diaz of mine was in the collection, alongside the Corot, and was sold to a man I knew in Germantown, and, on his death, it came to me, by a mere chance, and I was glad to see its face again. I am perfectly willing to trust this picture to the judgment of intelligent connoisseurs. I have seen others of his beautiful pictures sometimes, and I understand his method and his work. I have also a fine drawing by Rousseau, in color, along the bottom of which is a line of his own writing (directions to the engraver), besides his signature; and I have also a private etching of his own, 8 | ‘ with a whole chapter of his own penmanship etched in oe himself, which is identical with that on the drawing. Such a Rousseau drawing sold in New York a few years ago for - more than $8oo. . My large Diaz (“Spanish Fruits and Flowers’), is not by Marciaea Diaz, but by the Spanish Gumersino Diaz, of the same family, in Seville, Spain. As usual, I obtained this at private sale. And the same is true of the large Van Os; of whose work I have a splendid large engraving, excepting that it has more fruits and fewer flowers, which, No. 254 (Plate XV), is in this catalogue. There is a picture of which I wish to say a word. It is Gilbert Stuart Newton’s large picture of the “Trial of Shakespeare for Deer- Stealing.” He was the nephew of our Gilbert Stuart, and his pictures bring high prices in England. I would never have gotten this splendid picture (all portraits), had it not been that the English, in their loyalty to Shakespeare, at that time did not want to look at such an episode in his career, authentic though it might have been. I sometimes wonder if any lover of Napoleon (among whom I am one of the most ardent), cares for some Napoleonic material which I have, and which probably cost me far more than I could obtain for it, for I was then writing a book, from the private letters of that miracle, © for which I needed these. The first (which is in this catalogue), is a miniature on porcelain of Lassalle’s great picture of Napoleon seated in his cabinet, from which came the inspiration of the “Grand, gloomy and peculiar, he sat — upon the throne, a sceptered hermit, wrapt in the solitude of his own originality.” It is framed in a heavy gold-plated metal (not gilt) frame, with the emblems of the Emperor all around, and surmounted with his imperial wreath, and the miniature is padded, within the different layers of the frame, to insure safety. There never was any thing finer in its way than this 8” x13” golden frame and its contents. | There are a few beautiful Dutch pictures by eminent artists seldom found here in collections, but well-known to art connoisseurs abroad. One is by Peter Coopse (a marine), whose pictures are mostly attrib- uted to Backhuysen and sold as such; this one, however, is initialed, and is genuine, as the handling shows. There is also a Dubbels, of about 1640, whose specialty was shore- waters flowing over sands, an artist of high repute. In this line of art, says Buchanan (Memoirs of Painting, 1824), “Dubbels has proved himself equal, if not superior to every painter of his school in the same line.” The picture in the Crawford sale, 1806, was sold to Lord Kinnaird for $1260, and old masters were far lower in price than they now are. 9 There is also a nearly finished dead-color of a magnificent marine by Backhuysen. Mr. Bonfield thought much of this dead-color. Another is a valuable picture by very eminent Dutch artists, a _ panel, cradled, the figures by Bout, as usual, and the beautiful landscape _ by Boudewyns. There is also a capital copy of a Ruysdael. There is an oil by Calame (French artist), and quite unusual. _ There is a little Cuyp (landscape and cow, signed and dated), and _ the best picture our own Buchanan Read ever painted, also signed and dated (three nude children playing in a group) it was painted at Rome. There are five pictures by Alonzo Vasquez, one of the ablest Spanish painters, who went to Mexico in 1602, where he remained. These pictures, on canvas (the cherub of the group is signed) were removed from the walls of the pro-cathedral at Parral in Mexico, by a close friend of mine, who was a well-known art-connoisseur and art- lover. There is also a beautiful female portrait on very heavy copper which is a puzzle to me, for it looks much like a Hoppner, but still looks Spanish; but Hoppner, a splendid English artist, had the true low-country feeling, from whence his parents came. The weight of the copper-plate on which this picture was painted is astonishing to me. There is also an old Dutch Beerstraetten, a winter-scene, as usual with him, in Friesland, with as good a grouping of figures as I ever met with, There are also three little copies, made in 1857, in the National Gallery, directly from the originals, by V. de V. Bonfield; one of Turner’s “Burial of Wilkie”; one of his “Snow-storm at Sea’; and the | third of his “Approach to Venice”; which the curator said were the best copies ever made in that gallery; and there is another copy by him, in the same way, after a marine by Vandervelde. These ought to interest students of art, as the original Turners have much changed since then. My Raphael is a genuine picture by that artist; it is a frieze-dado like his cartoons in England, the subject being the “Rape of the Sabines” ; it contains about fifty figures easily indentifiable (by the style, com- position, tone, and the hatchings generally). It is about three feet long, was made to be reproduced in tapestry, and shows by its folded middle and slightly frayed margins, that it was so used. Benjamin West, when he first went abroad, spent a year in Italy, principally in his studies of Raphael, and obtained this beautiful work while there. He subsequently remounted it, repaired the frayed margins, and imprinted on it his incised steel letter stamp, B. W. I obtained it, many years ago, from the Benjamin West estate. It embraces more than a hundred indentifications with Raphael’s other drawings, and has many almost the same from the work called “Raphael’s Bible,’ in the Loggie of the Vatican. The artist was employed by the government Id for some years in making restorations and drawings from the ancient remains in Rome, but this is not a copy, but an original work, along the same general lines. It is not only most beautiful, but, containing so many figures, it is a capital test-study of the artist himself. It is quite different from the drawings of Gulio Romano, Penni, and the others who worked with and under Raphael. There are many American pictures also, all original and genuine, which the catalogue will show. With these is the large epic portrait of Old Barbara Fritchie (Whittier’s Heroine), painted when 96 years old, by an artist in the Army of the Potomac, between the date of the Battle of Antietam, September 17th, and the advance on Culpeper, October 30, 1862. Though done from home-made materials, it is a capital picture from life; it was left behind necessarily when the army advanced, and found years afterwards in a cellar in Frederick, Mary- land; I purchased it from the colored man who brought it from Frederick, and have applied for copyright to protect its genuineness. Her photograph, taken years before, shows the same person, but younger. Among American artists, also, are Inness, Cole, Durand, Cropsey, Gignoux, Huntingdon, Shaw, Birch, Hamilton, the two Bonfields, Doughty, Kyle, Krieghoff, Craig, Read, Mount and others. There are also rare drawings by Rousseau, Daubigny, Angelica Kauffman, Guercino, James Hamilton (Arctic scenes from sketches by Dr. E. K. Kane), Gainesborough, Girtin (several, and among them Girtin’s splendid Naworth Castle, on the Scotch border, near Carlisle, the best water-color I ever saw); and of Turner a number, some signed and dated, of which one, the end of Lake Cumberland, “J. M. W. T. 1820” was one of five from his Liber Studiorum, which were never engraved, as he left that job to take up a more profitable work on the Rivers of England. Girtin was Turner’s fellow-student; he died when only twenty- seven years old, and Turner, his devoted friend and companion, said of him, in a burst of enthusiasm, that if Girtin had lived, he, Turner, would have been forgotten. His few works bring very high prices in England. Bryan says that he was the founder of modern English water-color, and certainly my drawings by Girtin sustain his reputation. He had a little trick or method (like certain rare accidentals in musical composition), which enables an expert to pick out, and gloat over, a Girtin even at first sight; and I make no discount in favor of Turner, of whom I have hundreds of splendid prints, and not a few of his capital water-colors. And I may say a word of the color-prints after George Morland, another of my friends. I have his large Guinea-pigs, and his splendid “Boy Watering a Horse,” mezzotinted by his father-in-law, old Ward, and a slight sketch by “Johnnie” Woodside, of his (and Ward’s) great ht i Lt picture “Bull-Baiting,’ burned while on exhibition in New York, after electrifying Philadelphia. : Of old and standard art works and illustrated “galleries” there are many; they were my tools to work with; and with these there is a collection (slowly gathered) of 10,000 to 15,000 prints of all descriptions, many in excellent state and by the greatest artists; among them, for example, a dozen or more by Rembrandt; but these are not in this*catalogue; they will be offered later; this is a picture, not a print sale. . I have gone at some length into the above memoranda of a few _ of my pictures, because I want it understood that I have not accumulated anything but genuine and reliable works. Whatever trash I may have gathered in, in my earlier days, I soon, under good advice, and study, - got rid of. Apology is due for some of the illustrations herein; the negatives were destroyed by an explosion, and no time to replace with new ones. They will, however, give an idea of the composition of the picture. x bd * * * * * For further data, sizes, periods, names, etc., I refer to the catalogue which follows. 1521 Poplar Street, Philadelphia May, 1913 pee: _s z aK ae ‘ ‘ i a " i . * WED . Gees ‘ >; a . ) Dr. Heysinger’s Catalogue First Session Sale Tuesday Afternoon, May 27th, at 2.30 o’clock 1. BONNIE PRINCE CHARLIE. Charles Edward Stuart, the young Pretender, in hiding in a hay- mow, after Culloden. Signed. Size, 36” x 29”. With No. 1, as part of the lot, goes a brilliant print, in colors, of a soldier in the Stuart plaid; size, 1034" x 11%’. 2. RAPHAEL. VIRGIN DE SAN SISTO. A full size Government photo direct from the original in Dresden; it is perfect, and for colors from the original has a small photo beneath, colored by Webber, a celebrated Dresden colorist. It is heavily framed in oak, and was an expensive in- vestment on my part. Size of photo, 24” x 36”. 3. SNOW SCENE. In distemper; a beautiful pic- ture, in scarce antique frame. Signed, Pritchard, 1900, Size, 18" x 24’. “iA. HILDEBRANDT, F. T. Two splendid pore colors by this eminent artist. Size, 1514” x 11”. Dus- seldorf, and the Environs of Bilder. The artist was born in Stettin, 1804; died in 1894. Signed and dated, Paris, 1875. Sey PEL, CHARLES, 1694. DON QUIXOTE HUNG UP AT THE TAVERN. This picture greatly interested Mr. Cremer, of the Prussian 14 Cabinet, who spent. a day with me and saw it here. He has the finest private collection in Ger- many, and is an admirable gentleman. I have Van der Gucht’s engraving of this picture. The size of my picture is 25” x 34”. See No. 465. 6. V.ve V. BONFIELD. An oil painting made many years ago of a cottage in the woods near Camden, __ N. J. Size, 114%4"” x 7”. Also, im oil; scene on the New Jersey coast. Size, 11%” x 84%”. These are both capital. 7. BARKER, OF BATH. THE WOODMAN. This is his original picture, from which he painted a number of larger ones. This one Gainsborough bought from Thomas Barker, and has written his receipt in a scroll on the back. Gainsborough afterwards, from this suggestion, painted a pic- ture of his own, “Woodman in a Storm.” Size, 2134” x 18”. 8 BEECHEY. DEAD BIRDS. The best picture of little dead birds I know of. There are dozens of — them, some with shot marks. Size, 16/4" x 13”. 9 MERLE,’ HUGHES. HEAD Of Aa aes GIRL. Signed and dated. Certainly a beautiful child. A like subject by this same capital artist sold at a New York auction a few years ago for ~ $850. I have had mine for a long time, and never tried to sell it. Size, 9” x 10”. 10. J. RESTOUT (undoubtedly a Rubens). A mytho- logical subject, with as transparent and luminous figures as I ever saw. My friend, Mr. Hermann Faber, says (and he was a close student of Rubens before coming to America, as well as a capital oO No. 10 Mythological Restout (Rubens) (27772 S025) as) artist himself) that it is undeniably a Rubens, as _ it has the specific faults of that artist. Restout’s works sold in 1803 in London nearly as high in price as Rubens’. It is signed on a loose bit of garment, and high up, ‘J. Restout,” but an inch is missing, I think, from the lower margin, which doubtless bore the original signature. Size, 234” x 2744". It is a genuine picture, not a copy; heavily framed. 11. BARTOLOZZI. This little oil picture, on copper, is undoubtedly by this artist, unknown as such things are. Before he came to England he had 7) Deen 2, student of painting for three years. After he left England, in his later life, this little pic- ture came out, and it was painted in oil, on the back of a laid-out plate for etching, and he wrote across it, with his etching needle, “IF. Bartolozzi.” It is a wild Portuguese landscape and castle. Size, 6%" x 5%”. (Oval, framed.) 12, KRIEGHOFF. SLEDGE IN SNOW-STORM IN CANADA. A powerful picture. I bought it from the artist himself. Size, 20” x 18”. 13. ANCIENT ORIGINAL DRAWING. An entabla- ture; a spreading ailanthus in the center, and at each side an eagle in fierce action. These eagles are far superior to anything on our coinage or armorial bearings. Was exhibited at the Phila- delphia Art Club Exhibition. Framed. Size of drawing, 1614” x 6”. 14. HUNTINGTON, DANIEL. HIS CELEBRATED SIBYL. This was painted to order for the Cos- mopolitan Art Association, and cost $500. Has been engraved by Casilear. Size, 26” x 38”. 16. 7; 20. 21. 22. 16 RUYSDAEL, JACOB. A beautiful modern copy of one of his best landscapes. Size, 12” x 10%. (Framed. ) . VAN OS. A large landscape with fruits and flow- ers. This is a splendid example of this great flower and fruit painter's work. Size, 391%” x 3234". (See Plate XV in No. 254.) VAN HUYSUM, JAN. VASE OF FLOWERS: A beautiful example of this great flower painter. Size; 2114" x 174”. BERGHEM, NICHOLAS. Large and wild land- scape with figures and. animals. This artist stands among the leaders, and this is one of his best pictures. Size, 3214” x 25%". KYLE, JOSEPH. MOTHER Vani This is one of the most attractive family pic- tures I ever saw. It was a present to his old artist friend in Philadelphia. The babe grew up to be Mary Kyle Dallas. Size, 24” x 36”. DUBBELS, HENRY. TIDE-WASH OVER . SHALLOW SANDS. This was the type of his specialty, in which he was inimitable. His pic- tures are rarely met with, “VSize;ue. ans (Unframed. ) | BOTH, JOHN. OLD CASTLE AND LAND- SCAPE. From the Joseph Bonaparte Collec- tion. Size, 16144” x 2214". SNOW-STORM IN THE BLUE RIDGE NORTH OF HARPER’S FERRY. From nature. This water-color was made by my son, a good while ago. It is of interest. Size, 18” x 26”. Ce ee a ee ee ee eee ee, ee Ea (AQI X Hee) yjog uel adeospuey pue apisej plo IZ ‘ON 17 . NEWTON, GILBERT STUART. This English 24. Pee. 206. | 27, 28. artist was the nephew of our own Gilbert Stuart. It is a picture of “Shakespeare’s Trial for Deer- Stealing” and contains many splendid portraits. I suppose the subject (then distasteful in Eng- land) enabled me to get it at private sale. Size, 2914" x 1914”. ANGELICA KAUFFMAN. Large original wash Grrwime, Aurora’ Size, 17” x 13”. Woo y, An original and powerful coast scene, in strong colors. paizeal 145 x OG. SCENE IN THE PyROLKSE ALPS, NEAR MUNICH. A beautiful example of color and of nature: Signed, J. H. Raser, 1861. Size, 21” Reet, PORTRAIT OF A GENTLEMAN. Well known here, and very strong and artistic. Is framed in oval gilt frame. It is an excellent work of art. Perit /x 20". DOUGHTY, WILLIAM. The English Doughty, pupil of Sir Joshua. I have a number of un- framed paintings on engravings as a base, signed by Doughty, which are very rare, curious and valuable. Some have hundreds of figures in them, dated from 1750 to 1795, from different coun- fee izes, about 12” x 18". A VIEW OF LONDON FROM THE NORTH. | Designed by Canaleti; painted by “Wm. Doughty, Pxt.,” Ws 1Z6, 15. .x Or. 29. MARINE BATTLE. French and English, 1757. This is also painted by William Doughty, con- tains portraits of many war vessels, and is a capi- 18 tal and vivid picture. As a study of marine architecture of that period it is very interesting. size, 1144” x 18". (Framed.) “(See No. 63 of this Catalogue. ) 30. EX VOTO. This is a small painting on slate smoothed off on one side and gilt; made by the _ monks at the cave of Amecameca in Mexico; por- trait of Fray Martin, the ‘Apostle of the Indians,” who lived and died there in the 16th century. These are made by the monks, from Fray Martin’s preserved portrait, and sold at the great Indian an- nual festival. The birds are sitting all over him in the picture. See Janvier’s Mexico. Size, 6” RLOre 31, DOUGHTY, WILLIAM.” BETH IN 1751. This is the English Doughty, pupil of — and resident with Sir Joshua Reynolds for three years, and who then ran away with and married Sir Joshua’s housekeeper. It is Doughty’s signed painting, on a large engraving as a base, of Beth- lehem, Pa., as it was in 1751. Size, 12” x 17”. 4 It shows the old Crown Inn, where Washington stopped when on his way to Boston. A tablet now marks the site. 32. ALMA TADEMA. THE BEY RODMAN Colored from the original by the celebrated Eng- . lish colorist, Josh. Wilson. Size, 11” x 7”. 33. Two large Japanese Uprights, painted on silk crepe; they are very fine, and of the old, not of the modern, Japanese hand-work. Size, 13” x 35”. | 34. CALAME. A STORM IN THE MOUNTAINS. Comparing this with a number of his own litho- graphs of analogous subjects, and with the hand- , (Az1l X 7191) YSsnos1oqsuley ‘soyy, adedspue’y ov ‘ON 3b bar. 26, 37- 38. 39: AO. AI. +9 ling as well as the light and shade, I think no one could dispute its authenticity. It is splendid in color. Size,-12" x 10.” CALAME, A. Original lithograph by the artist, inserted here with one other to verify the Calame oil painting in this collection. Size, 16” x 12”. CHINESE PICTURE. A lady of the Imperial - Court; a splendid picture, but surface is cross cracked, except in the figures. It was a present to Matthew Baldwin, founder of the locomotive works, while in/China. Size, 17144” x 13%”. BIRCH, THOMAS. Two beautiful colored draw- ings at Fairmount, on the Schuylkill; made in “1808. These are of historic interest. Size, vit x 4” : ; WOODSIDE, J. A. Family Group, Fountain, etc. Pen and ink and wash. Size, 8” x 7”. DARLEY, F. O. C. Female Portrait, half length, eee. 31ze, 7" xO". GAINSBOROUGH, THOMAS. A _ Landscape. This is directly from the artist himself. “Old Scarlett,’ Curator of the old Philadelphia Acad- emy of the Fine Arts, brought it over when a young man, and got it from Gainsborough him- self. Besides, anyone who knows about such things knows at sight that it is an original Gains- borough. Size, 12%4" x 16134”. GAINSBOROUGH, THOMAS. Original draw- ing. Hill, trees, figures and animals, and tower in the distance. Size, 18” x 13”. eS ee gy eet eee ee ee ee Ae ee ee ee, ees ee eee! = en ee ne) Sen ee a ge gee a = : Evy ST a ee i s = = 42. 43. 44. 45. 40. 47. 20 GAINSBOROUGH, THOMAS. Original study; a broad expanse, figures, etc. Barker, of Bath, was destroyed with a number of my other pic- tures in a fire at Thirteenth and Noble Streets, made a copy of this in oil, which I had, but which \ Philadelphia, twelve years ago. Barker marked © it as a copy from Gainsborough. Size, 25” x 15”. GAINSBOROUGH, THOMAS. Original study; rocks, trees, landscapes, figures, etc. Size, 22” — pa enaeds GAINSBOROUGH, THOMAS, Careful original | study of old trees, etc, on blue paper. Size, — IO GRIGNON, after Gainsborough. A very early | etching, trial proof, presented to Gainsborough by the etcher, a celebrated artist. See back — of plate. This etching contains the “wheel- | plough” which Gainsborough often introduced in his early pictures. One of these is shown in his ~ small oil painting in this collection. No. 147 of — this catalogue... Size, 15%" xe GAINSBOROUGH, THOMAS. Original drawing. — Landscape with water, woods and cows. Size, TO" xT! GAINSBOROUGH, THOMAS. Large original ~ drawing by this great artist. Wooded and rocky ~ landscape; on blue, tinted paper. Size, 24” x 18”. q These and the following numbers were brought ~ over from Gainsborough’s studio, by old Sam Scarlett, who never showed them. Mr. Bonfield — got them after Scarlett’s death, and I obtained them from the family after Mr. Bonfield’s death. sei bia hia maciamaeies ji taatiaihac alias: siti iniieaniiiana Ae peices in sei maton ~ ee “. we Fin lie ar ie. bala as ies Fg ri bs S oe a. = , Stoel , 0 ere: ea aay a - a NT lie Re ed . as aap er Oe ae ae spac elf SRT eee Oa a i ek eee oy St ee 7 o pats ’ hp a et Pao “> a % a Oe a ta | 4 = * wat > eS e <0 mt 2 oe 7 - > 92. 93- 94. 95: 96. 97: 98. 99. 4 30 painter and mezzotinter, a member of the Society of British Artists. Size of color-print, 74x 534". ; GIRTIN, THOMAS. An original drawing in black chalk, wooded landscape and houses, seen through a vista. Size, 10" x 744". READ, T. BUCHANAN. Two large full length figures in crayon. Size, 10” x 12”. DARLEY, F. O. C. Drawing, barrel of oysters, figures, and shipping in the distance. Size, 6” x 54 - BOTH, JOHN. Large original drawing in wash and bistre. Landscape and figures. Size, 21” le READ, T. BUCHANAN. Seated female figure. SIZG 08 Sato KING LEAR. A powerful stage drawing. King Lear in fierce action. Oval. Size, 6%” x 5%”. Signed, “JOHN R. JOHNSTON. From life.” SIR PETER LELY. Striking wash-portrait in brown, signed, P. LELY. Size, 94” x 734”. TURNER, J. M. W. Another of his water-colors (much like his “Cumberland,” No. 140), and I have several smaller ones by Turner. One of these (No. 99) connoisseurs all claim to be a Tur- ner. But connoisseurs will readily estimate them, and for others, what I might say would not be of any use. These drawings have brought high prices and are very fine. I am satisfied that this is a Turner, but cannot prove it except by the handling. See note written on the picture, No. 99. ae > =e Se ee ee 31 GUERCINO. A magnificent drawing in bistre, with many figures, the “WIFE OF SPITAMENES.” Size, 17” x 10%". This, and No. 77, are astonish- ing drawings. JAPANESE ANCIENT IMPERIAL LETTER TABLET (for sending official orders), and case, lacquered and gilt, and inlaid with figures in mother of pearl, gold, etc. Size, 16” x 25”. This is from the old shogun days. WILSON, RICHARD. Original sepia drawing, signed, 1785. Size, 542” x 8%”. Landscape and bridge. | | Poor PEAS DER °Marine, i12” x 10”. GEORGE R. BONFIELD. This is the original from which Bonfield painted his large picture for which he was paid $250. He always claimed, and I agreed with him, that this was the better picture — of the two. REMBRANDT. His rare and beautiful etching of “Christ Preaching to the People.” First state of the plate, very brilliant. Size, 814” x 7%”, 1654. (See the Osgood Life of Rembrandt, page 157.) HEENAN AND SAYERS. A burnt-wood picture, made on the spot, with portraits, of the celebrated prize fight in England, in April, 1860. Size, 8” x g”. Framed and glazed. AURORA. A large color reproduction of GUIDO’S “Aurora.” The best I have seen. Size, 20” x 30”. The original is on the ceiling, in a circle; this is the same extended. ee « = eg eee Ae 32 107. COROT. A wooded landscape; probably a copy, but, if so, a capital one. Size, 14” x 20”. Ihave © had it many years. 108. BONFIELD, GEORGE Ro] Ae ee fe 4 SHIP; from Coleridge’s Ancient Mariner; a — weird and a very powerful picture. Size, 14” x 20". The skeleton phantom ship is bearing down 9 on the other craft. 109. INNESS, GEORGE, Senior. A beautiful land- — scape, with cottage and girl, bought, and brought, from Mr. Inness, 1851, then in Paris on his honey- moon tour, as his son, the eminent and still living artist wrote me. The date of purchase is on back | of the panel. Size, 10" x 8”. See No. 80 of this ~ catalogue. It is a picture of transition, and is 4 extremely interesting, as well as beautiful. The — tones and handling are all Inness’s. | 110. GOYEN, VAN. A large and splendid landscape, — water, old mill, boats, etc. Size, 27” x 207) [am have numbers of verificators. t11.. MINERVA. An old hand-raise plaque, on sheet ; metal, framed in gilt and velvet. Size, 11" x 4 11%2”. Curious at all events. 112. VASE, GIORGIO. This is a genuine Maestro — Giorgio original. Earliest majolica, dating from 1500, with his monogram on the bottom. It is of the old Spanish-Moorish meerschaum, and will float in water. The middle is covered with Mos- lem incised work; from Majorca; and was finished and colored by Giorgio, in Italy. Probably the earliest example of decorated majolica known. Size, 11%4” tall x 534” largest diameter. (See illustration. ) Primitive Majolica Vase Maestro Giorgio, 1500 (Height, 11%, Diameter, 5%) 33 113. ACHENBACH, ANDREAS. Dismasted ship in a terrific storm at sea. This picture is entirely the work of this artist; no one else touched it. It is _ signed “A. Achenbach, ’62.”” He was a very cele- brated artist, born at Hesse-Cassel in 1815; Knight of the Order of Leopold; Member of the Academies: of Berlin, Amsterdam and Antwerp; Chevalier of the Legion of Honor; medals from Prussia, Belgium and Philadelphia.. He was a great traveler by sea and land, and of world-wide reputation. This picture is simply tremendous. mize, 24742" x 17”.. Framed. _ —— iss aby PIT WSS COT - “ me tee eauongetst: ees Ne ¥* e at 4 ee ee ge fw ‘ i q ES es Pee Sei wc Ris asain igs rh . o ye eee sh a ‘ ee oe ’ a ae ie 7 - . wie . ; a ot fee + al oath .< * ° Ete os SRS bo, yee eS \ . 114. VERNET, JOSEPH. A splendid, large color-print (see No. 61) of a shipwreck on a rocky shore, ae. with a boat striving to land a few passengers. It kz has the soft and searching tone of all good color- prints. The picture is described in Seguier’s Dic- tionary of Paintings. Size, 24144" x .17”. ee ee Reso; 32 115. ALHAMBRA. This is a section, made in hard ‘material (looks like the marble itself, but it can- not be), of a panel of the Alhambra, with the | most intricate and remarkable sculpture (cut ie square down) I have ever seen. It is very heavy, : is framed, and was brought from France. Size, 8” high x 25” long. } 116. HAMILTON, JAMES. STORM OVER THE ~~ DELAWARE WATER GAP. This is a splen- did picture, one I have never tired of. I am quite familiar with such scenes at the Water Gap. I knew Hamilton, and an eminent artist once told ~ me that Inness and Hamilton were the two artists here of the greatest real and original genius. 117. I19Q. I20. I21. 122. 123. ANCIENT TAPESTRIES, Two, King and Queen, 34 with metallic embroidery. These are very re- — markable works of art. (I have also, with them, | which goes with this lot for information, an an-— cient Chinese tapestry, with the same metal em- broidery.) Size of..each, (2050127 seeeizea Chinese tapestry, 14” x 20”. . CHINESE PLAQUES. These four are very heavy ~ q vy. and very ancient. It is impossible to describe them ; they must be seen to be understood. They are described by Williams in his “Middle Kingdom.” They were made in the white in Chinese Tartary, and finished in color in Central China. That. was long ago. Circular, 11%”. . DE V. BONFIELD. Three fine coast scenes, in oil, Sizes, 13°°X O"s 1347 xi Oe ee _DE V. BONFIELD. Oil painting from Nature of Cooper’s Point, dating from 1867. Size, 13” x 9”. This, now in Camden, N. J.) isa fine pic ture of historic interest. DE V. BONFIELD. Three oil paintings, dating back sixty years, of scenes in the White Moun- tains: Willey Valley, Mount Washington, and another Size. 13. soe HAMILTON, JAMES. The oneinal plenreaane Serapis and Bon Homme Richard, from which he' — painted a number of larger ones. This is far superior to any of his larger replicas. It is alive with fire. Hamilton never would sell it; I ob tained it after his death, in California, from his widow. Size, 24” x 1444”. ITSr “lupe Weld) Qa ee See a See deIUOWIC 94} WoOIJ nO BSurljsed Qcl “ON 35 _ 124. BIRDS, INSECTS AND FOLIAGE. A rare and fe ancient drawing in body-colors, on heavy parch- ment, many hundreds of years old, and brilliant and accurate. Size, 11” x 744”. 125. THE BULL-BAITING. MORLAND and WARD. | This great but ferocious painting was exhibited, by itself, in Philadelphia, admittance 25 cents. After a month in the museum here it was taken to New York, and before it was even first exhib- ited there was destroyed by fire. While here, John Woodside made this slight but accurate pencil copy from it, which, I think, is the only copy ever made. It is in this catalogue merely to give an idea of a lost picture by great artists. It is cer- tainly strong and vivid, and shows what the pic- ture must have been. Size, 9” x 10%”. gk GIAN BELLINI. A. D. 1422-1516. On three panels, joined; was never restored; one of the only ones of his which was not. Owner obtained it from an old estate on the Rappahannock (see No. 84); it was brought from the Ducal Palace of Venice in 1797, when it was sacked. “CAST- ING OUT THE DEMONIAC.” The apostles are all portraits of contemporaries. The little red devils crawling out of the Demoniac’s arm are very curious. Signed and dated 1511. Size, 2814" x 21”. The swine are very characteristic; I have a facsimile print from Titian (Bellini’s pupil), with precisely the same “razor-backs.” I have many verifications of this picture. 127. BREUGHEL, VELVET. FAIR-SCENE NEAR | ~ A CITY. A large and splendid picture, on panel, cradled. In excellent condition. I have a Le Bas 36 engraving of a nearly parallel picture of Breugh- el’s. No one can dispute the genuineness of this picttire, .Size; a4" x 177, 128. COOPSE, PETER. (A.D. 1640.) This old Dutch @ painter of marines is not well known, because — most of his pictures have been sold under the name of Backhuysen, with whom he was contemporary. This marine is on panel, and is signed P. C. Size, 1OteXeLISa 129. LANDSCAPE FROM NATURE. Near Mystic, Conn. It is a sketch made on straw-board, prob- ably bought from some storekeeper near-by. It was brought from Mystic by an old clergyman who came here. It is a splendid out-door work, the tones almost like mosaics when closely exam- ined. It suggests Davis’s Brook, at the Academy, — j but I have not inquired] = sizemmaa. soe (framed). 130. VAN DE VELDE, WILLIAM. Marine. This is a copy which was made directly from the picture in the National Gallery, London, in 1857, by V. de V. Bonfield, and is a capital work. Size, 12” Rat 131. VERNET, JOSEPH. A drawing in distemper of a shore scene in his own inimitable way. It is well worth looking into. Size, 18” x 23”. 132. ABATE, A. J. Landscape in sepia and wash, across a TIVELY OIZe ace? 133. SIR JOSHUA REYNOLDS. Colored print by J. : Rogers, of female figure in a landscape. Size, ake x 6, Jasneig JAI A (41 x %bz) AVI jO suolAUq ul 9u299—rTeY S74 P 34. DA VINCI, LEONARDO. Facsimile by Hollar of . two grotesque faces. Leonardo was fond of this work, and followed up such queer folk to catch their faces. See his published biography, No. 387 . of this catalogue. Size, 414” x 3”. saree = ee Sen ae a ee eee fe at = rans = . a ‘ 3 oe ae - . ‘ee ’ 135. BUSBY, J. L. 1820. Two old English colored prints. A Lobster Catcher; and a Shoe-black. ol UNO ala 0 Me I pace: REMBRANDT, VAN RYN. “THE PHILOS- Oreaek IN HIS STUDY.” This is the title of the picture when Mr. Bryan brought it from Holland in 1795. I want to have something to say about this little picture. No one has disputed 4 its genuineness, and if they had, I know more about the matter than any of them. But all have admired it. For this I never paid a cent in money, but I am a doctor, as most folks know, and many years ago I saw an old and very poor Belgian, i who lived in one room, and I attended him for ie years gratuitously, as I usually do in such cases, , and finally I found a place where he could be ' better cared for than in his one room. ea On his wall he had hung just one little pic- : ture, this Rembrandt, and he said, “Doctor, I want you to have this;’ but I said, “No, it is , your one treasure and your one link.” But at b last, when I found a place for him, and he again é said it, I replied: “I will do this; you have no | ; place for it, and I will take and keep it in trust ‘- for you, and you can have it again.” He said (he was past eighty), “That will never be.” And it never was. Of course I gave him years of my best; I have always tried to do that; but I would rather rise 38 have handed the picture back, but, as he said, “That will never be,’ and it never was. Now, that is my story. In the “Rembrandt” of Casone & Co., 1878, on page 127, it is stated: “The works of 1660 were all of a portrait character, and included a ‘St. Francis,’ a ‘Philosopher in Meditation’ and q an aged woman,” etc. 4 The Louvre picture dates from 1633. It was part of the Count Vence collection, and was bought for the Louvre in 1784. Now, Bryan went to Hol- land about 1790, to pick up what he could, and in his London catalogue of 1798 (on page 290 of Buchanan’s Memoirs, Vol. I) he describes this in the most glowing terms. But it was not sold, as noted. Now this picture turns up again in the Osgood Biography of Rembrandt, on page 155, as among former collections of Rembrandt paint- ings, now not assignable, as “a philosopher for- merly in the Pourtales collection.” My Rembrandt is signed in lower left-hand corner, has no woman on the stairs, and the — q philosopher is entirely different, taller, has no cap, _ is not a Jew, and the plan of the whole is broader and finer than in the Louvre picture. I have counted a hundred differences, and noted them in red ink. This is a far better picture. On canvas (as his later pictures usually were). Size, 127%” x 1014", 137. REMBRANDT, VAN RYN (after). The very rare, large engraving, on copper, by Ludovico Surrugue, 1754, of Rembrandt’s “Le Philosophe en Contem- plation,”’ at that time in the collection of Count | — Vence, Field-Marshal of the King. It was ac- quired by the Louvre, in Paris, in 1784, long “a _ }puriquioy (YO X 871) Apnig st ul raydosopiyd e4L oe before Mr. Bryan came upon his picture (No. 136) in Holland. The engraving, as usual, is reversed. Size, 11%” x 1014". TURNER, J. M. W. An early drawing, made to order, for illustrating an English country-seat and Paiascape, oize,.11 x7. DIAZ, NARCISSE. This picture will speak for itself. “CLEARING OF A STORM.” I know the history of this picture. It was one of the French pictures sent over by the associated artists of France, about 1873, to be sold without limit, and which opened the way in this country for $70,000,000 for French art! A friend of mine bought an early Corot there, alongside this Diaz, for $60, which after his death was sold for $1,000. Size; O° x 634”. TURNER, J. M. W. A water-color of the entrance to Lake Cumberland. Signed “J. M. W. T. 1820.” See No. 99. This was one of five from the Liber Studi- orum never engraved, as he was drifted off into the “Rivers of England,’ which were more prof- itable. See his biography and list of works. Size, 9” x 6%.” THOMAS GIRTIN. His celebrated Watercolor of Naworth Castle. The finest water-color I ever saw. Size, 15” x 844”. Turner said that 1f Gir- tin had lived he himself would have been forgot- ten. Girtin was the creator of modern English water-color; see Bryan and Redgrave. Naworth Castle, 12 miles N. E. of Carlisle, is in Cumberland. It is fully described in Joel Cook’s “England,” page 68. I have, for corrobo- ration, two prints of this castle. Size, 14” x 8%”. 40 142, GIRTIN, THOMAS. Beautiful water-color of Chel- sea, on the Thames, size 8” x 5”. I have several corroborations and verifications of this work. This and the Naworth Castle are two of Girtin’s best works, and his original drawings (he only worked in water-color during his short life) bring very high prices and are exceedingly scarce. Size, 73/4". x sees 143. HURST, the author of Endymion. A very rough sketch, by this singular Philadelphian, may have historic interest. He lived about seventy-five years. ago. Sizes 2st 144. TURNER, J. M. W. APPROACH TO VENICE. This is a small copy, made directly from the original picture by V. de V. Bonfield, about 1857. These three copies, Nos. 144, 145 and 146, pre- serve Turner’s tone and color better by far than the originals do now. They are, besides, capital works of art, full of breadth and handling. Size, TIsg Ro 7 s4y, 145. TURNER, J. M. W. SNOW-STORM AT SEA. This is a small copy made also in 1857 by V. de V. Bonfield directly from the picture. Turner’s origi- | nals have changed color since then, but these copies have not, as other pigments were used. Size, 514” x Ole". 146. TURNER, J. M. W. THE BURIAL OF WIL- KIE. This is a copy made by V. de V. Bonfield, in 1857, directly from the picture. Of this and two others he then made, the Curator of the Na- tional Gallery told him they were the best copies ever made there.. Size, 514° x15 (“AS xX V1) | UJI) SeUOYyy Japiog YS}09g 94} UO a}seDQ YIOMEN IfI ‘ON 4 i Tr aes » y he r: ‘ , # [ j i ¥ | ae ; me é q 41 } 147. GAINSBOROUGH, THOMAS. Early Landscape, ie with figures, and with the well-known wheel-plow of his early work (see Nos. 45 and 48). This picture is certainly by Gainsborough’s own hand; if it is not, then the original does not exist. It is powerfully done, with Gainsborough’s own handling and impasto. Size, 12” x 20”. es 148. MIDDIMAN, S. AFTER GAINSBOROUGH. : This fine line engraving, by a celebrated engraver, also illustrates the wheel-plow, see No. 147, and - general plan of the smaller Gainsborough oil paint- ings in this catalogue. Size, 11” x 10”. ® 149. BARBARA FRITCHIE.- The heroine of Whit- i. tier’s poem. This is an unknown picture, made “a by a capital army artist, just before the old lady’s death and after the battle of Antietam. It was | found in Frederick, years afterward, and brought a north by a colored man, from whom I obtained it. fs Comparison with her photograph, which I have, taken ten years before, establishes the fact that both are of the same person. Size, 24” x 20”. (See photo attached. ) 150. DOUGHTY, THOMAS. Snow Landscape. Doughty was the first of our artists to use the “Silvery tone’ in his pictures. He has always had a high rank in American art. (See Tucker- man’s Book of the Artists.) Size, 12” x 10”, framed. 151. BONFIELD, GEORGE R. Oil painting of sixty or more years ago; up the Schuylkill River. Size, Be : 12” x 9”. This, and the next six, are of historic | as well as artistic merit. re, ree 154. 155. 156. 157. 158. 159. , ‘a a0 tees “ ‘¢ 42 BONFIELD, GEORGE R. A view in Laurel Hill, from across the Schuylkill River. Painted in oil, more than sixty years ago. Size, 12” x 9”. BONFIELD, GEORGE R. Oil painting of a cas- cade scene in what is now Fairmount Park. Also a landscape on opposite side. Size, 14”x 10”. BONFIELD, GEORGE R. Two fine coast scenes, in oil..; Sizes, 187 5°13" 5 gene BONFIELD, GEORGE R. A large oil painting; ice-float up the Delaware River. Size, 24” x 16”. I wish it to be understood that these unframed oil paintings are so simply because I had no room in my house; they are excellent, and should be framed to show what they really are. BONFIELD, GEORGE R. A large drawing in black and white, after Ruysdael, an artist whom Bonfield greatly admired. The effect is powerful. SiZeod Mee he BONFIELD, GEORGE R. The lower island of the Smith’s island group in the Delaware, opposite South Street, Philadelphia. It had disappeared fifty years and more ago. It is an oil painting. Ney PARED Sohn dade | INDIAN WAR BELT. Elaborately worked and beaded. The tufts below represent scalp-locks, but are not. From the Iroquois of Canada. The © double-faced tablet attached is from Professor Morgan’s official Report, 1849, Plates 11 and 14. They establish the source and period of No. 158. NIAGARA FALLS. As they were in 1750. They are quite different now. Framed in gilt. This is one of those pictures splendidly colored by the | 43 English William Doughty (signed) for three years a pupil of Sir Joshua Reynolds. It must be seen to be appreciated; it is unique. Size, 15” x 10”. Framed. . JAPANESE CARVED TABLE. This is a very beautiful thing; it is carved, free-handed, in imi- tation of waves of the sea, and has a number of little balls sawed off in their sockets, which can be rolled around with the fingers. It is of light teak wood. It was brought over by a missionary from whom it was obtained. Size, 40” long, 15” wide; 31” high. POMPEII. Facsimiles in color of frescoes of two female figures from the House of Cicero. Size, Q” x 64 is CARR, JOHN. Beautiful sepia drawing, landscape, figures and water, by this celebrated artist. Size, 1514" x 44". TENIERS. Old Dutch crayon drawing. Peddler, figures in front of house, etc. Size, 12” x 834”. Second Session Sale | Wednesday Afternoon, May 28th, at 2.30 o’clock 164. V. DE V. BONFIELD. Three fine drawings in Sepia. One view in White Mountains, one in Mount Desert, and one at Cohasset, Mass. Sizes, 7X5" 3 OT X 81s 7 165. GAINSBOROUGH, THOMAS. 1764. This is a | large and original etching by Gainsborough him- self. “Painted and etched by T. Gainsborough.”’ It is very scarce; none of my connoisseur-friends ever saw or heard of it; itis dated 1764. “THE GIPSIES” THIS WORK IS NOT REFERRED TO IN ANY BIOGRAPHY of Gainsborough. Size, 20” x 18”. With this lot goes Barker of Bath’s “Gipsies,’ (mezzotint by Giller) showing where Gainsborough got the idea of his group. In the same way he got his “Woodman in a Storm” from Barker’s “Woodman.” 166. GAINSBOROUGH, THOMAS. A really splendid original painting executed in bistre, which (see Chamberlain’s recent biography), was one of the © mediums used by Gainsborough. This picture came direct from his studio, and was brought to America by “Old Scarlett,’ who said he worked in Gainsborough’s studio, when a boy. It is a wooded | landscape with a vista, across which is seen a dis- | tant church in April. Any one who has seen Gains- borough’s own etching, No. 165 above, will see at i once that this is by the same artist, as many of his other drawings and paintings confirm. The size of the painting is 11144” x 7%". It is beautifully . framed, outside measurement, 30” x 25%”. i eR ET A A on . ~ 45 ROTHERMEL, PETER. Large and_ splendid portrait, “THE OLD WARRIOR,” 1845. Size, Be TS". | . _WOODSIDE, J. A. SCENE ON DARBY CREEK. mize, 12344" x 9”. WOODSIDE, JOHN A. 1850. “Design for Sons of Temperance.” Size, 10” x 834”. LEUTZE, E. 1830. A large original drawing, black and white, “IN THE GARDEN.” Size, 124 ” x 734, es , MORLAND, GEORGE. Color-print of his Guinea- Pigs. His most celebrated color-print. . Genuine color-prints are no longer produced. They must not be confounded with colored prints. Size, 20” ar. COOPER, T. S. Large cattle picture in oil colors; signed. Size 17” x11”. I cannot identify this work; it is powerful as an illustration. SCHUESSELE. Small oval female portrait in In- dia Ink. This artist was the teacher of Abbey, the celebrated painter here and in England. SCHUESSELE. Original Drawing. 1851. Size, ToS". SCARLETT, SAMUEL. One of his attempts to copy in water-color a picture by Adrian Vander- velde, with a curious result; signed S. SCAR- LETT. Size, 914” x 6”. “Old Scarlett” was long Curator of the Academy of the Fine Arts, while on Chestnut Street, Phila., until his death, when he was more than go years old. 176. at gs 178. u79 1804. 18. 46 CHINESE SHORE-SCENE. This is marked on _ the back. “Painted by a celebrated Chinese Ar- 7 tist.”” Has capital perspective. Size, 11” x 814”. TEN handcolored original works by celebrated col- — orists (not the later copies); from the Stafford — Gallery, after Joseph Vernet, Cuyp, Swaneveldt, — Hobbima, Ruysdael, Kamp, Wm. Vandevelde, Claude Lorraine, and another by Ruysdael. These are perfect gems, and cannot now be obtained. They date from the year 1808. See Nos. 267, 268. BONFIELD, GEORGE R. A large Painting at Cape May Point, painted sixty years ago. Mr. Bonfield told me that this beach has all disap- peared long since beneath the sea. Size, 18” x 12”. Itis avery beautiful picture, and unframed. METALLIC PORTRAIT OF A GREAT GER- W MAN CAPTAIN, dating to 1517. Made ona © bronze sheet by the snarling process. The artist’s monogram T. F. is raised in the metal. A splen- — did work in sheet-metal. Circular, 1614”. - CUYP, ALBERT. Evening s¢ene: wifi ieowaant aa beautiful distance. Signed and dated. Size, 18” x Io”. Framed. BEERSTRAETEN, JAN. Celebrated Dutch artist (Amsterdam); died, 1687. His specialty was snow and ice scenes, mostly in Friesland. This little picture, for grouping of many figures, is inimitable. (Upright.) Size, 121%” x 8”. Framed. MOUNT, W. S. Harvest Scene on Long Island, with windmill in the distance. Size, 35 x 25”. : No. 189 Virgin of the Immaculate Conception Murillo (23-x220) ; 188. 189. CROPSEY,, J. F. A splendid river and mountain landscape. Size, 24” x 18”. SHAW, JOSHUA. Scene where settlers are over- looking an Indian attack and the burning of their home. Shaw was a good artist, and also the in- ventor of percussion-caps, for which he received large awards from the United States and Russia. SizegzO . x 19”. Hramed. DURAND, A. B. Upper Hudson. A beautiful picture. Size, 20” x 16”. Framed. BLOEMART, iN, Very ancient water-color; signed. Born 1564; died 1647. Size, 12” x8". MORAN, T. Water-color : River, Boat, and woods beyoud. “mize; 97 x 4”. TITIAN. A beautiful wash-drawing facsimile, by ‘Watts, 1777. HOLY FAMILY AND LAND- eee PTO DISTANCE.. Size, 15” x12”. Tepe eNO IGURATION,. AFTER RAPH- AEL. A very curious and beautiful picture, which is hardly a print, as the whole is drawn in contour-lines at varying distances, which so pro- duce the precise effect of a bas-relief. Engraved by Henning, after the bas-relief of Raphael. It is entirely in line, and the effect is startling. It has a floriated border. This picture will clearly illus- trate Raphael’s method of drawing, as in my frieze-dado, No. 78, and “‘Raphael’s Bible,” No. 288 of this catalogue. Size, 22” high x 18” wide. Peete, BARTOLOME ‘ESTEVAN. ‘An original in his third style, the vaporoso, his scarcest, latest, and best. A single figure, the “Virgin of the Conception.” Was brought from : ; T> + + * © ~ i = Spain-by ‘‘pseph Bonaparte, and wag imhis collee-9 : “¢ 9 ¢ ize oat . This B04 PLAT UE oe ‘ -\ ‘s “3 B& As ~i ae 4 j ye Me GR a Ts >d on the red-earthy, Spanish base. (2° @ Buctianans Memoirs of Painting, Vol. 1, pages 343.) A splendid picture, in perfect condition’ See also Nos. 71, 75 and 84 of this catalogue. 190. RUSSIAN SACRED IKON. Brought, in perfect condition, from Russia. Oil painted figures, on thick wood panel, with perforated metal screen, — gold and silver, to show the paintings beneath; the — screen also stamped with Russian titles and leg- q ends. It is a high-class Russian object of devo- — tion. Was brought from Russia many years ago. — Size, 9” x 74". In plush framiesa2. exes With this lot goes also a beautiful Russian “Holy Picture,’ an old Saint, praying in deep snow, in a forest, and gazing up at a beautiful © vision of the Holy Family. The description is all in the Russian language. Size, 9” x 634” — (framed). 191. DAUBIGNY. Landscape, water, etc., in crayon. Size, 834”.x 74%". Sce No. 486. 192. CONFEDERATE SOLDIER, in battle, on the fir- ing line. A powerful water-color, in impasto. Note the Enfield rifle. Signed. Has Confederate flag, on the frame above. 193. ROSA, SALVATOR. Powerful pen and ink draw- ing, with figures, winged female, and horse broken-down. Signature corroborated by several of his etchings, .Size,; 5° x 34qe— 194. BONFIELD, GEORGE. Sixteen original draw- ings to illustrate Gray’s Elegy, which was a great favorite with Bonfield. He has noted that these , yy i ap. * CoA >) am - (Ml Bee. |) _ 195. i Bae ; if 199. 200. 201, 202. 49 drawings were made in the ninety-second year of his age. They have more of Gray’s feeling than any illustrations of his work that I have ever seen, and ought to be reproduced for the public. GENERAL G. B. McCLELLAN. Equestrian por- trait in pen and ink, in which the whole design is composed of extremely minute handwriting; a re- markable performance, done without a glass. eisee il x 714", LOUTHERBOURG. Colored by his own hand. Peak’s Hole, Derbyshire. Size, 1214” x 9”. STEEN, JAN. A capital (but a decent), tavern- scene. His very high standing in art is well known, and his pictures are scarce and valuable. Every figure in his picture has something in the action to do; there are no lay figures. Signed on end of bench. Size, 1214” x 1614”. Framed. BOUT AND BOUDEWYNS. These two celebrated painters worked in conjunction. This is a lovely little panel-picture, landscape and many brilliant heures; cradled: Size, 932” x 7”. Framed. CRAIG, THOMAS. A wooded landscape, with were seize; t2 x 14”. Bramed. COLE, THOMAS. Scene at the mouth of Catskill Creek. Size, 21” x 16". Framed. SCRIVEN, H. Landscape, with Hunting-Dogs, in India Ink. Size, 54%" x 914”. HAMILTON, JAMES. Original water-color, for Dr. Kane’s Arctic work. (See Kane’s Arctic Ex- plorations, Vol. II, Page 237. Size, 8” x 4”. Framed. 50 203. READ, THOMAS BUCHANAN. Children play- ing together; a most beautiful picture, painted in Rome. I have never seen anything of Read’s to equal this. Size, 17” x 13%4”. Framed. (See No. 470. ) 204. V.DEV.BONFIELD. A splendid sea-shore land- scape, water-color. Size, 11” x 7”. Another, smaller, 9” x 614". 205. BENAZECH, PETER PAUEY Boraea 774. beautiful Italian scene in water-color. Size, 12” Xero & 206. ROUSSEAU, TH. Drawing in color. A most beautiful landscape, with a line of direction to his engraver written across the bottom. Size,9%4” x 6%". One of this character; but without writing, sold recently in New York for $850. With this goes a private etching by Rousseau, of a view, and below it a whole letter in his own handwriting, etched by himself. Compare the writing. Size, gx 87. Gee also Noe oe) 207. HAMILTON, JAMES. Two splendid facsimiles in brilliant color, of his “Egyptian Sunset,’ and — “Moonlight near Venice.” Size, 12” x 8”. 5 208. HAMILTON, JAMES. Rocks and Shore Scene. Water-color. Size, 6” x 4%”. Arctic Scene, 3144" x 2”. Framed. This little thing is very rich; looks for all the world like an oil painting; it is most beautiful and big, small as it is. 209. SAINT PETER’S AT ROME. Illumination; must be held up to the light; all perforated, and yet on the wall itself it is a splendid picture. Size. 18” x 14”. A great function is in progress, 210. 2II, 212. 212. yn He at 216: 217; 51 MORLAND, GEORGE. Dated 1792. Imitation of a Wash Drawing, landscape. Size, 12” x 8”. ANCIENT CHINESE SKY-SCRAPERS. Two large illustrative prints by Medland and Pouncy, 1796. These are very curious and interesting, _ although they are not themselves drawings. One shows a vast structure twelve lofty stories high, and strikingly like our most artistic “Sky- Scrapers.” They date back many centuries. Size, oleae og | NORWICH CATHEDRAL. Beautiful and elabo- rate drawing of a font, in India Ink. Size, 5%” te KRIDER. Original water-color landscape. KRIDER WAS A WELL-KNOWN PHILADELPHIA Berio OF LONG AGO. I NEVER SAW ANOTHER OFHIS WATER-COLOR DRAW- Meo) 517e, 434" x 3”. EUGENE DELACROIX. An original lithograph of a Lion Tearing a Horse, by this eminent artist. Very powerful. Its rarity and entire personal work by himself give it place in this catalogue. ize..0 «x. 7", GIGNOUX, F. R. Mountain Scene in the Adiron- dacks. This artist later returned to France. Size, Baer lS, BIRCH, THOMAS. A Humorous Drawing of Himself, his Wife, and his Little Boy, caught in a storm, and wildly heading for a tavern. This wash-drawing is capital. Size, 8” x 6”. BONFIELD, GEORGE R. Sketch in black and white. Mount Desert. Size, 10” x 7”. 218. 219. 220. 221. 222. 223. 224. 225. 220; 52 FUSELI. Pen and Ink Drawing. Bacchante (many figures). Size, 10” x 6”. ROTHERMAL, PETER. Three large drawings in black and white; figure subjects, made for the old Graphic Club. Size; 11” x 8%”. | HYACINTHEZ. (drawing). A _ little French conceit in color; Kissing out the Window. Size, 3 \% " x mt TURNER, J. M. W. A wild scene, browns and whites: “S1ze,°7" x 5 yee, TREVISANO, FR. Celebrated Italian artist, born | 1656. Group of children in landscape. Size, 11” ScnOr BLAKE, W. Two splendid original figures on face, and a beautiful composition drawing on back. Also another composition with drawing on back. These are very rare. Also another, signed. Sizes, Bi 7 le oad ee V. DE V. BONFIELD. Original sketch of scene in the Catskills. Above Kaaterskill Clove. Size, 9” — xX ee COPE, CALEB. Signed as President; certificate of membership of V de V. Bonfield in the Old Penna. Academy of the Fine Arts, 1865, with James Hamilton’s fine picture of the building and sur- roundings, on Chestnut Street, Philadelphia. Size, Ox Th) COLE, THOMAS. Mohawk Indian, gazing at dawn, from the Catskills over the Hudson Valley. All artists and art-lovers regret that Cole didn’t . ‘ bi % ‘ A D4 it oe a f * eS ; ' Sy i PARISIAN ART. By Henry Bacon. With 55 illustrations: Manet, Bastien-Lepage, Detaille, Vibert, Madrazo, Rico, D. R. Knight, etc. Bos- ton, 1083. ‘Size, 814” x 6%”. CLEOPATRA. The antique picture in encaustic, discovered in 1818. Inscribed to Baron Benne- val, of Sorrento, in Italy. By John Sartain, with ; N De nN ee es 78 many of Sartain’s full-page and other illustrations, oPnee by Sartain, mie 1885. Size, — 105 haya 352. A COURSE OF WATER-COLOR PAINTING. ~ By R. P. Leitch. 24 full-page plates, in colors, — from his own designs. London, 1873. Size (ob- — long), 814” x 734". | 353. ANIMAL PAINTING. The Artistic Anatomy of Cattle and Sheep. By B. Waterhouse Hawkins, F.L.S., F.G.S. With drawings on wood by the author. The author is the highest authority on these subjects. A. Schulze, printer, London (no date ie iZe7 one 354. PHILIP GILBERT HAMERTONS 3a SCAPE. His great work on this subject. Au- thor’s Edition. University Press, Boston, 1885. Size, 714" x 5. 355. “THE COMPLEAT DRAWING BOOK, CON- TAINING MANY CURIOUS SPECIMENS. 116 Copper-plates from LeClerc, Le Brun, Rem- brandt, Berghem, Barlow, Chatelin, Swain, and | others the best masters.” A rare old book, anda ~ quaint one; bound in velvet leather. Robert Sayer, London, 1762. Size, 8%” x 5%4”. The plates in this book are really remarkable. | 356. THE ART OF PAINTING IN OIL) By“. Bard= well. London: Robert Laurie and James Whit- tle, successors to the late Mr. Robert Sayer, 1708. On the fly-leaf is written, “Samuel Scarlett, Bath, 1806. N. B. This book is very scarce and rare.” Scarlett was the old curator of the Pennsylvania — Academy of the Fine Arts. He brought over my b 358. 359. 360. 361. 79 Gainsboroughs. Size, 734” x 5”. The present Laurie is my London publisher. VIOLLET-LE-DUC. LEARNING TO DRAW, OR THE STORY OF A YOUNG DESIGNER. Illustrated by the Author. Translated from the French. ‘Was not published until after the death of its distinguished author,’ which “Le Duc’ really was. Full of illustrations. 1880, New mami. ize, O° xX 514". ART SUGGESTIONS FROM THE MASTERS. Selected from the works of Artists and other Writers on Art. Compiled by Susan N. Carter, principal of the Women’s Art School, Cooper Union. New York, 1881. Size, 74” x 434”. GEORGE FIELD. Chromatography. A Treatise on Colors and Pigments, and of their Powers in Painting. Inscribed to Sir Martin Archer Shee, President of the Royal Academy. With plates collected by the author. London, 1850. Size, O74" X 572". PeeMmeNtS OF THE PAINTER’S ART; OR A GRAMMAR OF COLORING. By George Field. Same author as No. 359. With 1o illus- trations, some colored. London, 1850. Size, Be. 5 THE DULWICH GALLERY. Waagen, in his “Works of Art and Artists in England,” devotes twelve pages to this celebrated gallery, then (1838), connected with Dulwich College, near London. Many of the pictures he describes are in this splendid collection No. 361 of this catalogue. I would be afraid to say what I paid for these splendid plates, 42 in number, and all mounted 362. 363. 364. 365: POR CE 80 separately, and loosely placed in the large flapped 4a folio; but they have been an education in Dutch, — Flemish and English art to me during the thirty- a five years they have been in my possession. They | are the original plates, and colored by hand by a eminent artists and colorists. I have never seen or heard of a like copy or collection in this coun- 4 try, and I can only hope that they will be appre- 4 ciated in this sale; for then I know that they will — become teachers of art for someone else. 42 4 plates. Size, including mounts, 2114” x 1614”. ETCHING IN AMERICA. With lists of Ameri- can etchers and notable collections of prints. By J. R. W. Hitchcock. New York, 1886. Size, — 7, " x itt) FRANK HOWARD’S SCIENCE OF DRAW- ING. Part 1, Trees. These books by Howard have had a powerful influence. This is the Pick- ering edition, London, 1839. Size, 7” x 44%”. FRANK HOWARD’S SCIENCE OF DRAWING. Part 2, Animals. These important books are now very scarce. Howard was born in 1805, and died in 1866. Was a pupil of Sir Thomas Lawrence. London, William Pickering, 1839. Size, 7” x 472". IMITATIVE ART. A MANUAL OF DETAILS. By Frank Howard. 28 illustrations. London, Darton & Clark (no date). Size, 74%” x 5”. THE SKETCHER’S MANUAL, THE WHOLE ART OF PICTURE-MAKING. By Frank Howard. This is the most important of Howard’s books, all, however, being very scarce. 27 beauti- 4 368. 369. 370. 471. 372. SI fully etched plates. London, Darton & Clark, eave ize, 76" x 434”. PROOFS OF PLATES OF FRANK HOWARD’S SKETCHER’S MANUAL. These are sepa- © rate duplicates. All rubbed down by the writing engraver before printing. (See note on fly- leaves.) There is no text in this volume, but the etchings are unique and splendid. Size, 74%” x 4y2". THE NEW SCHOOL OF SCOTCH ART. Notes to the seventeenth exhibition of the Glasgow In- stitute of the Fine Arts. Containing 95 illustra- tions from Drawings by the Artists. Scarce and important. Glasgow, 1878. Size, 814" x 5%". BRITTON’S CATALOGUE RAISONNE of the Pictures of the Marquis of Stafford in the Gallery of the Cleveland House. (Presentation copy from the Duchess of Sutherland). London, 1808. ize, 1044" x 67%”. IMPERIAL MUSEUM OF VERSAILLES. (This is not the Louvre, but the great gallery “Con- secrated to the Glories of France.) 10 x2’. Arty. ELABORATELY ENGROSSED: AND EN- | GRAVED IRISH DOCUMENT. THE LAST SPEECH OF ROBERT EMMETT, ESQ., September 19, 1803. (Executed by the British Government, September 20, 1803.) Elaborate Memorial Engraving at the top, designed by Bar- ralet and engraved by Seymour. Size, 22" x U7 - 418 Elaborately engrossed and engraved GENERAL CONGRATULATORY ORDERS OF THE COMMANDER-IN-CHIEF, FREDERICK. To the Horse-Guards, October 29, 1803. Splendid British Trophy at the top, Sela by Corbould, engraved by Chapman. Size, 29” x 20/2". 4ig. Elaborately engrossed and engraved THANKS OF THE KING, THE SOCIETY OF EAST INDIA GOVERNORS, AND THE PATRIOTIC SO- CIETY OF LONDON; and the Royal Order of Knighthood, conferred on SIR NATHANIEL go DANCE, August 6, 1804. With elaborate en- — graving of the battle at the top, by James Fittler, — A.R.A., and the text engt ane. by Toms and — Neale.’ Size, 32” x 24”. 4 420. CERTIFICATE OF MEMBERSHIP OF MR. — STEPHEN THAYER, in the BUNKER HIUCEs MONUMENT ASSOCIATION, to commemo- rate the battle, 17th of June, 1775. There are nineteen officers and directors, who have signed the certificate by their autographs, including Daniel Webster, Edward Everett, Governor Brooks, — Judge Story, and the others, historic names in ~ New England. At top is a fine large engraving of the battle, by Penniman. Size, 17"x 12%. 421. Gettysburg Battlefield Memorial Association. Cer- tificate of Membership of JAMES L. CLAG- HORN. Surrounded by six battlefield steel-en- gravings, by F. B. Schell. The whole plate is beautifully engraved. Size,21Y%y" x 154%". 422. THE VICTORIA SILVER MEDAL FOR GAL- LANTRY IN BATTLE. Tel-el-Kebir, The @ Nile, 1884-1885, Abu Klea. Relief Impress of Victoria, and of the Egyptian Sphinx, 1882, on ~~ reverse. Awarded (on milled edge) to PRIVATE T. GULULEN, 1/Scots.. Diameters = = 423. Twenty-one pieces of Georgia Colonial and Revolu- tionary (Continental) paper money, 1776-1777- 1778. The home-made wood-cuts are really ex- traordinary, and the autographs are rare, and of important historic personages of Georgia. I ob- tained these thirty-five years ago from a patient of mine, a descendant of these patriots then in Georgia, and in whose family they remained ever gI since. There is also a Colonial Pennsylvania paper nine pence, of 1772. This I obtained else- where. An uncut sheet of Confederate 10 cent Postage Stamps. These sheets, on account of poor press- work, were printed 24 on a sheet. I obtained this on the morning of April 7, 1865, from the Post Office in Farmville, Va., after our action there, in which we drove out the Confederates, and our men gutted and scattered the Post Office. I have had them ever since. I was then in Ord’s contingent of Sheridan’s command. Five Confederate notes and bonds (one for $500), of 1861, 1862, 1864, and one 5o0¢ note of Feb- ruary, 1864. I picked these up in the South, at various times during the War. I never bought any after the War, or in the North. CONFEDERATE ORDER-BOOK. I presume that this may be historic, and of importance, as It covers the Confederate orders up to January 1, 1865. Probably no later ones were published. Early on the morning of April 9, 1865, on the Lynchburg Pike, west of Appomattox Court House, we attacked the Confederate trains, sup- ported by Gordon’s Confederate Corps, and tore them to pieces, covering acres of ground with their contents, and pushed on to attack Gordon, which we did (or else he us). Passing through the scat- tered library I picked this up and put it in my pocket, and have had it ever since. It was the last act of the Rebellion, and within two hours the Confederate white flag came through our lines, just alongside me. I was in General Ord’s com- mand. Q2 ; an 427. WHAT PHILADELPHIA USED TO EAT IN- 1787. A long and very curious catalogue, in large © bold type, of what this man of edibles had on — hand for customers, and the quantity of the stock 4 of the various articles, some of which are exceed- 4 ingly curious, and many of the names even are now quite unfamiliar. This is the original docu- — ment of 1787. a 428. THE OLD LIBERTY-BELL. In Independence — Hall, Philadelphia, Pa. A fragment measuring — an inch and three-eighths by three-quarters of an q inch, and weighing five-eighths of an ounce, chip- — ped from the side of the crack by a workman in — the room forty years ago (the scar to match this — fragment still to be clearly seen). And with it a 4 signed letter describing the circumstances and identifying the fragment; and directed to another, | a purchaser, in 1893, both well-known names of citizens of Philadelphia. 429. TURQUOISE. These seven specimens of turquoise are not only valuable in themselves, and when cut would be quite valuable, yet, to me, they are far ; more valuable as they are; for they illustrate, as it were, the process of manufacture of the tur- ~ quoise in the special soft white trachyte. I picked these specimens myself from a very productive tur- quoise mine in the Jarilla Mountains, Otero County, New Mexico, in 1881. . 430. TWENTY-TWO MISCELLANEOUS MEDALS. Picked up as chance offered during many years. They are all interesting, and never culled out. Among them is the medal with Irish Harp on one side and George IV on the other, issued to 93 -signalize his Royal Progress in Ireland about 1822. Also a beautiful coin medal 4%” in diam- eter, with beautiful bust on one side and symbolic emblems on the other. Could it be a “widow’s mite” piece? It has been hung on to a little chain. | 431. MISCELLANEOUS COINS. Never culled, but | picked up during many years. There are ancient Roman coins, one I see of Claudius Cesar; one of Louis XVI; four of Napoleone Imperatore, and the remainder of nearly all nations of the earth; Arabic, Turkish, Liberian, and from parts of South America, Upper and Lower Canada, and in fact enough to make one a good student of geography and history. ‘They are of all ages, from all parts of the earth; they even bewilder me. _ 432. HINDOO CEREMONIAL SWORD. I do not | know much about this, but I have had it a long time; it is made up, blade, haft, pendant and all, i entirely of 160 Hindoo coins, of small value, on a wrought-steel rod inside. It is heavy and queer- looking, and required a lot of work to get it up. Size, 22” long, x 4” wide at cross-piece. 433. READ, THOMAS BUCHANAN. Portrait from Life of Vice-President Dallas. To verify the portrait I have pasted a copy of a miniature of Dallas on the back, and Mr. Frederick Gutekunst, my friend, who recognized the portrait at once, gave me a photograph, which is attached to my picture. It was painted by Read in Philadelphia, in 1846 (see Appleton’s Cyclopedia of American Biography, “Read’”’). The artist has darkened his hair a little, as artists do, not to make him look too old. To verify the artist, he went to Paris, 94 from Philadelphia, in 1850, and took this unsold portrait with him. It was painted on tar-board — a quarter of an inch thick. When there he painted on the opposite side his splendid picture 4q of the children playing, No. 203, of this catalogue, of which I have not said half enough. When I — obtained the picture, very many years ago, which ~ was signed and dated in Rome, it was framed as it now is. Taking it out of the frame I found ~ the Dallas portrait had been painted on the back. — As the tar-board was thick enough, I had it care- — fully split, and had two pictures instead of one, 7 and the signature on one guaranteed the other. — This Dallas portrait is a most beautiful picture, — and shows the man, as the man he was. Size, 16” x 13%4”. Framed. | : 434. WILLIAM DOUGHTY, the English artist, pupil 4 for three years of Sir Joshua Reynolds. I just © sold one like those which follow for $35. I ob- — tained what the artist left behind him in England. THE WATERING PLACE, FRONTING THE ROYAL PALACE OF MARLI. This isascene — of splendor, and of costumes 125 years ago. The ~ colors are brilliant. Size, 19” x 10%”. | 435. VIEW OF PARIS IN 1794. From the middle of * the Pont-Neuf. Crowds of people and carriages, — boats and costumes of the period. Signed “Wm. Doughty, pxt.” Designed by Rigaud. Size, 19” x 104”. 436. VIEW IN. LONDON, AT ST. JAMESS a This is very interesting, as it dates from 1755, and shows various bodies of British troops (in- fantry) performing their evolutions, all over the Pe ne oe ae ee 25 picture. The uniforms are clearly and beautifully _ painted in their correct shapes and colors. These were the troops who, under Wolfe, two years later conquered all French Canada, after the fall of Quebec.. I know of no other picture of these soldiers in detail. Size, 17” x 10”. § 437. A VIEW OF PARIS FROM THE CHURCH OF : NOTRE DAME (which is shown in the fore- ground). ‘The river Seine, the buildings beyond, freight barges on the river, and all sorts of wag- ons, carts, coaches, pedestrians, horseback riders, beeeetates 11001 1704. Size, 1914" x 1034". oe ovo THER PALACE OF VERSAILLES. ay _ Masses of vehicles, people, carts, wagons, debris of all sorts, royal equipages, etc. The date is not given, but is obviously just preceding the French Revolution. It is, to me, a wonderful revelation of the scenes of that period. The whole splen- eeemecoorea.. 317e, 17° x gir”. 439. -THE CORSI AND THE VIVIANI PALACES i@ AT FLORENCE. Designed by Zocchi; painted by William Doughty. Italian coach, pedestrians, horseback riders, etc., in the streets, with the massive palaces beyond. Dates from 1794. Size, 18” x 1144”. _. 440. VENICE. The Grimani and Foscarini Palaces, with | the Grand Canal crowded with gondolas and other craft. Designed by Ant. Canalette; painted by William Doughty. No date, but of course of Doughty’s period. A capital study of street ar- chitecture and boatmen and boats, etc. Size, 18” ob ae 441. THE GARDEN IN FRONT OF THE PRINCE 443. MEIN STEIN. This young Dutchman is alive; if 444, 445, 446. THE LONDON ART JOURNAL. 1850 _ 96 OF ORANGE’S (now the Queen’s) HOUSE IN — THE WOOD, near the Hague, Holland. The picture is dedicated to His Highness the Prince — of Orange. Dates from 1794. This is a very :. beautiful and richly painted picture, irrespective — of the scene portrayed, costumes, etc., and espe- — cially a gig, horse, and male and female occu- pants, ; Sizes 17" eae ' THE OBELISK OF LUXOR. Which stood in © front of the great Temple of Thebes, since its — creator, Rameses II, placed it there 3200 years q i ago. The obelisk is of beautiful red granite, cov- . ered with inscriptions, and 72 feet in height. In — 1826 it was removed to Paris, and on a pedestal © and base provided, now stands in the Place de la _ Concorde, in Paris. This is an exact facsimile, — in petto, in genuine bronze, with every cartouche — and hieroglyph reproduced, and stands on its ped- q estal and base, around which is a vertical bronze — railing. I have had it forty years, and it is splen- — did. Size, 1014” high, diameter of base 4”. you look steadily you can see his mouth twitch. And he is contented with all the world. Whata — smile; and thoroughly well painted in oil, on ~ canvas, and framed in an antique frame. Size, 24” high, 1414” wide. : and 1851, half morocco; 1875, full morocco. It is unnecessary to describe this journal of world- wide renown, except that the first two are old and now Scarce. Size) 13" xo ee ee oven ih D. HUNTINGTON, M.A. (see No. 14). MAN- UAL OF THE FINE ARTS. New York, 1875. ige Te) 5°. THE MASTERS OF GENRE PAINTING. By Frederick Wedmore, with 16 illustrations. Lon- don, 1880. Size, 8” x 51%”. ANNA MARY HOWITT. THE ART-STUDENT IN MUNICH. Has the Ober-Ammergau Mir- acle-Play, and many art-ceremonials and displays. A standard book, now scarce. Boston, 1854. Size, 714" x 5”. AN EXCEEDINGLY CHASTE AND BEAUTI- FUL WATER-COLOR of a young girl. By Pon ocanne!, framed, and in mat. Size; 11” apie ee For those who like such technical art-work. A storm at sea; boat and crew; ship half-wrecked; light- house; and a capital marine as a picture. Yet it is entirely woven of various colors of silk threads. Marvelous, before the day of Jacquard. Size of picture,6” x 2”. Size, framed, 1144” x 9%”. Three capital folding” panoramas. 1. The Rhine, from Maintz to Cologne. (En- Pate ee asize. 112" x8". @eoavenice. Size, 7” x 5”. Geer Ompeil, Size, 7° x 5”. No. 1 is particularly fine, and all have been of much use to me. Alto-relief, hand-carved out of terra-cotta; ancient and elaborate art-group of THREE LITTLE CHERUB MUSICIANS, with French horn, drum and zither, making a concert. I have had 454. 455. 456. 457. 98 it all of forty years. It is framed under glass, requiring a very deep frame, made for the pur- a pose, and is full of art and fine treatment. The carving is gilt, now slightly tarnished by age, but which, for me, improves the appearance. Size, — id’ x tabae q RICHARD WILSON. The Cascatella and Villa — of Mecaenas, in Italy. Colored by hand by a great artist. The original picture is in England. — This is a capital and brilliant facsimile. Size of picture, 914” x 7”. Size of card-mount, 21144” — dy te VS : SIGNING OF THE DECLARATION OF INDE- PENDENCE. After the picture of John Trum- bull. Engraving on steel by H. S. Sadd. Size, EK 2Anu TH. ROUSSEAU. (See No 206)))) Two private photographs of his drawings made for himself, or by himself, for further identification. Never published; both signed “Th. R,” as usual. One is a wild storm-scene landscape, and the other a beautiful shore scene from the sea. Both in one lot. Size, 10%” x 714”. ELEVEN YOUNG APACHE INDIANS; one pho- tograph as Prisoners at Fort Marion, Fla., and the other, six months afterwards, as, under educating influences, at the Carlisle Indian School. Each Indian, boys and girls, are named, so that the marvelous change can be clearly seen. Any one who reads Captain John G. Bourke’s “An Apache Campaign’ (1886), will learn how these Chirica- hua Apaches (the wildest and fiercest of all the Red Indians), were taken, far down in Old Mex- ’ 99 ~ ico, in 1883. In 1881 I was living among the Mescalero Apaches, in New Mexico, and also with our Navajo scouts. I do not think the Government ever sent out a stronger missionary for the conversion and fair treatment of our Indians than these two large and beautiful photographs. At Fort Marion they were savage animals, and six months at Carlisle made them ladies and gentlemen. I have had these photographs, and used them as. missionaries ever since they were issued. They are handsomely Tramed. Size, 16” x 14”. 458. JOHN A. WOODSIDE. Two dogs, of different breeds, ready for battle. This is a very powerful and vivid picture. (It is the best and most effective picture by him that I know of.) It is an oil- painting, and framed. (See Nos. 168 and 169.) Size, 1414” x 1044”. 459. ALBERT DURER. THE PASSION OF OUR “LORD JESUS CHRIST. Unless connoisseurs of art have this collection, they ought to have it. It is the set of Durer’s engravings, facsimiles, made under direction of the Director of South Kensing- ton Museum, London. The reprint was published in 1844, and soon exhausted. This edition is virtually the same as that of 1844. 38 full page- plates, and the text printed in black letter. Bell and Daldy, Chiswick Press, London, 1870. Size, Qg x 64”. 460. THE LANTERN IN THE GRAVE-YARD. This old Dutch oil-painting, which I have had so many years, appeals to me as few other pictures do. A night-scene; an old Dutch peasant and a child a ee ae oe, ay ohne or | 100 with a lighted lantern in an old grave-yard with — half-tumbled-down tombstones, and great trees — looming over-head. It is by no means a melan- q choly picture, no more than Gray’s Elegy is mourn- ‘| ful. A great towered church dimly appears in the © distance. It is beautifully framed to suit. Size, 4 16” x 1214”, 4okn MAUCH CHUNK, PENNA. Acolored map in de- — tail of the city of Mauch Chunk, as it was in 1826. — It is from the original, which I gave to Mr. Charles : Lippincott, who was born there in 1823, stipulating that he should prepare and give me this fascimile. It is not like a map; the original describes it as a sketch. The surveyor and draughtsman signed — his name S. W. R. It belongs to the same class as No. 31. Size, 154" x12. 462. PORTRAIT OF JESUS CHRIST. From life (so it purports to be.) This is an archaic curiosity, and capital art-work as well. The “Greate Turke”’ presented to Pope Innocent VIII (1484) as a bribe for his brother’s release from captivity, the — great emerald having this intaglio carved in it. This entire subject, text and all, was then painted 4 in oval on a gold ground, and it is said to be still _ in the Vatican. Richard Godfrey, a fine English © ‘ engraver, who was always on the look-out for en- graving antiques, made this copper-plate line en- graving in 1780 or 1790, and this is a very rare proof impression. Size, 11%” x 914”. 463. ANDREW FISHER BUNNER, A.N.A. Thecata- — logue of the celebrated Seney collection sale in New York, 1891, contains a complete biography of Bunner. The 103 pictures of the Seney sale net- IOl ted $962,000. I have a priced catalogue, and the names of the buyers. Born in New York, 1841; studied five years in Germany, France and Italy; associate National Academy, 1867; went to Venice in 1882, where he remained. This landscape, No. 463, is delicious in its harmony and depth. It has been greatly admired by connoisseurs. It is framed. Size of painting, which is in oil, is 12” x 9”. 464. HENRY BRIGHT. This splendid English land- scape painter was born in 1814, and died 1873. Member of Institute of Painters in Water-Colors; exhibited frequently at the Royal Academy, and Queen Victoria bought several of his works for her royal collection in the palace. This No. 464, is a Chromolith, but it is an early one, 1853, when this art was at its best. I have pasted on the back one of Bright’s own per- sonally executed lithographs, to show the style here of his indirect work; I have several of these, which are much admired, and are scarce. Size of picture, No. 464, 1514” x 934”. 465. VANDERGUCHT. Line engraving on copper of No. 5 of this catalogue. ‘Don Quixot bound to an Unlucky Pack of Moritarnes. Car. Coypel | Pinx.” As this is the engraving of the original picture, No. 5, it establishes the genuineness of the | picture itself, and also of the artist who painted : it. This is, besides, a capital engraving, and is : framed. Size (framed), 814” x 814”. 466. 467. A468. 469. 102 VANDYCK. His picture of Charles I, eeadine at the head of his horse, with attendant behind. What this reproduction is, I can hardly say. 18 a photograph in dead color, it is not from any engraving, for it is superior in effect, and in art, to any print I ever saw of the subject. I feel a that it is from the original, which gives it its value.. Size of reproduction, 7” x 9”. THE GUITAR PLAYER. A young girl stands in a grassy field holding a Spanish guitar with both hands across her body. It is painted on silk in ‘ tones and colors which are diaphanous. It has the monogram ‘““M. R.”. It is framed in golden col- | ored silk plush, and to me is a beautiful and extra- q ordinary work. Size of picture, 1714” x 8”. Size — of frame, 2614" x 17”. | 4 BUFFALO HEAD. Large and correct photograph, q 4 from life. It is from Colorado, and is a capa representation of this majestic animal in its wild state, now practically extinct. Size, 19” x 15%”. CEREMONIAL BUFFALO HORN. This is gen- q uine and authentic. I picked it up in northern Colorado or Nebraska or South Dakota, where — it was used for Indian medicine and magical pur- B poses. When so used a bunch of parti-colored feathers was stuck in the open end. The base half is natural, the pointed half has been cut down and laboriously polished by friction with the hands. Note the black color. This part is the doctor’s handle. This practice is described by Catlin, Grin- nell and others. It was the Pawnees who used this particular one. Compare with the horns in No. 468. Size, 14” x 3%” across the base. 470. 471. 473. 474. 475. 476. 103 _ THOMAS BUCHANAN READ. Two large and beautiful photographs of THE LOST PLEIAD . and THE CHRISTMAS HYMN, painted and photographed in Rome, 1871. Compare with No. 203 and No. 433. Sizes, 7” x 9” and 9%” x 7”. Four large photographs by ADOLPHE BRAUN of the most celebrated pictures by BACKHUYSEN. These are splendid examples of a great artist, of great pictures, and by a remarkable photographer. izes, 1054" x 614” to 16” x 1134”. W. VAN DE VELDE. Two large photographs, by Braun of Dornach, of the most important pictures of the above artist, now in the National Gallery, meeenoland. size, each, 17” x 14”. VIVE LA COMMUNE. The Wild Days of the Commune in Paris. Painted by Jean Beraud, photographed by Braun. Size, 18” x 13”. THE AMERICAN EAGLE. A splendid framed photograph of this bird, evidently a product of the taxidermist’s art, and so, of tourse, from na- ture. Compare with No. 13 of this catalogue. size, 20 x 1634". FOUR SPLENDID FRENCH CHROMOLITHS. By Desandre. Executed in Paris, and published by M. Knoedler, New York. ‘These are the gen- uine old French chromoliths (figure subjects), since replaced by cheaper processes. “They date from about 1863. Size of plate in panel, 17” x 1034”. EXTREMELY RARE HISTORIC AMERICAN DOCUMENTS. Old fac-similes in type, style, design and paper. | No. 1. The Royal Charter of Pennsylvania, fro q 477: 478. 479. A48o. 104 King Charles to William Penn, pate corrections 4 in ink. Date, 1681. Size, 14” x 12” ; No. 2. Proclamation of the Council of Safety, signed — by David Rittenhouse, Vice-President, Philadel- — phia, giving notice and warning of the advance a of General Howe’s army from Brunswick to a Princeton, and on Philadelphia, December 8, — 1776. Size, 14a (eee a No. 3. Proclamation calling for the illumination of . Philadelphia on the glorious occasion of the sur- — render of Cornwallis at Yorktown, from the offi- cial papers of Colonel Tilghman, just received, October 24, 1781.° Size i473, tes WASHINGTON’S COACH. Picture in colors. — This old relic used to be down at Kingsessing, — and a very old friend of mine used to take his — affianced wife down to sit init. Size, 11” x 8%”. MAJOR ANDRE. Fac-simile of a young woman ~ drawn by this gallant and unfortunate English — soldier. Also, on same sheet, fac-simile of a Ticket © for the Mischianza (Revolutionary). Size, 1514” ~ pret Re VIEW OF PHILADELPHIA, and, around it, pic- tures of ten various important buildings. Dates — about to 1845 or 1850. MARKET STREET, PHILADELPHIA, and the cross-streets at Third or Fourth Street, when the steam railroad ran across Market Street, with a train of freight cars and horses to pull them. 4 | This is a large and well-executed drawing of many — 105 buildings, and dates from about 1852. Size of drawing, 23” x 1544”. The picture is beautifully framed. GEORGE WASHINGTON. Engraving (both sides) of Gold Medal presented to General Wash- ington by Congress on the evacuation of Boston, March 17, 1776. Size of engraved plate, 12” x 1G) 482. CHRIST’S CHURCH, PHILADELPHIA. Three illustrations, Communion Plate and other vessels presented to this church by Queen Ann, 1708 (on one sheet). Size, 12” x 10”. 483. AN ARAB EGYPTIAN. A really splendid paint- ing in body-colors, in his street robes. Size of water-color drawing, 20” x 13”. (Signed J. F. M.) To verify the details, there is added in this lot S. J. Ferris’s beautiful etching of Gerome’s “Old Clothes Dealer of Cairo.” Size of etching, ri’ x 8%”. 484. JOHN VARLEY. An original drawing, in black | and white and tone, a house by the water-side with boats and figures. It is a very beautiful drawing by an eminent British artist. See Red- grave for his full biography. Born, 1778; died, 1842. Was one of the founders of the British Water-Color Society; ex- hibited regularly at the Royal Academy until the Water-Color Society was established. This drawing is a perfect gem, and-his origi- nal drawings are rarely met with. Size, 94” me. 106 With this drawing are included in the same ~ lot, No. 484, two beautiful ‘fac-similes of his drawings, by F. C. Lewis, the master of fac-simile work. Size, 1074” x 71%”. These also are very _ beautiful and are quite scarce. a 485. The Cottage in the Wood. An English scene, from. Nature. GEORGE R. BONFIELD. Born in: Southampton, England; died in Philadelphia, Pa. Beautiful and elaborate sepia drawing, heightene with chalk. Size, 101%” x 7”. | 486. CHARLES FRANCOIS DAUBIGNY. “Freda 4 artist, born 1817; a leading artist of the Barbizon School. Pupil of Delaroche. He was also an excellent etcher. | wf No. 486 is a painters a proof impres- — sion of “Clair de Lune a Valmondois.” That is to say, he painted the picture himself and then made this etching from his own picture. Size of © etching, 914” x 614”. To accompany this, as part of lot No. 186, | is a capital lithograph, by Appian, of Daubigny’s- “Valley of Opteroz” (1855). Size, 11” x 534”. Compare also with his original drawing Noll 191. These three, his own, drawing, his own painter-etching and the lithograph, will ilustraeel the massiveness, the great characteristic of this great artist. 4 487, THE PRINCESS ILSE. An original and maenitll cent photograph, by Hanfstaengl, in Munich, of | the great picture by W. KRAY, symbolizing, as” a maiden, the beautiful flower-bordered river Ilse. The photograph is direct from the artist himself 4 107 and from the picture, both registered. Size of photograph, 2014” x 1534”; size of mount, 35” x 274%". Would frame splendidly; it is valuable and high-priced; I have had it ever since it was issued, and never have seen another. 488. TWO ANCIENT RAW-HIDE TRUNKS. Cow- skin with the hair on, shrunk on while wet. The smaller one is studded with brass nails, and has monogram, D. M., my great-grandfather’s name, by the way, in an oval of brass nails. It is at least 125 years old, and the larger one still older. I have used these for many years for holding prints and drawings. Size of smaller one, 27” long, 16” wide and 12%” deep. Of larger one, 43. x 21” x 17”. Such examples are now very rare, and are to-day as useful as they ever were. END OF CATALOGUE 108 NOTE TO CATALOGUE The manager of the Philadelphia Art Galleries, Mr. Bare, has, in his office, a folio of loose sheets of card-board, 18” x 24” in size, on which, properly arranged in groups, are what I call “verificators’ of such pictures as may re- quire identification, and which can be taken out and com- pared with the pictures themselves. Among these I par- ticularly note my Rembrandt of 1660, No. 136 of this catalogue; as a photograph of the philosopher and his accessories, stand beside the philosopher and his acces- sories in his picture of 1633, in the Louvre. Even a cursory comparison will show that, while by the same artist, they are totally different pictures, and of different periods in his practice of art. No copyist could ever make such changes, as he would defeat the whole purpose of a copy. As a matter of fact, the “philosopher,” with his red cap, broad forehead and bushy whiskers, in his Louvre painting of 1633, belongs to the brachycephalic ethnic type, while the real philosopher, in my picture of 1660, is much taller, has no cap, and, with his narrow head, belongs to the dolicocephalic ethnic type; different races, in fact. . r a 5a a Na Ae " var oe PH ec ey" Ye or, Oe Oi <, > Ca : cae 2 a. o/s AK ee pA « d ity x ™ "i ee Pee \. hg Le, j. ae: ey ") as wae ee et We a Ais hot 2 SS? eA AY TN coast ee ae a ae ae t rie NS? 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