Wii hl i} : Ser eaeeer pti tiatihi ee ea a Re a ee ere ee eee a nearer aN ne a TT A LA A TL CTT Re SNE = eS EEE a cea ae “4 : |} no halting from then to the end, norany notic fl abietesses in : “TOTAL OF $2 79, 655. $a Bonheurs * The. aie of the ‘Flock’?! ‘Goes for $4 200, the Highest Price of the. rst. Night’s’ Sale—Isidor Wormser, STs of This City,. the Purchaser—Other Prices. “Thomas E. Kirby, forthe ‘American ‘Art Asso-. elation, began the executors’ sale of’ certain. ‘ pictures’ fromthe Powers ‘Art: Gallery:.col- lection: of Rochester, ° ate “Ohickering Hall: Jast: evening, and” ‘disposed. ‘ot. cninety-seven | ’ paintings for © $29.655,< or = ate an > average” ‘of: nearly © $306° apiece. - ‘Fourteen ‘of? the. paintings brought: $15,375, Or am average “of: ‘nearly $1,100 apiece. i nineteen of the whole lot’ went.at. less than |) , $100 gach, it will be. seen how the average prica {was brought down,. althcugh:as a matter of; tact prices ruled low for. they most part.during the evening... Sct : “Four of the paintings brought. better than a thousand: dollars each. “The highest: -price of. We, Sess ea haeur’s: *’ Tha. Phoita’: ‘oft “the: Flock, tb which Isidor:: Wormser,:. s figure: - to ‘that: Meyer yon Bremen‘: “Girk Reading” went to: Jsidor Wormser,. M. Rico’ 3 ‘Scene: in. Venice’. beonent: $1,200, and Sareea) % Phe Sentinel. : Pe iF ‘| 55) Voltz’s | eer G@: ‘Vibert’s | next at $825 each. and were followed b . ; man Johnson’s “ The Reprimand.” at$ Some of the paintings offered i ag Gale f isfactorily, and there were some bargains. High | » bidders. were. not greatly. in. evidence, but'as:: the ees {nteresting numbers:in the collection: ‘to: be: sold “night’s and to-morrow night’s sales,: atthe: i rem place, they. may ‘ ‘be. expected, to: appear, P ! ie ‘eight years ago... [t.-.was> wall. atong:-in.- the? evening’s catalogue, and when it was exhibited” there was an -impulsirxs tendency to anplaud:: at ‘one -side of. the halibut.‘ the- impulse? was. repressed: when’ the: first -bid- called at $1,000. The bidding “advanced” by. $100 at a call to 32.000, jumped to $2,600 an went.on again at $100 advances to the knock’! down price: In comparison-with the figures of .the last public salas: of the two paintings, * Tha, Choice of the F lock ” held its own better thant Bip ta eabenes = a on Pomenan. | the Leloir, which ‘aoliaetion. far £2. 2 - When. it. is: stated. that.| i thatranick. almost eager, biddin { the house sent the price up to” Sifter this, started at $500: * The: | £3. Henner’s ye An Thevew! Gana” aa ‘came Bs #2 = thesnight was $4,200," fetched by: Rosa Bon-: Lat fe Ls | by Hast= here are on: the catalogue. of: to-"} | wast} ) | 67. Josep Coomans’s * * Phidias, “in. His Ate- Sa vin ‘The masterly Bonheur brought within $1, ‘etl © 87. Rosa Bo shou’ ~of the price it commanded at the Seney sale: ey heSEGTY Rea viig.” 4 ean vas 16% SEESCECHGE: | proved so attractive to the patrons of the:sals from a orer 1,000 aboutas fastas the bids tould -be eailed,and there was at ni ao a ee eee of the. number of bidders until nt itlyat the Pat The" Scene in. Venice,” put- up. immediate! -Gérome some=- body attempted..to. start. at. 400.. ‘Somebody. else said $700, and prasently from: another. partiof the houssa $1,000 was’ called, ‘the: first, ‘Pia which: ‘the auctioneer felb eall du recognize. The? ‘inference might be. rawn nfo msomeof | the. prices of last evening that’ Mr. lee was. a ‘liberal: buyer.’ Certainly: the attitudes of © Mr. Powers and’ some-of last-night’s-biddoers _ in ithe: ‘matter of press ‘differed’ perceptibly. || ‘THe very large paintings offered aroused slight. interestand the prices were corresponding |y. | jow. K.F. Sohn’s*‘ Diana and Her Nymphs,”’: for which A. T. Stewart,: according to report; | paid several thousand. doll ars. went for $300: 2. Most of the higher. prices brought.and “the! | ames. of ee purchase wh ithheld, follow:. ae Catalogue: ’ “F . mumber. ? LrOE title, and: Purchasers : \.9. Jules. ‘Breton’ ie “+ Portrait: “Himself, © Knoedler & Co: 18. eimeereey a ‘* Garibaldi’s Captor Home,” 5 te Gustav brie pce SLL EALIIO TEL ean eevee ope 27. De peli: s Rita Bane sieve ”G. B Sitar a 28.\Kdouard Frére’s *‘ Maternal. ‘Love,’ ‘3 RB MM “3° Lindsay Tv PR ey cerry ee ee 20% Ae ett: 3 An Uneven Game, C “Cunning: 39. Eastman Johnson’s THe | “‘Reprimand,” ae “Yo TLE. Heimerdinger: : ‘ SPARE T 54 4% G. E. Bouzhton’s. Katrin: yan Tassel --$.P. Averr; dr. 42. Courbet’s "' ‘The Stone Breakers,’ Uf ech: * Though tful’’ BE. Morgan. : 46, Gérome’s.‘* The Sentinel: at the Sultan’s Tomb,” Ht es Hayess Sas te Cattle, Meisenger ‘Lake,’ Ke Arius “FPooth.& Sons. ae 62. Meissonier’s (Bis): The: yee 5 AERA oe BRS 2 x EA Palmer; a, choke Pugh ant, ase ‘Griitzner's ‘"A Flying Visit,” A > Roitiees x Her,” Saishe: 68. Julien Dupre’s. “phe: “Harvesters “Méal,”* Ae RuM: Lindsay; asi PO args TO Merile’s “* Tntevea pied Wiliam Schaus G1liVeu Brozik’s ‘* The Falconer’s- ee a Eug: ne Bischotf-< 72. Pilts 3° *Tunch Tithe ‘in ‘the Hind sees alee SstuP Snee phe Choice’ of “the r Flock,’’.T. Wormser, dre. 88- Louis Leloir's “Temptation ‘of ‘St: An thony,”’ voatgs uy so. Eesrel's.‘’ La Chanson, ie 93; Luben’s ‘‘ Under she Hammer," } it © sfahon: ohne Snes Rode oak ee - Sohn’ s Diana and tNymphai—— a5 aerag co ,> # th, =: = v ae | Fe were sold last night, Saadg imeniez, Soe 8 mat acy’ 146; ‘Knaus’ 8 2uy ~ b0. 1 [adrazo’ 5 “La Belle Désoeuvrée”*. Pig naa Ziem's ‘“View in Venice’? .:.2......... 23 3. ADs ire Dewey’ s ‘‘ Brown and. Sere,” bought by R. M, Lindsay’ He Vibert’s 2. Anton Seitz’ 8 ‘The King of the Rifle- ~ men; bought by Julius Oehme .....:.. 183. Erskine Nicol’s ‘‘Patience Is a Virtue, on James McCormick a a eo ae ced SOFC Oe aor eee me eoas ane i i ce i oe a ee ie i ary Avery, We LAAT AEN Se Wowie alg Pony sie ttil Mis . Henner’s “‘ Madeleine’... . Diaz’s** ‘Landsea: ie with Mater? ieee sete ee ¥. Troyon’s “The 8 151. Verboeckhoven’s: te epherd (3 Sealed te The Sheep Cote’... $45,020. . The total pro- anew $74,675 for 197 Dinara a The oom to 8. P. Avery, Jr. came Henner’s “Made- The - purchaser’s name public. The it up and there w Jae as reaeer| as 8 eRe Oss of on -exels ion ““Loyel My t Eee “ea coming mainly {ie Ma the men co- Henner | 12° we interest than any |. "gen ral - inte sf ‘190. Munkatey e200 Mien Mother-in-Law,” « Roy bet’s : Velasquez Painting the’ ‘In- fanta’’ 4. J3.G. Brown's “The Challenge’? 0.) 5.0. . R. 8: Zimmerman’s HEAD tie ar for ‘the ¢ Rehearsal, nis bought by 8. P. Avery, Jr.. . Richter’s * “Sappho Pa Dee beiNed a rar olny 68. Perrault’s “‘ Azores Education;’’: bought by E. N: M . Zimmerman’ "si Boys’ Industrial Home’. 179. Bridgman’s ‘’ Afternoon Hours’’,......... f. Levolle’s ‘‘The Wanderer’’..........2.. 0.5 . dules Worms’s “‘ Before the Alcalde’... Escosura’s ‘‘ The Visit to the Car dinal’’.. Schreyer’s “Hungarian Draught Horses, a bonght by Arthur Tooth & Sons........ MéGOTMIGK 2 odd lebdcks eee Se 194. pices ‘‘ Elizabeth and Frederic of Bo- hemia Receiving News of the Loss of _ the Battle of Prague’ Ce i ee ac ees The picture is ee afin young woman read on her hand, ig He a Ay ‘gmall eanvas, 19 by | ets, Sede Draught | | Bk da - cee, ve ran a! Be nis ar- $1,900. Shanes sale of z roueht $e. bee Dead ‘Broke,” which. went owers much more than te ob anaes i bong ee re a were called send: Haygiore instanees bidders were found to te reluctant. After es a ortani num- e catalogue had be or the most | sed of t eeGandanie: began to thin | 9 of. the, paintings bought, it is un- are go to Europe, among then “The Conaneror Conquered” and’ “ Blindman’s Buff.” i) cht will. close. the sale. Following the | gs a number of pieces of sculpture an ome bronzes and enamels are to be sold are seventy-four more of these paintings lection, which represented in all some are ese: [eet Lindenschmidt’s. ‘Luther and the Re- Lanka at Marburg, 1529,’ bought by Asha DEER Ne sawh cary ain Lh eae bette lage. Moreau’ git Rehearsal of Richelieu’s Trag- edy ‘ Miriam’ ’ cte : ‘paintings: which sold at, ae OY-OVer | 15) B di eines SAVED ie THE LAST, ) “$7,600. Paia Pee Zamacois’s **‘Levying Con- 4 tributions,” and $6,600 for Bouguereau’s bs “Little | Pilferers’’—Other High Prices. Some of the really fine paintings collected by the late Daniel W. Powers for his art gallery in | nights, were sold by Thomas E. Kirby, for the. + American Art Association, at Chickering Hall last evening, the concluding evening | of the sale ordered by the Powers execu- | tors. Fifteen of them commanded an average price. of (nearly $3,722. The seventy-six | | that. were. sold during the evening brought ; $69,400,.as against $74,675 for the combined | sales of the first two evenings, when 197 pic- | tures were disposed of. The total for the 273 is | | $144, O75. The big clock (from the A. T. Stewart | ' collection) was sold to CO. Lambert for $1,950. Fourteen pieces of sculpture brought $2,570. Oriental enamels and bronzes, taking up ten catalogue numbers and including some pairs -and the stands made for the pieces, were sold for $1,720. These figures make a total of $150,315 realized from the sale. | The highest price of last evening and of the sale was commanded by Zamacois’s “‘Levying Contributions,” which was exhibited at the. Paris Salon of 1867. A thousand dollars was offered on the instant, $2,500 before Mr. Kirby | could speak, $3,000 next and $4,000 in less than a minute from the time the painting was ex- posed. The bidding was spirited up to $7,600, at which ee the Reine was knocked down to R. M. Lindsay. r. Lindsay is a Philadelphia art dealer era very likely was commissioned to purchase ¢ Zamacois. The spectators who were not buyers applauded when the auc- tioneer’s gavel fe I. Bou aes “Tittle Pere. ” brought out ‘a $5, on the spot, $5,500 followed im- aden “oe the price was sent up to $6,600. |The purchaser’s name was withheld. Durand- Ruel & Co. took Fromentin’s *‘ Arab Falconer ” for a hundred dollars less than the gat fe 000 commanded, the biddin Cor ne 2,500 and moving ‘at jumps to £3 ¢ 000 aie Oo 6 is the fine painting that was in iteee draneee 5 collection, ! Diaz and Géréme brought the next highest prices, the former’s ** Forest of Fontainebleau” eon at. $5, th and Géréme’s “ Bab-el-Zouel” at $5,100. The other sales were at less than The single van Marcke, ~ Cat-. He? witen ont at $4, ipo started at $1,500 and . jumped to $3,000 and then to $4,000. Bly’s he Heart’s Awakening,’ which sold 375, cost Mr. Powers $3,000. Rochester, very few of which had been scattered | _through;the long catalogues of the first two | Fe > Se a VALUABLE PAINTINGS SCULPTURE, AnD GRAND CLOCK SELECTED FROM THE POWERS ART GALLERY COLLECTION TO BE SOLD AT ABSOLUTE PUBLIC SALE BY ORDER OF THE EXECUTORS OF THE LATE DANIEL W. POWERS ROCHESTER, NEW YORK On WEDNESDAY, THURSDAY AND FRIDAY EVENINGS, JANUARY 18TH, I9TH AND 20TH BEGINNING PROMPTLY AT 8 O’CLOCK EACH EVENING APMC KERING HALL FirtH AVENUE AND EIGHTEENTH STREET THE COLLECTION WILL BE ON EXHIBITION, DAY AND EVENING, FROM WEDNESDAY, JANUARY IITH, UNTIL DATE OF SALE, INCLUSIVE (SUNDAY EXCEPTED) AT THE AMERICAN ART GALLERIES _ MApIsoN SQUARE SOUTH THOMAS E. KIRBY THE AMERICAN ART ASSOCIATION AUCTIONEER MANAGERS NEW YORK 1899 CONDITIONS OF SALE. 1. 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 re-sold. 2. The purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the purchase- money, zf required, in default of which the lot or lots so purchased to be immediately put up again and re-sold. 3. The lots to be taken away at the buyer’s expense and risk upon the conclusion of the sale, and the remainder of the purchase-money to be absolutely paid or otherwise settled for to the satisfaction of the auctioneer, on or before delivery; in default of which, the undersigned will not hold himself respon- sible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser. 4. The sale of any article is not to be set aside on account of any error in the description. All articles are exposed for public exhibition one or more days, and are sold just as they are, without recourse. 5. To prevent inaccuracy in delivery, and inconvenience in the settlement of the purchases, no lot can, on any account, be removed during the sale. 6. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all lots uncleared within the time aforesaid shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this sale, together with all charges attending the same. ‘This condition is without prejudice to the right of the auctioneer to enforce the contract made at this sale, without such re-sale, if he thinks fit. THE AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, Auctioneer. IN THE ARTISTS REPRESENTED DANIEL W. POWERS COLLECTION Achenbach, O. Col Fink Adan Constant Frére, E. Alvarez Coomans Fromentin Anders Corcos Gabani Apol Corot Gaisser Arnoux Courbet Garcia Artz Couture Garrido Atalaya Coxe, R. C, Gay, E. Ballavoine Crosio Geibel Ballve Dambourgez Gérdme Beard, W. H. Danger Giroux Beauquesne Daubigny Gonzales Becker, Prof. K. — De Buel Gruppe Benedicter De Chambord Griitzner Benlliure Defaux ~ Guisser Beno-Adam Defregger Guyot Blume De Grave Haanen Boggs De Grossi Hagborg Bonheur, Mlle. Rosa Delacroix Hagemann Boughton Delaunay Haquette Bouguereau De Vos Hayon Boutibonne Dewey Henner Breling Diaz Hildebrandt Breton, Jules Doré Hiller Bridgman, F. A. Du Bufe Hoff Brown, J. G. Dupré, Julien Hooghe, P. De Brozik Dupré, Léon Victor Huntington, D. Bruck-Lajos Duverger Hyon Bunner, A. F. Erdmann Jacomin Cazin Eroli Jacquet Ceramano Escosura Jakobides Chapin Falat Jardon Chetwioski Fasce Jimenez-y-Aranda Claude Lorrain Ferry Johnson, Eastman 6 ARTISTS REPRESENTED. Jones, S. C. Neuhaus, F. Schutze Kever Nicholls, B. H. Seignac Kindsdael Nicol, Erskine Seitz Knaus, Prof, L. Ochmidien Simoni Koriecs Ommeganck Sohn Kowalski Outin Soulaereir Kraemer Palizzi Staneck Kray Palmaroli Story, G. H. Kronberger Papperitz Streitt Lachenwitz Pasini, A. Tamburini Lambert Penne Teniers (the Younger) Lampert Perez Teniers (the Elder) Leloir Perrault Ten Kate, H. Lemaire Petersen Thompson, H. Leman Pezant Thors Lerolle Piloty Toulmouche Lesrel Piltz Troyon Lindenschmidt Piot Van Marcke Luben Piotrowski Véely Madrazo, R. de Plasert Verboeckhoven Makart Poil Verhas Mauve Post Vernet, Horace Max Rabe Vibert McCord Raffaélli Vinea Meissonier, J. C. Ravel Voltz Mencia Ricci Walker, H. Menzler Richter Weeks, E. L. Merle Rico Willems Meyer von Bremen Rigon Winterhalter Millet, Francois Romako Wood, T. W. Miralles, F. Rousseau Worms Moreau Roybet Wright Mosler Salmson Yensd Muller, C. L. Scalbert Zamacois Munier Schlesinger Zampighi Munkacsy Schmidt Ziem Murphy, J. F. Scholz Zimmerman Nechutrey Schreyer BIOGRAPHICAL NOTES AND INDEX. ' ACHENBACH (Oswa tp), Germany. Born at Diisseldorf, 1827. Brother and pupil of Andreas Achenbach. Medals, Paris, 1859, 1861, 1863. Legion of Honor, 1863. No. 13—Garibaldi'’s Caprera Home. ADAM (BENNO), Germany. Born at Munich, July 15, 1812. Son and pupil of Albrecht, and one of the best animal painters of the Munich School. He has been called the German Landseer on account of his skill in treating domestic animals, combined with human figures. No. 115—Ass and Colt. ADAN (Lout!s femite), France. Born at Paris, March 26, 1839. Pupil of Picot and Cabanel. Medals, Paris, 1875 and 1882. No. 235—Varguerite. ALVAREZ (Luts), Spain. Born at Madrid in 1841, in narrow circumstances, and early left an orphan. He contrived, however, to secure entrance at the Academy, and made his way thence to Rome, almost penni- less and without resources to call upon for aid. His first pict- ure, exhibited in Florence in 1861, though completed in the face of the most depressing difficulties, obtained a medal, and was purchased, when he carried it to Madrid for exhibition, by Queen Isabella, who pensioned the artist in order to enable him 8 THE POWERS COLLECTION. to continue his studies. King Amadeus continued Alvarez in favor and gave him government commissions, and he has re- ceived honors from King Humbert of Italy. He has been one of the most influential men in shaping the present Spanish school of art. Wasa pupil of Madrazo the elder. No. 125—iide and Seek. ANDERS (E.), Germany. Pupil of Diisseldorf Academy. No. 83—Mother’s Love. APOL (Lovts), France. Contemporary French School. No. 101—Aiver Scene. ARNOUX (MIcHAEL), : France. Born at Paris. Contemporary French School. Pupil of Pierre Edouard Frére. No. 236—Zhe Old Hunter. ARTZ (DAvip ADOLPHE CONSTANT), Holland. Born at The Hague, 1837. Pupil of Mollinger, later of Josef Israels. He made his first impression as a painter of peasants, but during later years, possibly because it had been said that he had taken his cue from Israels, he gave his attention mostly to depicting the life and character of the Dutch people who dwell near the sea and gain their livelihood from its waters. His first exhibits at the Salon won for him recognition in the Paris art world. No. 250—Gathering Wild Flowers. BIOGRAPHICAL NOTES AND INDEX, 9 ATALAYA (E.), Italy. Contemporary Roman-Spanish School. Studio in Paris, No. 128—An Outing. BALLAVOINE (Jures Frépfric), France. Born at Paris. History and genre painter. Pupil of Pils. Awarded a medal of the 3d Class, Paris, 1880. No. 98—A Dream. BALLVE (H.), France, Contemporary French School. Studio in Paris. No, 203—Gathering Fagots in the Forest. BEARD (WILLIAM H.), United States. Born at Painesville, O., 1825. Began as a traveling portrait painter; settled in Buffalo, N. Y., 1850, and visited Europe on his savings in 1857. Studied at Diisseldorf, and painted and sketched in Italy, Switzerland, and France. Settled in New York City, 1860; became a National Academician, 1862. Adopted animal painting as his specialty, investing his pictures with an interest of idea by giving to the brute creation a sug- gestion of the action and expression of the human race. No. 51—Voices of the Night. No, 218—‘‘Go When I’m a Mind To,” BEAUQUESNE (Witrrep C.), France. Born at Rennes. Pupil of Horace Vernet and Emile Lecomte. A painter of military subjects and battle scenes. No. 209—7Zhe Alarm. No. 220—Bugle Call. No, 254—Ox Guard. Io THE POWERS COLLECTION. BECKER (Prof. KARL), Germany. Born at Berlin, 1820. Pupil of the Berlin Academy, of Von Klober, of Heinrich Hess, and Cornelius, and Pensioner of the Berlin Academy at Paris and Rome. Member and Vice-Presi- dent of the Academy of Berlin. Member of the Academy of Vienna and of the Royal Society of Letters and Fine Arts of Belgium. Officer of the Order of Leopold. Medals at Berlin, Vienna, Munich, and Paris. No. 69—J/tahan Mother at Prayer. BENEDICTER (Joser), Germany. Born at Fischingen, Wiirtemberg, June 4, 1843. Architecture painter. Pupil from 1863, of Munich Academy, lastly under Professor Alex. Wagner, until he joined in the campaign against France in 1870. After the war he went to Holland, and in 1876, visited Florence, Rome, and Naples. No. 35—A Dutch Kitchen. BENLLIURE (José), Spain. A leading member of the Spanish colony at Rome, José Ben- lliure combines in himself the kindred gifts of the painter and the sculptor in a high degree. He isa native of Valencia, where he was born about 1858, and a pupil of Domingo, under whose able tutorship his talent ripened early into original brilliancy and strength. He secured his first honors at the Madrid Salon, and after his settlement in Rome became a popular exhibitor at the exhibitions of Italy and Germany, whose medals followed that of his native country. At the Munich Exhibition of 1889 his was one of the works purchased for the National Art Museum, and they are received with equal favor in England, where they figure in the leading private collections. Sefior Benlliure is one of the artists pensioned by the Spanish Government for residence in Italy, and some of his most successful and ambitious com- positions have been executed to the order of the state for the decoration of public edifices, His fine color, spirited technique - BIOGRAPHICAL NOTES AND INDEX. Il and close appreciation of the picturesque, place him among the foremost of the bright galaxy of artistic stars who sustain for Spanish art to-day the honors won for it by Fortuny. No. 11—Zhe Picador’s Reward. BLUME (Epmunp), — Austria. A native of Vienna. A painter of genre subjects, particularly those relating to the Tyrolese peasants’ life. No. 82—Grandma’s Story. BOGGS (FRANK M.), United States. The French, who are always keenly appreciative of the dramatic quality in art, were the first to hailin F. M. Boggs a painter of sea and shore who could not only convey the impression of what he saw, but of how he felt it, too. Born at Springfield, O., in 1855, it was not until 1880 that he appeared in the Salon as an exhibitor. His recognition abroad was immediate. His first Salon picture was talked about. His second, in 1881, was pur- chased by the French Government for the Luxembourg collec- tion. This wasa representation of the ‘‘ Place de la Bastille,” handled with striking effectiveness, yet a close adherence to the fundamental and characteristic facts of the subject. At the Salon of 1882, the French nation again set the seal of its ap- proval on his art, by the purchase of his ‘‘ Port d’Isigny,” in which he showed, asa marine painter, a power quite equal to his © previous manifestations in another line of subjects. Medals at foreign and American exhibitions followed each other in rapid succession, and his free and dashing style, a sort of gallant in- dependence of thought and execution, as of a man who saw nature alive and painted her so, commanded the public ad- miration, while it secured the approbation of more critical and analytical minds. At the first Prize Fund Exhibition at the American Art Galleries, in 1885, Mr, Boggs secured one of the 12 THE POWERS COLLECTION. $2,500 awards with his ‘‘ Rough Day at Honfleur,” which is now in the Museum of Fine Arts, Boston. No. 122—View of Dordrecht. BONHEUR (ManrIE Rosa), France. In her ripe old age, the most distinguished member of her sex in the history of art can look back to her youth of trial and struggle over a life rich in all the rewards that perseverance can conquer for genius. Born of an artistic family in 1822, at Bordeaux, Rosa Bonheur’s entry into art was attended by a bitter poverty, that sometimes threatened to end in desperation. Her father, a worthy and industrious but unfortunate artist, brought her to Paris in 1830, after the death of her mother, and narrow as his means were, put her to school. But the girl, born an artist, rebelled against mere book-learning, and rather inclined to share with the boys their truancies in the fields. She had acquired some skill in drawing, from imitating her father at his work, and this art she cultivated at school to the neglect of most of her other studies. Finally, the conviction of her voca- tion forced itself upon her father, and he removed her from the seminary, and set her to copying pictures in the Louvre. From the start she gained a little money by the sale of her copies, and of little studies and pictures painted at home, and after assuring herself that she might hope for patronage, she turned her attention largely to the painting of animals, of which she was very fond. The oddity of a young girl choosing such a field of labor attracted attentionto her. Her ability commanded respect. Ina modest way prosperity began to come to her, and with every annual exhibition her fame grew and her admirers multiplied. Her first original pictures were exhibited at Bor- deaux, in 1841. One represented two rabbits, and the other goats andaram. In 1849 she was made director of the Paris Free School of Design for Young Girls, and in 1853 she crowned her fame with the great ‘‘ Horse Fair,” now in the Metropolitan Museum of Art. Every possible honor has been conferred upon her by her own country and other European states. The high- BIOGRAPHICAL NOTES AND INDEX. 14 est, perhaps, was that embodied in the order of the Crown Prince, late the Emperor Frederick, of Prussia to his army, to rigidly respect her house and studio, when the surges of war fairly washed its walls with blood. Surrounded by her pet beasts - in her uninvaded garden, she alone, of all the artists of Paris, was able to continue her devotion to her art during the great war that swept the last Napoleonic Empire out of existence. No. 87—Zhe Choice of the Flock. BOUGHTON (Grorce H.), United States. Although of English birth, and for the past thirty years a resi- dent of his native country, the United States still claims George H. Boughton as an American artist. Nor is this without reason, Born in England in 1834, he was brought to this country in 1837 by his parents, and at Albany, N. Y., commenced to instruct him- self in the art for which he manifested talent in his earliest boy- hood. It was at Albany that he opened his first studio in 1850, and the old American Art Union was almost his first patron. It was on the proceeds of its patronage that, in 1853, he went to Europe to improve himself in his art, and from this journey he returned to resume his residence in Albany, and subsequently in New York City, where he remained several years. His first ex- hibit at the National Academy of Design was made in 1858, with **A Winter Twilight,” and it was not until 1859 that he returned to Europe, first settling down to study in Paris, and in 1861 go- ing to London, where he has since remained. In 1863 his pict- ures made their mark at the British Institution, and in 1864 at the Royal Academy. American collectors continued their sup- port, and English connoisseurs recognized and encouraged him. Thus began for the artist a career of phenomenal success, which time has only augmented. Mr. Boughton became a National Academician in 1871, and a Member of the Royal Academy in 1888, and has received many continental recognitions and honors. No, 41—Xavrina Van Tassel. 14 THE POWERS COLLECTION. BOUGUEREAU (WILLIAM ADOLPHE), France. One day in 1842 or so, there was a veritable riot among the stu- dents of the Alaux Art School at Bordeaux. It was occasioned by the award of the prize of the year to a shopkeeper’s young clerk, from La Rochelle, who was taking daily drawing lessons of two hours each, which his employer allowed him to abstract from business. The young Bokemians had such a contempt for the young clerk that they resented with violence the fact that he should win the honor of the school above their heads. But Bouguereau received the prize in spite of their protests, and it decided his career. He determined to become an artist. His family objected. He persisted, threw up his employment at the shop, and went, penniless, tolive with his uncle, who was a priest at Saintonge, and to paint portraits of the townspeople for a few francs each. Out of his earnings he contrived to save goo francs, on which capital he proceeded to Paris, entered the studio of Picot, and secured admission to the Ecole des Beaux Arts in 1843, at the age of eighteen years. He lived by incredi- ble shifts, finally receiving some small assistance from his family, until, in 1850, he won the Prix de Rome. Yor four years he was a pensioner and student in Rome, and he returned to Paris an artist competent to the execution of great works, Public commissions and private patronage soon laid the foundation of his fortune. He became a Member of the Legion in 1859, and an Officer in 1876, during which year he was also elected a Member of the Institute—of which he has since been President. He has received the Medal of Honor twice—in 1878 and in 1885—and is decorated with numberless foreign orders. No. 271—TZhe Little Pilferers. BOUTIBONNE (CuHares Epovarp), France. Born at Buda-Pesth, Hungary, of French parents. Genre painter. Pupil of Winterhalter. Medal, 3d Class, 1847. No. 156— Skating, a Ee ee ed ee BIOGRAPHICAL NOTES AND INDEX. 15 BRELING (H.), Germany. Contemporary German School. Pupil of Munich Academy. No. 217—TZhe Jolly Fiddler. BRETON (JuLEs ADOLPHE), France. Born at Courriéres in 1827, he was schooled under Drdlling and Dévigne, whose lessons in technique only furnished him with a foundation upon which to create a style of hisown. He com- menced to claim attention in 1849, received his first medal in 1855, one of the second class in 1857, and after first-class awards in 1859, 1861, and 1867, was granted a Medal of Honor in 1872. He had been accorded the Legion of Honor in 1861, and was made an Officer in 1867. Prosperity had come with fame. He was admitted to be, as an original and sympathetic delineator of village and country life of the happier order, what Jean Fran- gois Millet was to its more grandiose and pathetic side. His poetic temperament invested his pictures with a subtle, senti- mental charm. Masterpiece after masterpiece passed into the great collections of Europe and America. The sale of his ** Evening in Finisterre”’ and of his ‘‘ First Communion ”’ in this city was attended with positive public enthusiasm. No. 9—fortrait of Himseff. BRIDGMAN (FreprEricxk A.), United States. Born at Tuskegee, Ala., in 1847. At an early age he was em- ployed during the day as an engraver by the American Bank Note Company in New York. In 1866 young Bridgman aban- doned the steel plate for the canvas, and went to Paris to study art at the Ecole des Beaux Arts. Géréme, under whom he worked, became sincerely interested in him, and his encourage- ment had doubtless much to do with the young man’s advance- ment of himself. His first exhibited pictures were of subjects drawn from his summer sketching tours in Brittany. After- 16 THE POWERS COLLECTION. wards, for several years, he painted from material found in the Pyrenees, where he settled in 1870. From the Spanish border he went further afield, to Algiers, Egypt, and up the Nile. His personal movements can be clearly traced in his works, from his ‘‘ American Circus in France,” which first attracted marked attention to him, while he was yet almost a student in the schools, down to the latest records of the activity of his . brush in Algiers. He commenced exhibiting in the National : Academy of Design in this city in 1871 ; in 1874 was made an > Associate, and in 1881 became a full Academician. Meanwhile he had won his medals in Paris, and in 1878 had been received into the Legion of Honor. Mr. Bridgman has his studio in Paris, but frequently visits his native country, and has made exhibitions of his works, which have enjoyed deserved success. No. 179—A/fternoon Hours. BROWN (Joun G.), United States. Born at Durham, England, 1831. Studied at Newcastle-on- Tyne and in the Edinburgh Academy of Design. Painted por- traits in London, and in 1853 came to New York, where he studied at the National Academy of Design. While engaged in painting portraits in this city, he cultivated an original style of genre which speedily attracted attention to him, and whose popularity led to his final adoption of this walk of art. Became a member of the National Academy, 1863; is one of the founders of the American Water Color Society, of which he is now the President ; and the Artists’ Fund Society. No. 124—Dead Broke. No. 154—TZhe Challenge. BROZIK (Vacs.av Von), Austria. Born at Tzcmoschna, near Pilsen, Bohemia, 1852. Pupil of the Academy at Prague, the Academy at Munich under Piloty, and BIOGRAPHICAL NOTES AND INDEX. 17 M. de Munkacsyin Paris. He received a medal at the Salon of 1878, and gold medals at Expositions in Berlin, Vienna, Munich, and Brussels. He was madea Chevalier of the Legion of Honor in 1893, and an Officer of the Legion in 1896 ; Member of the Institute, 1897. He is a Knight of the Order of Francis Joseph of Austria, Commander of the Order of Letters and Arts of Austria, Knight of the Order of Leopold of Belgium, and of St. Michael of Bavaria. He was created a Baron by the Aus- trian Emperor in 1897, and has been appointed painter to the Imperial Family of Austria. He is also Director of the Acad- emy of Fine Arts at Prague. No. 71—TZhe Falconer’s Recital. BRUCK-LAJOS (Louis), France. Born at Papa, Hungary, Nov. 3, 1846. Genre painter. Pupil of Vienna Academy. Studied in 1869 to 1872 in Italy, especially in Venice, where he was for a short time a pupil of the Academy ; also pupil, in Paris, of Munkacsy. No. 58—ZJnvestigating the Lunch Basket. No. 86—TZhe Unwilling Schoolboy. No. 238—Lehearsal. BUNNER (ANDREW FISHER), United States. Born at New York in 1841 ; died there 1897. Associate of the National Academy of Design. Studied in Germany, France, and Italy. First exhibited in New York at the National Acad- emy of Design, in 1867. Lived for several years in Venice. No. 59—Zhe Molo or Harbor of Venice. CAZIN (JEAN CHARLES), France. Jean Charles Cazin, born at Samer, Pas-de-Calais, was one of the pupils of that remarkable master, Lecoq de Boisbaudran, 2 18 THE POWERS COLLECTION. whose name has been assured of immortality, not through his own pictures, but through the genius of the scholars to whom he gave their development. De Boisbaudran was one of those rarely gifted men whose intelligence and sympathy penetrated the souls of his followers, analyzing their sentiments and natural inclinations in art and propagating them as the gardener does a flower, with tender and loving skill. From the studio of this master of masters young Cazin won his first honors in 1876 with his ‘‘ Dock-Yard,” following it in 1877 with ‘‘ The Flight into Egypt,” which confirmed his title to respectful recognition. He was in those days a painter of history, sacred and profane, and of genre, and as such he won his first-class medal in 1880, and in 1882 his ribbon of the Legion of Honor. It is a pecul- iarity of the Boisbaudran school that it has graduated some of the greatest realists in contemporary art, among whom may be mentioned Legros, now at the head of his rank in London; Ga- briel Ferrier, a sterling talent full of soul and fire, and L’Her- mitte, a painter of the people and the fields of his birth and boyhood, in whom the future may find a worthy successor of Millet. To their ranks Cazin has become joined, and his influ- ence on current art is perhaps more potent than that of any of his colleagues of the Boisbaudran atelier. Into the landscape art of France, fallen into a stagnated imitative mannerism based on the master-manners of Corot, Rousseau, Dupré, and Diaz, he has blown a breath of new and healthy life. Like his great predecessors, he is a naturalist, and like them he sees nature with the eye of a poet, made keen and lucid by the stimulus of inspiration, and harmonic with the echoing chords of a sym- pathetic soul. No. 22 7—Night. CERAMANO (CuHar.es FERDINAND), ' Belgium. Born at Thielt, Belgium. No. 109— Sheep. BIOGRAPHICAL NOTES AND INDEX. 19 TR RY Pring CHAPIN (C. H.), United States. Contemporary American School. No. 242—Moose Lake, Adirondacks. CHETROWSKI (J.), Russia. Contemporary Russian painter. No. 143—Luanch in Camp. CLAUDE LORRAINE, France. Born in 1600; died at Rome, Nov. 23, 1682.° French School. Landscape painter. Real name Geléee. Pupil in drawing of his elder brother Jean. Wood engraver at Freiburg in Breisgau. Taken to Rome in 1613 by a relative, he went thence to Naples, where he spent two years as pupil of Godfrey Wals, a painter from Cologne. From 1619 to April, 1625, he lived at Rome, working as apprentice and valet to Agostino Tassi—who was employed by the Cardinal di Montalto to decorate his palace— after which he returned to Lorraine by Venice and Tyrol. At Nancy he found employment in decorating the Chapelle des Carmes for Duke Charles III. with figures and architectural ornaments, until the middle of the year 1627, when he returned to Rome to remain for the rest of his life. Here he became intimate with Saudarrt, Peter de Laar, and Poussin, and spent his time in making studies in the Campagna at Tivoli, Frascati, and Subiaco. By 1634 Claude had become a celebrity of Rome and had painted many pictures, although none are known of a date earlier than the ‘‘ Village Féte,” and the ‘‘ Seaport,” at the Louvre, of the year 1639. From the Church of the Trinita di Monte, where he was buried, and where his monument was destroyed by the French in 1798, his remains were removed in 1840 to the Church of S. Luigi in Francesi at the suggestion of M. Thiers, No. 182—/ort and Harbor of Marseilles, 20 “THE POWERS COLLECTION. COL (Davin), Holland. Born at Antwerp, 1822. Pupil of De Keyser and Antwerp Academy. Medal, Vienna Exposition, 1873. Chevalier of the Order of Leopold. No. 99—A Kegular Customer. CONSTANT (JEAN JoserH BENJAMIN), France, A picture which caused more than usual comment at the Salon of 1870 was the work of a young artist who had made his first exhibit there only a year or two before. It was entitled ‘‘ Too Late.” The gay city, which never fails to appreciate an allegory, even if it be at her own expense, took this one up and made the name of Benjamin Constant famous. He was a Parisian of good family, born in 1845. A pupil of Cabanel, he had re- jected Cabanel’s manner totally, and in spite of the impression made by his ‘‘ Too Late,” had not yet settled on his true avoca- tion in art. It came to him by accident. Having drifted into Spain after the war, he commenced to experience the seductions of its semi-tropical life and nature, and when he went to North Africa with an embassy to the Sultan of Morocco, the key to his art was found. He became an Orientalist and the leader among them. His travels enriched him in themes for his brush, which won him wealth and the honors that are quite as dear to the artist. So wide a success did his Oriental subjects meet that he fell under the reproach of being unable to do anything else. As a practical refutation of this charge he produced a series of historical compositions and characterizations quite equal in technique and power to his previous pictures, No, 268—A/ Fresco, Tangiers. COOMANS (JoseEpu), Belgium. Born in Brussels, 1816. Studied under Hasselacre in Ghent, Nicaise de Keyser and Wappers in Antwerp, and in Paris, Visited Algiers with the French army, and traveled in Italy, — a a ee ee ee ee BIOGRAPHICAL NOTES AND INDEX. “ay Turkey, Greece, and the Crimea. Devoted himself chiefly to Pompeian subjects, of which he had made a close study. Had his studio in New York in 1889-90. Died in 1891. His two daughters have inherited much of his talent and paint in a similar style. No. 67—HPhidias in his Aleher. No. 229—A Classic Beauty, CORCOS (Proressor MATTEO ViTTORIO), Italy. Born at Levourne. Pupil of Morelli. Medals at Turin, 1880; Milan, 1881. Chevalier of the Orders of St. Maurice and Lazare. No. 170—A Visit to the Convent. COROT (Jran BAprisTrE CAMILLE), France, Jean Baptiste Camille Corot was born at Paris, 1796, the son of a prosperous tradesman. Pupil of Michallon and Victor Bertin, and traveled in Italy in 1826. Traveled much in France, paint- ing from nature and creating a style out of his experiments. Although at first neglected by the public, his patrimonial fortune enabled him to live comfortably and paint to suit himself. He received medals, 1833, 1848, 1855, 1867 ; was given the Legion of Honor in 1846 and became an Officer in 1867. He died in Paris in 1875. The influence of Corot on the art of our time cannot be overestimated. He lifted landscape painting into the realm of idyllic poetry, just as Rousseau gave it a tragic, and Diaz a romantic, significance. Each man painted according to his feelings. The spirit of the South which burned in Diaz, the melancholy of an unhappy life which darkened Rousseau, were replaced in Corot bya genial gayety of temperament which reflects itself in his works. He was one of the earliest of the men of 1830 to receive public recognition, and when success did come to him it atoned for the neglect of the past. No. 225—TZhe Village Church, 22 THE POWERS COLLECTION. COURBET (Gustave), France. The influence of Courbet on French art was overestimated at one time. He was a man of great gifts, but too narrow in mind and coarse in mental fiber to make a leader. He could bully men but not persuade them, and it was part of his dogmatic na- ture to demand absolute devotion and belief or reject all com- promise upon it. He himself did not perceive the weakness of his own character, and his failure to force an artistic issue upon France rendered him furious and resentful. He went so far at one time as to almost abjure his native country in favor of Ger- many, and made it his boast to welcome foreign honors and re- ject those of his own nation. All of this reacted against him, and raised a storm of unmerited reprobation that recoiled upon his works. He died in exile in Switzerland, in 1878, a man of sixty years, broken in fortune, regretted by few, and mourned by fewer still. Since his death his great artistic gifts have slowly won their true appreciation, and the tumultuous spirit of the man fading from memory, leaves the fame of the artist shining as it deserves. Born at Ornans, Courbet was originally destined for the law and sent to Paris in 1839 to attend the schools. He neglected his legal studies to lounge among the studios, and did some desultory painting under David d’Angers. He may be considered as self-created in art, however, and his very first exhibited picture, in 1844, had in it a marked originality and a bold and personal style. No. 42—TZhe Stone-Breakers. COUTURE (Tuomas), France, At the age of thirty-two years, almost unknown outside of artistic circles and not any too widely known within them, Thomas Couture made himself immortal by a single work. The ‘‘ Ro- mans of the Decadence” took the art world by storm. Couture, born at Senlis in 1815, had studied art under Gros and Dela- roche. In 1840 he showed his first picture at the Salon. In 1879 just after his death, his last was exhibited. In these thirty-eight years his vast energy had overcrowded itself in works es eS -_*e-. - wl _ ow a BIOGRAPHICAL NOTES AND INDEX. 23 which followed each other rapidly and yet failed to keep pace with the sweep of his fecund imagination. He once com- plained that he needed the arms of four men to accomplish what he dreamed. He was by turns idealist and satirist, a painter of facts, of creations, and of reflections upon human folly worthy of the invention of Balzac. Such a man naturally could not go through life without contests, and in spite of success, fame, wealth, and the devotion of scholars from whose ranks came some of the great painters of our time, Couture ended his life a disappointed man. He quarreled with his contemporaries on points in and beliefs of art. He quarreled with the Empire, which was only too anxious to conciliate him with patronage, on a trivial detail of one of the great works Napoleon III. had commissioned of him. As a result of the one he withdrew from social companionship. Asa result of the other, he ceased to contribute his works to the Salon Exhibitions. The Legion of Honor, which came to him in 1848, was the last token of official esteem which he received. He had lived in retirement at Villiers le Bel for some years before his death, admitting none but a few chosen friends or exceptionally favored patrons to his presence; and so little was known by the public of his productions of this period that the exhibition of his works, made after his death, caused nearly as great a sensation as had the “* Decadence” almost half a century before. From the number and the ability of the American students who received their artistic training in his school, Couture may be said to have had a more important influence on our art than any French painter of his time. It is stated that at the time of his death he was painting the example included in this collection, No. 273—Love Drives the World. COXE (REGINALD CLEVELAND), United States. Born at Baltimore in 1855. Pupil of the National Academy of Design, New York, and of M. Bonnat, Paris. Member of the Society of American Artists. He achieved a reputation as an etcher, with pictures of boats in the fog and shore views in Myc 3 24 THE POWERS COLLECTION. 1886-go, but latterly has devoted himself to oil painting. He has spent several years in study at East Gloucester, Mass., and on Cape Cod. Studio at present at Lawrence Park, Bronx- ville, N. Y. No. 214—Zhe Narrows, New York Harbor. CROSIO (L.), Germany. A native of Munich; painter of genre subjects. No. 230—TZhe Lecture. DAMBOURGEZ (Epwarp JEAN), France. Born at Pau. Pupil of Lefebvre and Boulanger. ys No. 96— Oyster Woman in the Kitchen. DANGER (H.), France. No. 208—Ffrench Girl. DAUBIGNY (CHARLES FRANGOIS), France. Art was an inheritance to Daubigny. Born at Paris in 1817, he came of a family of painters, and all his surroundings were artistic. His father, his uncie, and his aunt were laborers at the easel, and the boy absorbed his first lessons with his childish breath. He became a pupil of his father, and after a visit to Italy and some time spent in the studio of Delaroche, he turned to that universal fount of inspiration—nature—and found in her the secret of his future greatness. His earlier figure pictures and portraits, which are excessively rare, show him, like Corot, to have been a painter of sound and well-trained ability in this branch ; but it was to landscape that inclination and sympathy directed him early and there held him fast. He came out at the Salon of 1838, and after a struggle of ten years, found prosperity EE eee ——OE—EEEE— EEE ey ee BIOGRAPHICAL NOTES AND INDEX. 25 and fame. In 1848 he won a second-class medal ; in 1853, one of the first class. The seal was set upon his reputation when the Emperor, in 1852, purchased his picture of ‘‘ The Harvest” for the Tuileries, following it, in 1853, with the purchase of another for St. Cloud. In 185g he was invested with the Legion of Honor, and in 1875 was made an Officer of the Order. He died in 1878, after having shared with the master painters of Barbizon the glory of regenerating his national art, and left a legacy of masterpieces to the world. Of all the painters in the immortal group to which he belonged he was, perhaps, the nearest to Corot, not only in artistic sympathy, but in an almost brotherly tenderness of personal affection. Daubigny died at Paris in 1878. No, 226——‘ A Day of Battle: Beau- mont.’ Hyon won his spurs a decade ago. It is in these recent exhibi- tions, however, that he has shown himself at his strongest and best.”— Paut MaritTz. No. 6—fyrench Cavalry. No. 102—A French Cutrassier. JACOMIN (ALFRED Louis), France. Born at Paris, Jan. 3, 1843. Genre painter. Medal at Phila- delphia Exposition, 1876. No. 155—Zhe Dilettanee. JACQUET (Jean Gustave), France, A pupil of Bouguereau, Jacquet has chosen for his artistic avocation the perpetuation of the charms of womanhood. His genre pictures and his portraits are almost entirely devoted to the fairer sex, whose grace and beauty he renders with beautiful color and a graceful brush. His female portraits especially have a strength, expressiveness, and delicacy of tone that render them essentially pictures. Born at Paris in 1846, Jacquet has —_—" s = pore ge OM ings ee tea oie SAAS eos a fe BIOGRAPHICAL NOTES AND INDEX. 41 always been a thorough Parisian in his art. He commenced to exhibit at the Salon before he was twenty years of age. In 1868 he gained his first medal, and for a period produced pictures of a historical character, the subjects being usually drawn from the past. It was not until his admission into the Legion of Honor, in 1879, that he began to give his attention to mod- ern life. No. 174—The Conqueror Conquered. JAKOBIDES (G.). Germany. No. 270—Children’s Quarrel. JARDON (L. E.), Sweden. Painter of genre subjects. No. g1—A Swedish Family. No. 107—TZhe Little Swede. JIMINEZ-Y-ARANDA (Luts), Spain. Born at Seville in 1845 ; a brother of José Jimenez-y-Aranda. He received a first prize at the Exposition Universelle, Paris, 1889, the only grand prize awarded to Spain. No. 142—A Spanish Pharmacy. JOHNSON (EAstMaAy), United States. Born at Lovell, Me., 1824. Studied at Diisseldorf, 1849-51. Later, studied and painted in Italy, Paris, and Holland. Elected a National Academician, 1860. Studio in New York. Dis- tinguished as a painter of American genre, and during late years largely devoted to portraiture, No. 39—Zhe Reprimand. JONES (Setu C.), United States, Contemporary American School. Studio in Rochester, N. Y. No. 75—lock of the Mission. 42 KEVER (J. S. H.), Holland. THE POWERS COLLECTION. Born at Amsterdam, 1857. Pupil of the Amsterdam Academy. While yet a boy his passion for drawing and sketching pointed out his future career. Kever has a great reputation as a painter of Dutch peasant home life, and none has better or more sym- pathetically painted children. He expresses in his paintings very sweet sentiment with a strong, free brush. His subjects are very simple, but seriously painted. His handling of light, whether in interiors or out-of-doors, is particularly happy, and the tone and color are excellent. His works are steadily rising in the estimation of connoisseurs, He received the gold medal of Amsterdam in 1892, and was awarded medals at Munich, Chicago, and other places. No. 38—Zhe Evening Meal. KINDSDAEL (THEODORE), Germany. Contemporary German School. No. 267—TZhe Fishing Boat. KNAUS (Proressor Lupwic), Germany. Born at Wiesbaden, 1829. Pupil of Jacobi, and the Academy of Diisseldorf under Sohn and Schadow. Afterward he allied himself with Lessing, Leutze, and Weber. Member of the Academies of Berlin, Vienna, Munich, Amsterdam, Antwerp, and Christiania, and Knight of the Order of Merit. Medals, Paris, 1853, 1855 (Axfosition Universelle), 1859. Medal of Honor, 1867 (Zxposition Universelle). Legion of Honor, 1859 ; Officer of the same, 1867. Medals, Vienna, 1882; Munich, 1883. Professor in the Academy at Berlin. Medal of Honor, Antwerp, 1885. ““Ludwig Knaus enjoys the unique distinction of being accepted by Germany as her chief painter of genre, and by the world as one of the leading masters in that art. He owes this double triumph to the variety and independence of his genius. Painting in Germany and delineating German subjects, he still does so in a style so original, so brilliant, and so BIOGRAPHICAL NOTES AND INDEX. 43 cosmopolitan that his pictures command the same attention from the stranger, and exact the same respect and admiration, as they win for him at home. He wasa pupil, at the Diisseldorf Academy, of Sohn and Schadow, but his graduation in art, after a couple of visits to Italy, occurred in Paris, where he spent eight years studying the methods of the French painters. It is to this that he owes the emancipation of his style from the formality and mannerism of his original schools; and of all German painters of our time, he is probably the only one whom the French artists accept with enthusiasm as one of themselves. The genial humor, fine humanity, and keen comprehension of human nature revealed in his pictures area reflection of the character of the man himself, and his amiable personality has largely aided his genius in securing him an international popularity. He isa master of techniqueanda colorist of the first quality. The uniform excellence of his productions has been noted as characteristic of the man, who, whether employed upon a simple study from nature or upon the most elaborate and ambitious composition, con- siders no work sufficiently finished until he has devoted his best talent.” No. 146—TZhe Butcher Boy. KORIECS. Austria. Contemporary Austro-Hungarian School. No. 1—Sacred Oxen. KOWALSKI (ALFRED WIERUsz), Poland. Proper name, Alfred Kowalski von Wierusz. Born at Warsaw, Poland, of an ancient family of the minor nobility. Pupil of the Warsaw, Dresden, and Munich Academies, and of Alex- ander Wagner and Joseph Brandt. Devotes himself chiefly to scenes of the chase, combining figures and animals, which he paints with great dash and in a vivid spirit. Medals at Munich and other European exhibitions, No. 232—A Ride in the Park. KRAEMER (PETER), Germany. Contemporary German School. Studio in Munich. No. 138—TZhe Monk Musician. No. 145—Monk Taking Snuff. 44 THE POWERS COLLECTION. No. 183—fortratt of a Monk. No. 233—A Knight. KRAY (WILHELM), Germany. Born at Berlin. Contemporary landscape and genre painter. Spent some time in Rome and Venice, and then settled in Vienna. Professor of the Academy at Vienna. No. 269—Venus Aphrodite. KRONBERGER (Karl), Austria. Born at Freystadt, Upper Austria, March 7, 1847. Genre painter. Pupil of Munich Academy under Anschiitz and Hilten- sperger. Many of his pictures are in America, No, 223—“Couldn’t Resist It.” LACHENWITZ (Sicmonp), Germany. Born at Neuss in 1820; died at Disseldorf, June 25, 1862. No. 94—L£2k Pursued by Wolves. LAMBERT (Louis Evcine), France. Born at Paris, Sept. 25, 1825. Pupil of Delacroix. Genre and animal painter ; especially noted as a careful and humorous painter of cats and dogs. Medals, 1865, 1870; 3d class, 1876, 1886, Legion of Honor, 1874, No. 251—Zhe Pet Kitten. LAMPERT (Emma E.), United States. - Studied in New York, and has been a regular contributor to the exhibitions of the Society of American Artists and the National Academy of Design. Studio in Rochester, N, Y, No. 135—Mother Claudius. No. 144—A?¢ High Noon, Cape Ann. No. 210— Woman with Fagots. ee eS BIOGRAPHICAL NOTES AND INDEX. 48 LELOIR (Louis ALEXANDRE), France. Born at Paris, 1843. Pupil of his father, Jean Baptiste Leloir, the historical painter. First painted scenes of biblical history, but eventually devoted himself to genre subjects, chiefly from the life of the seventeenth and eighteenth centuries. A brilliant painter in water colors as well as oils. Medals, 1864, 1868, 1870, 1878, 1879, and 1880. Legion of Honor, 1876, Died in 1884. No. 88—Zhe Temptation of St. Anthony. LEMAIRE (Casimir), France. Contemporary French School. Genre painter. Studio in Paris. Exhibitor at the Salon des Champs-Elysées, No. 172—A Holiday, near Fontainebleau, in 1789. LEMAN (Jacques EpMonp), France. Born at L’Aigle (Orne), Sept. 15, 1829. History and portrait painter. Pupilof Picot. Honorable mention, Paris Salon, 1855. No. 196—Homage to the Dauphin, 1638, LEROLLE (HeEnrt), France. A Parisian by birth and schooling, he is less of a Parisian in his art than any other living painter of equal capacity. He is, over all, a student and worshipper of nature, seeing her with his own eyes and translating her in poetic phrases. Lerolle, commencing as a painter of genre and history, soon passed over to the open-air school, and his airy landscapes, with beautiful trees, animated with excellent figures and cattle, secured a 46 THE POWERS COLLECTION. | prompt critical acceptance. Reaching still farther in his ex- periments, the artist next produced subjects of which his magnificent ‘‘ At the Organ,” presented by Mr. Seney to the Metropolitan Museum of Art, is atype. Then he turned his attention to peasant life, in association with its labors, somewhat in the style of Millet, but more hopefully and with a gentler and happier spirit pervading them. Lerolle received his first - Salon medal in 1879, and each year adds to his honors at home and abroad. No. 184—Zhe Wanderer. LESREL (ADOLPHE ALEXANDRE), France. Born at Genest, in the Manche. Pupil of Gérome. He has painted historical subjects, and been also successful in portrai- ture, but is chiefly popular for his genre pictures of the Renais-— sance period, with rich costumes and accessories, No. 89—La Chanson. No. 255—Soldier, Time of Louis XIII, LINDENSCHMIDT (WILHELM, THE YOUNGER), Germany. Born at Munich, June 20, 1829. History painter. Son of Wilhelm, the elder. Pupil of Munich Academy ; then of Stadel Institute in Frankfort, and of Antwerp Academy. Continued his studiesin Paris ; and, in 1853, settled in Frankfort. Removed in 1863, to Munich, where he became Professor at the Academy, 1875. Member of Berlin Academy. Gold medal, Berlin, 1870. In 1885 he restored successfully his father’s fresco painting— “Victory of Louis the Rich at Giengen,” in the arcades of the Royal Garden of Munich. No, 197—Luther and the Reformers at Marburg, 1529. BIOGRAPHICAL NOTES AND INDEX. 47 LUBEN (A.), Germany. Born at St. Petersburg in 1837. Genre painter. Pupil of Berlin and Antwerp Academies. Settled in Munich in 1876, Painted mostly humorous scenes. No, 60—Her Own Barber. No. 93—Under the Hammer. No. 187—Bavarian Log Runner. MADRAZO (Raimunpo px), | Spain. Raimundo de Madrazo was born at Rome, in 1841. His father was his first instructor, and from his tutelage he graduated into the Paris Ecole des Beaux Arts, receiving, later, instruc- tions from Léon Cogniet. In 1878 the brilliancy of his talent, so thoroughly Parisian in spirit and Spanish in verve and color, won him a double honor not commonly accorded. He received, for his work at the Salon of that year, a First Class Medal and the ribbon of the Legion of Honor. Since that auspicious acknowledgment of his ability, Madrazo has advanced from success to success. Some of his most bril- liant productions have been of Spanish origin, but he has re- mained faithful to Paris as a resident, and generally so in his choice of subjects. His younger brother, Ricardo de Madrazo, has also developed into an artist of ability and origi- nality, and some confusion of identity has been occasioned by the similarity of their initials. There is, however, only one Madrazo who will be recognized as the master of the family, upon the just grounds provided by himself. With both France and Spain vehement to claim him, his national and artistic identities are so interwoven that it is not impossible that he may become a subject of international dispute. Several of his pict- ures were in the Wm. H. Stewart Collection, and he was the brother-in-law and a companion of Fortuny. At the present time (1898) he is in New York painting portraits. No. 120—Za Belle Déseuvree. 48 THE POWERS COLLECTION. MAKART (Hans), Austria, . Born at Salzburg, May 29, 1840; died at Vienna, Oct. 3, 1884. ; History painter. Pupil in 1858 of Vienna Academy under Ruben, but, dissatisfied with prevailing methods, left it after a few months, and returned on foot to Salzburg, whence, through the munificence of the Prince-Archbishop Maximilian von Tarnoczy, he soon proceeded to Munich, and there studied first under his relative, the landscape painter, Schiffman, and in 1861-65, at the Academy, under Piloty. Visited London and Paris in 1863; Italy in 1866; Venice and Vienna in 1868 ; Rome in 1869; and, in the same year, settled in Vienna at the invitation of the Emperor Francis Joseph, who caused a sumptuous studio to be prepared for the artist, and, in 1876, conferred on him the title of Professor. The winter of 1875-76 he spent in Egypt; then visited Antwerp ; and, in 1877, Spain. Professor at Vienna Academy from 1879. Honorary member of Vienna, Berlin, and Munich Academies. Gold medals in Vienna, 1857-1882. Medal of Honor, Paris, and Legion of Honor, 1878; Officer, 1884, In August, 1884, he became insane, No. 207—TZhe Church Door. Te SS eS ae es Ee Oe te er ee MAUVE (AnrTon), Holland. At the Centennial Exposition in Philadelphia, a picture which made its mark in the exhibit from the Netherlands was called ‘* Hauling up the Fishing-Boat.” It was one of those sincere and simple efforts at the transcription of nature in which Dutch art is supreme. The painter was Anton Mauve, a man no longer in the flower of youth, but of an energetic nature and a fresh and spirited style. He was a native of Zaandam, and had been a pupil of P. F. Van Os, but evidently owed most of his art to himself and to the foundation of all art—nature, that universal mother, at whose breast genius is nourished with a vitality that perennially renews itself. Among the earlier pictures of Mauve one may discover traces of his master, in a painstaking finish, a sleek and smooth execution, and a tendency to pleasant color BIOGRAPHICAL NOTES AND INDEX. 49 without fiber or strength. When he freed himself and went forth to his studies in the fields, his manner changed as if within a day. Breadth of execution, simplicity of material, a close observation of the variations of. nature, characterized it. The student, having learned the substantial processes of painting, became the artist, susceptible to the fleeting impressions of the scene, swift to grasp and strong to execute them. Always well sustained by the Dutch collectors, he was also the recipient of universal European honors. His pictures received the medals of the Salon, and found their place in the great collections of Europe and America. His death, in 1889, was lamented as a loss to the art of the world as well as to that of his native Hol- land. No. 264— Holland Landscape and Cattle. MAX (GaAsrie1), Germany. The son of a sculptor, Joseph Max by name, Gabriel Max’s art life began in the studio of his father, whom he served as an assistant, until his death in 1855. He promptly abandoned the chisel and the clay tubs, and until 1858 was a diligent student at the academy of his native city, Prague. In 1863 he became a pupil of Piloty, at Munich, and, like all of the great pupils of this remarkable master, gained from him the essence of a lofty art without becoming an imitator. His picture of a beautiful Christian martyr on the cross, at whose feet a passing Roman youth sacrifices his crown of roses, made a strong mark for him at its exhibition in 1865, and rendered it possible for him to establish himself independent of his master. In 1867 Max opened his studio in Munich, and a few years later was ad- mitted to a professorship at the Academy. His fame passed early beyond his native border. All Europe concurred in honor- ing him with medals and diplomas, and in giving to his arta place in the leading rank of modern productiveness. No, 205— Sister Agnes. 4 4 ' 50 THE POWERS COLLECTION. McCORD (GeorcE H.), United States. Born at New York, 1848. Pupil of Professor Moses Morse, in 1866. First exhibited, National Academy of Design, 1868. Elected an Associate of the National Academy, 1880. Silver medal, World’s Fair, New Orleans, 1884. Member of American Water Color Society, and Salmagundi Club. Visited Europe in 1890, and painted many English scenes with marked success. No. 1o—Winter Night. No. 61—A Studious Beauty. No. 201—Autumn in Westchester. MEISSONIER (JEAN CHARLES), France. Son and pupil of Jean Louis Ernest Meissonier. Medal, at Paris, 1866. No. 62—Zhe Artist's Leave-taking. MENCIA (Gaxcia Y), Spain. Contemporary Spanish School. Pupil of Don Federico de Madrazo. No. 263—£/ Fele/, AE NZLER (W.), Germany. A well-known genre and subject painter of the contemporary German School. His works are familiar to the art world through popular reproductions in color. Studio in Munich. No. 37—Character Study. No. 118—Character Study. BIOGRAPHICAL NOTES AND INDEX. 51 MERLE (Hucves), France. Born at St. Marcellin, 1823. Pupil of L. Cogniet. Medals, 1861-1863 ; Legion of Honor, 1866, He painted some biblical and historical pictures, but chiefly employed himself upon genre subjects drawn from humble life, and executed on a large scale with great precision of treatment. He died in 1881. No. 70—Jnterrupted, MEYER VON BREMEN (Jouann GeEors), Germany. Called, from his birthplace, Meyer von Bremen. Born Oct. 28, 1813. Pupil of Sohn. Member of the Amsterdam Acad- emy. Gold Medal of Prussia, 1850. Medals at Berlin and Philadelphia. ‘**When young Jean George Meyer emerged from the Diisseldorf Academy in 1842 to install himself in the dignity of a studio of his own, it wasasa painter of religious works of the largest size that he aspired to fame. It was not long before he discovered that his talent had mistaken its direc- tion. His heart was not in these academic and artificial compositions, while all around him nature—and above all, human nature—invited him to more congenial fields. So the painter of tradition soon became the painter of fact, and his exquisite little cabinet pictures of domestic scenes and homely episodes of every-day life were not long in securing favor. One of the earliest and most successful of his efforts in this new direction was an interior scene in his own studio, which possesses the additional charm and value of presenting portraits of himself and family in the naive and attractive grouping of a picture.”—HerinrRIcH CARL VON LIEBENAU. No. 24—Girl Reading. MILLET (Francois), France. Born in Paris, Jan. 17, 1850. Son and pupil of Jean Francois Millet. When three months old his father moved his family from Paris to Barbizon, and made it his permanent abode. Here Francois’ infancy and childhood were passed. With two 52 THE POWERS COLLECTION, sisters a few years older than he, and several brothers and sisters younger, no child ever spent a happier boyhood. Free to wander in the forest close by, or over the no less beautiful fields on the vast plains about his home; carried on his father’s shoulders after the master’s painting hours, and discussing with him the aspects and meanings of the beauties and wonders he saw, and a passion for reading and a retentive memory, gave him, as he grew older, a wide knowledge of history and litera-' ture. Close observation of trees, plants, and birds, gave him the training of a naturalist. The constant contact with his. father’s great mind ; the conversations of the artists and other: illustrious men frequently seated about his father’s table—this' was Francois Millet’s education. He passed his early life in Bar- bizon, excepting long visits to his old friend M. Hartman (whose widow lately gave the fine picture ‘‘ Le Printemps” by Millet to the Louvre), who had large possessions in the Vosges Moun- tains. There Francois Millet spent months at a time, alone in the wildest heights, painting aspects of scenery different from those among which he lived, and making special studies of the wild mountain cattle of that country. Several visits to the stern coast of Normandy, his father’s country, greatly stimulated and impressed his imagination. He studied in a class of Bonnat’s for a short period after his father’s death, but in every sense of the word his father was his only master. His teaching was designedly indirect. Through conversations calculated rather to stimulate his son’s mind and cause him to formulate his own ideas than actual lessons. He would say, before a study patiently and perseveringly made of a wood where the doves’ notes are heard, shaking his head, ‘‘ Non, on n’entendrait pas les ramiers dans ton petit bois.” ‘‘ No, one would not hear the wood pigeons in your little wood.” Such observations were more suggestive and profitable to his pupil than more conventional lessons. The ever-ready example of. his father at work ; ob- servations of his methods; the progress of his pictures; the elaborate study, and'the simple, broad execution, were a per- petual demonstration to his son of the art of painting. Brought up thus in the studio of this great and marvelously industrious painter, Francois Millet’s youth and apprenticeship was like that ao Pen ee ee ee BIOGRAPHICAL NOTES AND INDEX. Reg of the artists of the great Florentine epoch, who, under the eye and guidance of some great master, learned the heights and depths and mysteries of their art, or craft. Francois Millet’s pictures are so simple that one is not struck by any surprising technique or startling effect; a poet who interprets quiet scenes and subjects of simple life of the fields—or more usually a landscape, with the emotion of a sunset or happy sunny orchard—some children playing ; women knitting. But it is on reflection that one sees the masterly modeling and drawing ; the rich color sense, and the disciplined execution. Francois Millet has lived the life of a recluse—devoting himself to the care of his mother and an invalid sister, who have now both passed away. Though living in great retirement, close to nature, finding in it all his joy and religion, he has continued to paint and study always. He has exhibited frequently at the Salon du Champ de Mars, and lately in London at the New Gallery. His works are not well known in New York, though there are several here in private collections. M. Millet married Miss Geraldine Reed, of New York, at Paris, in July, 1897, and is at present in the United States. A visit to his wife’s family was the chief reason of his coming—but he has availed himself of the opportunity to see once more the works of his father, Jean Francois Millet, so cherished and in such great numbers in the collections of this country, each one of which he had seen begun and ended on his father’s easel at Barbizon. ° No. 48— View at Vichy. MIRALLES (F.), Spain, A Spanish painter whose career as an artist is identified with the modern French School. He has lived in Paris for many years, and is celebrated as a portrayer of the unique types, prin- cipally feminine, which have made Duez, Jean Béraud, and other painters famous. His works are not commonly found in exhibitions in the United States. Studio in Paris. No. 16—Recreation. No. 77—Coast at Badalone, Spain. 54 THE POWERS COLLECTION. MOREAU (ApRIEN), France. Born at Troyes (Aube), April 18, 1843. Genre painter. Pupil of Pils. Paints spirited and humorous subjects with taste and skill. Medal, 2d class, 1876. No. 199—Lehearsal of Richeheu’s Tragedy, “Miriam,” MOSLER (HEnry), United States. Born at New York. Pupil of Hébert. Awards and Honors: Medal, Royal Academy, Munich, 1874; Salon, honorable men- tion, 1879; ‘‘ Le Retour,” purchased by the French Government for the Musée de Luxembourg, 1879 ; Gold Medal, International Exhibition, Nice, France, 1894; American Art Association’s Prize Fund Exhibition, New York, prize $2,500, 1885 ; Salon, Gold Medal, 1888 ; Axfosttion Universelle, Paris, Silver Medal, 1889 ; Hors Concours, 1890; Chevalier de la Legion ad’ Honneur, 1892; Officer ¢’ Academie, 1892; Archduke Carl Ludwig, of Austria, Gold Medal, 1893; elected Associate of National Acad- emy of Design, 1895 ; Grand Gold Medal and Diploma of Honor, Atlanta Exposition, Georgia, 1895; Thomas B. Clarke Prize, National Academy of Design, 1896. Pictures purchased by, and incorporated in, the following museums: Luxembourg, Paris ; Sydney, Australia; Grenoble, France ; Louisville (Ky.) Poly- technic Institute ; Pennsylvania Academy of Fine Arts; Cincin- nati (Ohio) Museum ; Springfield (Mass.) Museum. No, 84—A Stroll in the Park. MULLER (Cuar_es Louts), France. Born at Paris, Dec. 22, 1815 ; died there in 1893. Pupil of Baron Gros and Léon Cogniet and of the Ecole des Beaux Arts. He was a Member of the Institute and Officer of the Legion of Honor; artistic director of the manufacture of the Gobelin tapestries from 1852 to 1853. His ‘‘ Charlotte Corday, in Prison,” is in the Corcoran Gallery, Washington, D, C. No. 80—Ze Rond de Mat. BIOGRAPHICAL NOTES AND INDEX. 55 MUNIER (Emizz), France. Pupil of A. Lucas and Bouguereau. Honorable mention, 1882, Paris Salon. No. 26—Seeding the Pigeons. No. 63—Sfringtime. MUNKACSY (Minty), Austria, In 1846 the rude village of Munkacs, in Hungary, was the birthplace of a child of poverty who was christened Michael Lieb. He had no future but one of misery, such as had pre- ceded him in the experience of his progenitors, and he com- menced, almost as soon as he could handle a tool, to earn his meager living as a carpenter’s apprentice. For six years he worked at the bench, with an occasional job of house painting to vary the monotony of his labor. From this casual employ- ment he found his way to his future. He taught himself to draw, and, in a crude way, to paint. Then a good-natured, poor portrait painter of Guyla took him up and taught hima little more. From this master he passed into the hands of the Vienna Academy, and, by a supreme effort, finally secured admission into the Munich Ecole des Beaux Arts, where Pro- fessor Adam became his friend and instructor. Here the young artist, who was known as Michael of Munkacs, which title he has since adopted as his name—Michael Munkacsy—made such strides in advance that he was enabled, by the winning of several prizes, to set himself up at Diisseldorf in 1869, as a painter. The works of Knaus and Vautier inclined him to genre painting, and in 1869 his ‘‘ Last Day of a Condemned Man” made him famous. His style was so original and so unlike the conventional methods of German art that it attracted attention in Paris, and in 1872 he was emboldened to settle in that city, where he has since resided and where his works have found much favor. He had received a medal at the Salon in 1870, and so was not unknown there. In 1877 he was received into the Legion of Honor, of which he has been an Officer since 1878, 56 THE POWERS COLLECTION. Munich and Vienna have made him a member of their Acad- emies, and the whole world in which art finds patronage has accepted him. His case is an illustration of the triumph of artistic genius over apparently insurmountable difficulties almost unique in the history of modern art. No. 190—Z00 Much Mother-in-law. No. 261—eeding the Favorite. MURPHY (J. Francis), N.A., United States. A little landscape, executed in a fine harmony of color and with great delicacy of feeling, drew a limited amount of notice, at the National Academy Exhibition of 1876, to a young artist whose name was new to the catalogues. ‘The few who took the trou- ble to inquire after him found that he was a native of Oswego, N. Y., some three and twenty years of age, and a pupil of no school save that of nature. The predictions aroused by his first exhibit were confirmed by his successive productions, and in 1885 he was admitted to an Associateship of the Academy, from which he was advanced, in 1887, to the degree of a full Academician. Absolutely devoted to the study of nature, Mr. Murphy has created for himself a manner which individualizes him among the chief American painters of landscape. In 1885 Mr. Murphy was awarded the second Hallgarten Prize ($200) at the National Academy of Design, and in 1887 he received the prize of $300 founded by Dr. W. Seward Webb for the Society of American Artists, of which Mr. Murphy is an active and prominent member, and has been awarded a gold price medal by the American Art Association of New York. No. 31—Landscape. NECHUTREY (R.), Austria, Pupil of Wilhelm von Kaulbach. Chevalier of the Order of Franz Josef. Knighted by the Emperor of Austria. No. 95—Zhe Hussites before Naumburg, 1432. ee ee ee a ee — Dil lin Sent BIOGRAPHICAL NOTES AND INDEX. 57 NEUHAUS (Fr17z), Germany. Contemporary German School. Studio in Diisseldorf. No. 158—Zhe Prince’s First Ride. NICHOLLS (Burr H.), United States, Born at Lockport, N. Y. Pupil of L. G. Sellstedt, N.A., and of Carolus Duran, Paris. No. 104—A Street Scene in Brittany. NICOL (Ersking), R.A., England. A house painter’s apprentice of Edinburgh one day, some sixty years since, applied to the Trustees Academy of that city for admission to the art school as a student. The drawings he exhibited commanded consideration for him, and thus Erskine Nicol commenced one of the most successful careers in the chroni- cles of English art. From his house painter’s labors of the day he subsisted until he had become a sufficiently accomplished draughtsman to undertake an engagement as drawing master at the high school of Leith, in which town he was born in 1825. From Leith he went to Dublin, where he earned his living as a drawing master, and continued his studies, later returning to Edinburgh, and finally, in 1863, settling in London. Previous to his removal to London he had been made a member of the Royal Scottish Academy. In 1866 he became an Associate of the Royal Academy of London, and in due time a full Aca- demician. Devoted to genre subjects, Mr. Nicol has in them produced a long series of superb studies of life and character in his native Scotland and in Ireland, where, during his sojourn and from subsequent visits, he amassed a rich store of material. As a colorist he has no superior in England. As a delineator of character he has no equal in his native art. A shrewd, dry humor expresses itself in his works, and a broad and genial sympathy with humanity lends them heartiness. Although 58 THE POWERS COLLECTION. known throughout the world by engravings from his pictures, Mr. Nicol’s paintings are of unusual and infrequent appearance in collections outside the insular limits of Great Britain, where they find an invariable acceptance. He has exhibited, generally through the generosity of collectors owning his works, at the National Academy of Design in this city, at the Centennial Exposition in Philadelphia, and at a few American loan exhibi- tions, and has been medaled at the Salon and other Continental art displays. No, 17— oh hard D, TENIERS (the younger) The Rivals A group of three people ina somber interior. A young woman stands on the left, clad in a costume of green and white, with a red headdress. She is sing- ing. Two young men—one seated ona bench behind her, the other on the floor, playing a lute—seem anxious to be in her good graces. The figures re- lieve against the dark background with striking effect. Signed at the left. Dated, 1648. Height, 12 inches ; width, ro inches. Bah cf x Gd. ey J. FRANCIS MURPHY Landscape An evening effect with a brilliant and luminous sky of yellow. A group of trees is seen on the right, and a brook in the foreground reflects the glowing tints of the sky. Though a small canvas, this work exhibits much sentiment and breadth of effect. Signed at the left. Height, 8 inches; length, ro inches. ) KY. AYanrud 32 ane ith i J. A. GONZALES The Spanish Coquette In this charming little picture, a Spanish girl in her best clothes—blue bodice, yellow skirt, black lace, tiny blue slippers, white lace veil, and a huge red sash tied in a bow behind—is taking a peep in a mirror preparatory to going out on the promenade or to the bull-fight. The figure is excellent in character, and is very well painted. Signed at the left. Dated, 1873. Height, ro inches; width, 8 inches. bs. (3 doaprs 33 Po. G. PAPPERITZ After the Bath A young girl in diaphanous white drapery is leaning back against a great, bent trunk of a tree after her woodland bath. Her head is tipped to one side and a smile illumines her features. There isa pretty contrast here between the pink flesh tints and the fresh green of the foliage behind the figure. Signed at the right. Height, 15% inches; width, ro inches. eo Farebuk Ldther 34 i ae pelea PAUL SEIGNAC . Shelling Peas A scene in the courtyard of a French farmhouse, with a gate in the wall opening on a vista of sunny landscape. A woman and four young girls are seated about a table engaged in shelling the peas which are brought bya boy, who is emptying a basketful on the table. The grouping of the figures is effective, and the work is a characteristic delineation of peasant life. Signed at the left. Height, 17% inches; length, 21 inches, Z y J. BENEDICTER ; ih, A Dutch Kitchen This arched and vaulted kitchen looks like the crypt of some old abbey turned to every-day uses. A young woman is seen standing by a big cooking ‘ range, and pots, pans, and kettles of brass and copper are hanging on the walls. The daylight from the window and the firelight are skilfully managed, and the general aspect of the work, with its strong contrasts, is very striking. Signed at the middle right. Height, 19 inches; length, 24 inches. / ONAN aa 36 ol AD EUGENE DELACROIX Death of the Standard Bearer The soldier who carries the banner lies on the ground, and the enemy’s troopers are tearing away the coveted prize. A big dog, faithful to his dying master, attacks a soldier who is seizing the flag. In the distance the battle rages in smoke and the fury of fighting. Signed at the left. Dated, 1839. Height, 18 inches; length, 21 inches. EN ah 37 (0. Teoh role, 7 W. MENZLER - Character Study This nice German beauty wears an elaborate headdress and a bodice of black and brown velvet trimmed with fur. Her face is seen in profile and is that of a charming type of the Northern blonde with blue eyes. Painted with skill and sobriety of resource. Signed at the left upper corner. Dated, 1878. Height, 2634 inches ; width, 18% inches, ~ OE ia 8 /y. Kineedthn + Qe J. S. H. KEVER { The Evening Meal CWater Color) Cottage interior, with the peasant, his wife and children seated at the table to partake of the evening meal of smoking soup in a big dish. It is an excel- lent example of one of the cleverest and most sympathetic painters of the Dutch Water Color School. Signed at the left. Height, 14 inches; length, 21 inches. . iad ’ ee 24, 39 4l : eat % PP bree bak G. H. BOUGHTON iit EAaene JOHNSON The Reprimand A stern-looking old man, with a dingy beaver on his head, sits by the fire-” place leaning on hiscane. Before him is a girl of fourteen or fifteen who seems to have incurred his displeasure. The faces show the most searching study of character, and both figures are painted with sober reserve. The color is agreeable, and the composition bears on its face the marks of sincerity and truthful delineation of a characteristic American phase of life in the country. Signed at the left. Dated, 188. Height, 1814 inches; length, 22% inches. A. PASINI The Falconers Great palm bushes, tropical plants, and a pool are seen in the foreground. At the right, two horsemen hawking at the herons and cranes of the marshy country. Both show the masterly style of Pasini at his best. The sky is a marvel of clean, direct handling, and the picture, asa whole, is a most im- portant and excellent example. Signed atthe left. Dated, 1879. Height, 17% inches; length, 27 inches. Katrina Van Tassel This charming picture has for its subject the blooming lass of eighteen who was the daughter of a substantial Dutch farmer, and is celebrated in Wash- ington Irving’s ‘Sketch Book.” She is tripping down the snow-covered pave- ment along the canal in her fine, quaintly designed costume with fur-bordered hood and cape, her muff and her apron of embroidered cloth. Her faceis a sweet picture of youthful feminine beauty, and the view of the town with its gables and spires is delightfully represented by the artist. It isa supremely good example of Boughton’s work, and attractive both in subject and treat- ment. Signed at theright. Dated, 188. Height, 23 inches ; width, 15 inches. : oP. a Tt Ficee dla. © tac 40 Per Z. * Shy Ds ens 44 +. A Lie ay Mei ic GUSTAVE COURBET The Stone-Breakers This is a composition similar to the celebrated picture which made such a great sensation at the Paris Salon of 1851, but on a smaller scale. The canvas is a low-toned one, showing a hillside of dark green and a bit of blue sky at the upper left corner. Onthe road in the foreground are an old man on his knees with a hammer, and a boy with a basket. The general effect is striking and powerful. Signed at the left. Height, 20 inches; length, 24 inches. oO | 43 Go Jrtegan J. J. HENNER Thoughtful A charming head in profile view of a young girl with Titian hair, the face and neck painted in full light in pale but tender color, with warm shadows. The blue eye, red lips, and delicate flesh tints form a beautiful harmony. Signed at the right upper corner. Height, 17% inches; width, 12% inches. B. P. OMMEGANCK Landscape, Cattle, Sheep, and Goats A red cow is the most prominent feature of the central group. Beyond, is another of dun color, a white-bearded goat, sheep, and a shepherd under a tree. The landscape is treated with careful attention to detail. There are tall trees on the right, a river and hills in the distance. The sky shows clouds of rose color at the horizon, and the composition appears as a pastoral of genuine charm. Signed at the right. Dated, 1783. Height, 17 inches; length, 22 inches. tia. 45 oD IR DANIEL HUNTINGTON Princess Elizabeth An ideal picture of the unfortunate sister of Louis XVI., who fell an inno- cent victim to the Reign of Terror. The type is blond ; the head is inclined to the right, and the eyes are directed to an illuminated prayer book, or missal. The headdress with pearls, and scarf, are of blue. The bodice is made of gold and white embroidered stuff. About the neck is a string of pearls. A characteristic picture by the well-known American artist, who was for so long President of the National Academy of Design. Signed at the left. Dated,1879. Height, 23% inches ; width, 1914 inches. | 46 se C: Page J. L. GEROME The Sentinel at the Sultan’s Tomb The white-robed figure of the sentinel with his black headdress, stands im- perturbably before the doorway. He holds his long gun in his hands, anda dog sits on the sill as nonchalant as the sentinel. The setting for this admir- able figure is formed by the great arched entrance to the Sultan’s tomb, with its curious, picturesque architectural features and inscriptions. The blue tints of the tiles and fretwork, and the pale green curtain hanging over the door are prominent notes in the color scheme. The sentinel is a marvel of careful, scholarly execution. From the George I. Seney Collection, 1885. Signed at the left. Height, 28 inches; width, 22 inches. 47 FMILE VAN MARCKE Rich Pasturage A group of four cows in the foreground with two others farther away. The pasture is framed in bya line of treesin the middle distance, and thereisa gray sky with threatening, dark clouds. The contrasts of color between the cows and the landscape are effective, and the handling is strong and broad. Signed at the right. Height, 27% inches; length, 35% inches. 7 AAS Os FS : wy. YO ge) BAN IST a8 ol 70. FRANCOIS MILLET (fils) View at Vichy A road running through the wheat fields, red-roofed cottages, and two labor- ers in the path, are the principal elements in this frankly painted and excellent landscape. It possesses the warm, mellow tone that characterizes some of the work of the great artist who was the painter’s father, but is personal in con- ception and treatment. Signed at the right. Dated, 1878. Height, 23 inches ; length, 28 inches. a : ee UG. ui ye hla o E. L. GARRIDO On the Terrace The scene depicts the terrace, or piazza, of a restaurant in the environs of Paris. It is inthe long summer twilight, and a river flows below at the right. A young woman sits at a table, her face in full view to the beholder, and is nibbling shrimps at the beginning of her dinner. At the table behind her a man betrays his interest in her by casting glances in her direction. Other diners, a waiter, and a profusion of still life are features of the composition. It is all very well painted, with broad, comprehensive brush work and good color. Signed at the left. Dated, 1886. Height, 32 inches ; width, 25 inches. Aan A AD arr ve y J. L. GUYOT JS 0: Shepherd and his Flock An excellent specimen of the painting of a tatented modern artist. The shepherd is of the every-day type, without pastoral accessories of costume, and leans on his staff, smoking his pipe, with his faithful dog at his side. The sheep, which are deftly painted and have the true look of live animals, browse about the shepherd on the level plain. Signed at the right. Dated, 1887. Height, 27 inches; width, 20 inches. | a ; | } | | PB Kasaclochh BE Ss rea iee I : W. H. BEARD Voices of the Night On the edge of a fountain basin sit frogs chanting a chorus, while facing them is a circle of cats and owls, with a company of dogs beyond. Certainly the ensemble of their voices must form a strange melody. Thisis one of the characteristic fantasies of a well-known American painter of animal life and humor. Signed at the left. Dated, 1880, Height, 20 inches; length, 30 inches. tL, 52 Fatt / J. SCALBERT iy An Unwelcome Guest A French soldier and his sweetheart are enjoying a day in the country, and while seated on a stone bench in loving converse are suddenly interrupted by a cow, who has come up from the neighboring pastures and sticks her head through the bushes behind them. The soldier is seen with his hand on the cow’s muzzle pushing her head away, while the young woman exhibits her trepidation in a clinging position. ‘The story is well told and is full of humor. Signed at the right. Height, 31 inches; width, 22 inches, ie, allen 53 H. De BUEL Leading out the Flock ALES Fo? A little girl who combines the functions of shepherdess and turkey herder is seen leading two sheep anda lamb through the fields, and accompanied by a flock of turkeys. A blue sky frames in this pretty pastoral, and the work is artistically executed. Signed at the left. Dated, 1876. Height, 23 inches ; length, 31 inches. 7 VS NA DOr ath 56 Oats s oe F. SCHLESINGER The Country Doctor The doctor, with a benignant expression, sits in his big chair before his desk while the mother stands before him with her little girl who has every appear- ance of suffering from a toothache and of dreading the doctor’s forceps which lie on the table. The father is seen timidly entering at the doorway in the background. The mother isa nice type of peasant woman, and the doctor is the personification of the country practitioner. The chief color notes are red, green, brown, and white. All the still life and details are cleverly painted. Signed at the left. Height, a2 inches ; length, 25% inches. Lhe ps3. 7 Ne . ¥ arog -g F. VOLTZ Cattle, Meisenger Lake In the foregound are the cattle in the shallow water with great willow trees growing on the bank. To the right is a cottage half hidden inthe foliage. A herdsman, a girl, and goats are other features of the composition. A fine morceau is the calf with its mother in the foreground, and the treatment of the whole picture shows it to be from a very skilful hand. In execution, this cattle painting is not unlike the work of the great French master Brascassat. Signed at the right. Dated, 1878, Height, 15 inches; length, 36 inches. G. PALIZZI Driving out the Flock In the shade of the heavy-foliaged trees in the lane a young shepherd is letting out his sheep to go to the pastures. The landscape is realistically painted, and the sheep are natural and unidealized. The masses of light and shade are well managed, and the picture is excellent in general aspect. Signed at the left, Height, 22 inches; length, 35 inches. oe 6 Lb 57 Pod. oe J. DELAUNAY Battle Scene A charge of French cuirassiers riding in close formation. The brilliant colors of the uniforms, the flag, and the fine horses make up a handsome ensemble. Spiritedly conceived and dashingly painted. Signed at the left, Height, 24 inches; width, 20 inches. ee Ln.) 8 And 0. LOUIS BRUCK-LAJOS Investigating the Lunch Basket This little Italian peasant girl, with her pretty face turned toward the spec- tator, grasps an apple in her hand as she sits by the roadside with well- filled baskets on either side of her. Her large, dark eyes are full of intelligence and charm. The figure is painted with a masterly brush, and is a piece of painting of great excellence and individuality. Signed at the left, Height, 30 inches; width, 21 inches, ae 72h. 59 > A. F, BUNNER ’ The Molo, or Harbor of Venice Two large boats in the foreground, with sails and awnings of warm brown, yellow, and red, with sailors on board, occupy the central portion of the can- vas. Beyond, are the architecture of the city and the harbor light and pier. Effective in composition and excellent in color. Signed at the right. Height, 26 inches ; width, 20 inches. A ee 60 LK. a A. LUBEN Her Dus Barber Cottage interior, with the mother of the family seated on a bench and fac- ing the spectator, while she clips the locks of her little boy, who leans over, to aid the operation, with his face inher lap. The little sister, on the bench be- side her, looks on with evident interest. Technically, the work is full of excel- lence, and the story is told in a sympathetic way. Signed at the right. Height, 30 inches; width, 23 inches. 6o.% 61 D4 oh Alerter ; G. H. McCORD A Studious Beauty Seated neara gigantic sunflower ina sunlit garden, a young lady is poring over some absorbing book. Her costume is of yellow, and there is a red shawl inher lap. Nearby is her little black dog. A broadly handled effect of sun- light with truthful study of foliage. Signed at the left. Height, 33inches ; width, 28 inches. Fo. ™ co HN. ly JEAN CHARLES MEISSONIER (fils) The Artist’s Leave-taking Truly a noble picture. Two men in medzival costume are seen at the porch: of a suburban dwelling. Both are painters, and one, who has just been making a visit to the other, is saying good-by. The host is in blue, witha skirted tunic; the guest, in a magnificent dress of black, gray, and yellow. The subject is attractive; the picture is most soundly painted, and the color is masterly in its scheme of soberly tempered rich tints. Signed at the left. Dated, 1880. Height, 25 inches; width, 19% inches YO. Q. 63 ~ & o- shiz -E, MUNIER Springtime A charming picture of a child with arms full of lilacs. It is not unlike the work of Bouguereau in general style. The color is very clear and fresh. Notable points of merit are, the drawing of the hands, the lovely color of the blonde hair, and the little girl’s sweet expression. Signed at the left upper corner. Dated, 1887. Height, 20 inches; width, 16 inches. Ah. Tosth ¢ Seve fy PA Qu C. C. VAN HAANEN My “ Tailor’s Workshop Three seamstresses are busy inthe front of the room, and the tailor sits % cross-legged on his bench behind them. The personages are well studied as to character, and the color, local to Venice, is bright and gay, but not loud. The picture is vigorously painted and striking in general aspect. Signed at the left. Dated, 1875. Height, 29 inches ; width, 21 inches. Meee ail. * ? A. PEREZ 1d a, 0 $f, At the Park Gate The scene shows two worthy bearers carrying a sedan chair, in which sits a fine lady, while a gentleman approaches to offer a bunch of flowers which he has just purchased from a pretty flower girl, who keeps her stand with pots and plants and blossoms by the wall of the park. It isa charming picture, interpreted with skill and artistic feeling. The costumes of the time of Louis XVI. form an attractive element in the ensemble. Signed at the right. Height, 28 inches; width, 23 inches, AAS ys. 66 A d Merron gin E, GRUTZNER A Flying Visit A stalwart Tyrolese hunter stops at the open window of a house where a pretty girl is seen inside, and seats himself on the bench in the porch for a few moments’ rest and a pleasant chat. His dog profits by the halt by the wayside to snatch a bit of much needed sleep. The local color is carefully given in the picture, and it is painted in the competent manner that characterizes the work of this popular German genre painter. Signed at the left. Dated, 1882. Height, 34 inches; width, 27 inches, ya. 67 Yh, Vt 0: JOSEPH COOMANS Phidias in his Atelier The great Greek sculptor of classical antiquity is here represented in his studioat work ona statue. Through the open doorway leading out to a sunny courtyard, visitors are arriving, and in the foreground to the left are two beautiful women and a lovely girl idling in the studio. The subject is one s which pleases and fascinates, and the representation conforms to archzo- logical traditions. The three women, especially, make a beautiful and attrac- tive group. The picture is painted with this celebrated artist’s customary skill and attention to detail. Signed at the right. Height, 24 inches; length, 35 inches, 8 fae oF ger JULIEN DUPRE The Harvesters’ Meal Two peasant girls, attractive in face and figure, with a boy standing in front of them drinking cider from a large flask, form a fine group inthe foreground. One of the young women is cutting an enormous loaf of Jain de ménage. The scene is laid in a Normandy hayfield, and the white clouds in the sky cast broad shadows over the meadows, with patches of light here and there to give variety and contrast to the landscape. 2 Signed at the left. Height, 32 inches ; width, 25, inches, A. Mm. Cary der A BA) hy airo KARL BECKER Italian Mother at Prayer A beautiful young Italian woman on her knees before a statue of the Ma- donna in a church, one arm around her little daughter in a caressing embrace. Both faces are lovely in expression, the lighting is well managed, and the color scheme, with its notes of green, red, white, and brown, and its setting of gray walls, is most pleasing and effective. Signed at the left. Dated, 1878. Height, 43 inches; width, 28 inches. oe es 70 JOS ig te HUGUES MERLE Interrupted The young man outside the casement, in a costume of black and red, has appeared suddenly, no doubt, and the young lady inogray silk in the window seat takes no further interest in her embroidery. Thisisa representative work by one of the most popular of modern French subject painters. Especially to be noted are the clever painting of the hands and the draperies. Signed at the left. Dated, 1880. Height, 52 inches ; width, 38 inches. ne. Gir elef fe g2s7 © VACSLAV VON BROZIK The Falconer’s Recital Here is a group of six ladies and a pretty page sitting in a richly furnished apartment. Some of them lean over the backs of their chairs as they listen to the tale of the falconer, whose face is animated with the vivid recollection of his story. He isdressed in red, and his brave bird perches on his left hand with wings erect. Two finely painted stag hounds stand at the falconer’s side. The chatelaine is costumed in white, and the dresses of the other per- sonages—blue, crimson, and yellow--form an elegant harmony of color. The epoch is in the Middle Ages, From the Mary J. Morgan Collection. Signed at the left. Height, 37 inches; length, 55 inches. ‘ta? gi ee 72 Ce. U9, Mirhong @ bdo. OTTO PILTZ Lunchtime in the Kindergarten The schoolroom and another apartment seen beyond, through the open door, are crowded with children. Every attitude and expression of humor, contentment, interest, and pleasure is depicted in the faces and figures, and one little girl, in the middle of the composition, iscrying. ‘The patient, sedate- looking mistress is peeling an apple for an expectant good boy, who is near her. There are some sixty figures, and all are truthful studies of character. The picture is not only good in detail, but it is admirably “held together,” and the color and atmosphere are worthy of all praise. It is the work ofa strong, conscientious artist who thoroughly understands the difficulty of painting such a picture as this and shows that he knows how to master it. Signed at the left. Dated, 1878. Height, 3034 inches ; length, 52 inches. vii ie F. vA Cain J. F. RAFFAELLI La Place de l’Opera In this large canvas we see the naturalistic tendencies of M. Raffaélli in their first blush. The dominant color notes are gray and black. The great carre- four in the center of Paris is full of people and vehicles. The sky is gray, with the morning sun touching up the misty clouds with pink; and broad, atmos- pheric shadows are cast by the buildings. Allof the architectural features are carefully wrought, and the picture gives a full front view of the beautiful opera house, with the well-known Café de la Paix on the left. The figures are depicted with a fine sense of individual character. Signed at the left. Dated, 1878. Height, 263 inches; length, 59 inches. 74 Ce CHARLES P. GRUPPE Beach of Scheveningen A large canvas depicting a Dutch shore view, painted in dark grays and other somber tints, There are boats on the shore, and people unloading them. The wind is blowing briskly. Signed at the right. Height, 42 inches; length, 58 inches. f Rae ee ent ee ae > i oe Rt ns a Seni ra’ rae" ite. rans: arr mar Ln A. Falduters 2 Fa, SETH C. JONES Flock of the Mission This is a scene in some foreign country. The old mission buildings appear on the left, and the sheep are scattered about on the neighboring slopes. A monk is watching over them, and the impression given is one of peace and quiet. Signed at the right. Dated, 1872. Height, 28 inches; length, 41 inches. H. THOMPSON Landscape and Cattle In the right foreground are two calves and a little girl, A cow and an- other calf are seen on the left. They are framed in by old apple trees with twisted trunks, and the landscape appearsin the distance through the branches. ag / oP OTE @ a ALE T Of Signed at the left. Height, 314% inches; length, 45 inches. : 4b, Yutol F, Dan es Mtg 210 Coast at Badalone, Spain Here are three fisherwomen on the beach, all young and pretty. Oneof the group is reading a letter to another, who, presumably, is not able to read her- self. The types are characteristic of the locality. Theeffect isin sunlight ; the color is agreeable, and the picture is briskly painted. Signed at the left. Height, 36 inches; width, 28 inches. 8 Bt pedle<: ¥ Ge. a Lb ne OLOF PETERSEN ‘ Scenery in Norway Here we see a fjord coming into the land between high, craggy, snow- crowned rocks. The water iscalm, and under the lee of the cliffs are a steamer, boats, and red houses. The local color is well preserved, and the painting is direct and competent. Signed at the left. Height, 35 inches ; length, 52 inches. THEODORE RABE The Duet A young woman in a pink satin skirt and black velvet decolleté bodice sits in a marble garden chair. By her side a young man in crimson doublet plays on amandolin. The foliage of the trees in the garden arches over their heads. A characteristic subject picture of the German School. Signed at the left. Dated, 1878. Height, 44 inches; width, 33 inches. ‘ 80 Gas Jw? ovis: ate pres ay S an CHARLES LOUIS MULLER Le Rond de Mai The scene shows a féte champétre with a multitude of figures. The groups are skilfully composed, and the painting shows all the marks of Muller’s best style. The flute player in the center, painted in half light, about whom the dancers circle, is a fine characteristic sorceau. Signed at the left, Height, 30 inches; length, 41 inches. ore sh Br ®. freee ) f AUGUST FINK Pine Autumn Landscape Full of air and true to nature is this picture, with its view at the edge of a forest ; its gray scheme of color and its foreground of herbages and bushes carefully painted. Signed at the right, Height, 32 inches; length, 48 inches. A : iS! 82 Va A. Kotte ih io EDMUND BLUME Ff Grandma’s Story The venerable dame has stopped her spinning to tell a tale to her pretty granddaughter. Nearby are two children. The color scheme is dignified and quiet, and is made more effective by notes of red. Sound painting marks this portrayal of Austrian home life. Signed at the right. Dated, 1875. Height, 41 inches; width, 33 inches. Ta res \ E. ANDERS Mother’s Love A rich German interior, with the mother by the casement, blonde and pretty, dressed in black, with white lace collar and cuffs. Her baby is in its cradle beside her. Signed at the upper left. Dated, 188r. Height, 38 inches; width, 23 inches. | ae biel Bp ae HENRY MOSLER A Stroll in the Park A lady in a fine gown of white satin, and a cavalier clad in black with an azure lining to his cloak, are walking arm in arm on a path through a park. This isan unusual example of the work of a celebrated American artist who has a picture in the Luxembourg Gallery, Paris, and is known as an accom- plished painter. Signed at the left. Height, 36 inches ; width, 27 inches. ALEXAN DRE DEFAUX Landscape A French iandscape, with a group of apple trees in blossom on the left of the canvas. On the other side is a pond with ducks swimming and diving, while cocks and hens are seen in the foreground. Beyond, are pastures and clumps of trees. The sky is filled with gray clouds. This picture, by a master of his art, is very skilfully and soundly painted, and is an important example. Signed at the left. Height, 26 inches ; width, 36 inches. er aus oll. « Gs, 83 APS 7 OO ellen. 85 VA ie c. BB ots s.: a ee Se SE ie Se, x ao JF PO. 86 (ee LOUIS BRUCK-LAJOS The Unwilling Schoolboy The picture shows the home of a family of the better class of peasantry of Italy, or Savoy, and contains nine figures. The little girls on the right evi- dently are not averse to the day’s work, but the little boy, who is the central figure, demurs strongly. It is painted in the best style of this excellent and popular artist. Signed at the left. Height, 31 inches; length, 38% inches. ROSA BONHEUR The Choice of the Flock A masterpiece of the famous artist, and, consequently, admirably painted in every respect. A white ewe, the fleeciest and fairest of the flock, stands in a field with a wide stretch of rich, rolling country beyond. Near her is another sheep, while to the right are several others. The landscape is suave, but virile in treatment, and the painting of detail in the foreground is especially notable. A very important example. From the George I. Seney Collection, BOCES ary TP 7 en Horimann My 1891. Signed at the right. Height, 3: inches ; length, 38% inches. 88 Gf AS athe Gold wf? ' LOUIS LELOIR The Temptation of Saint Anthony A well-known masterpiece. Two beautiful temptresses have laid hold of the saint, who clings to the rude cross, stuck ina cleft in the rock in his her- mit’s cave, which is breaking in his grasp. The three figures form a group of great beauty, and the painting throughout is of the highest order. This picture is celebrated for the excellence of the drawing, its strength of color, and the directness and vigor of the execution in general. From the Dousman Collection. Signed at the right. Dated, 1869. Height, 27% inches; length, 38% inches. eA ll se A. A. LESREL La Chanson a The composition presents a fine interior, with five figures with costumes of the time of Louis XIII. A lady sits in a chair playing a mandolin, while ! i two men—one with a violin, the other with a ’cello—join in the harmony. it Before them stands a youth, in an elegant light-colored embroidered costume, who is about to sing. In the shadow a cavalier ina red cloak stands in the ' doorway, which opens upon a terrace. This is a work of decided merit, and one of the most important of Lesrel’s pictures. It is beautifully painted, and is most attractive in general aspect. Signed at the right. Dated, 1881, Height, 35 inches; width, 28 inches, Decl + Lun, ch Ho Bb 7? OTTO ERDMANN Secret Homage This is a representative genre work of the Diisseldorf School. Two ladies are about to ascend the staircase in a sumptuous hall with marble sculpture. One has dropped a rose, which a court gallant stoops to pick up. Signed at the left. Dated, 1880, Height, 35 inches; width, 2712 inches. SA PO a < eee : Lo. L. E. JARDON ert ie A Swedish Family A young peasant girl and three children. The types are of the extreme blonde order belonging to the North, and the figures are frankly painted. The picture is excellent in local color, Signed at the left. Height, 35 inches ; width, 31 inches. f [ 2 bis | oh Me ere. . 9 ~ by “~ EDWARD GAY Fb oh) AO The Old Estate A view looking over fields and pastures, with a group of ancient trees toward the sea. Some sheep are grazing about the abandoned garden, and the rem- EE nants of a white paling fence and a stone wall appear in the middle distance. There is a fine sky of gray and white clouds. This work, by a well-known American painter of landscape, has all the elements of truth and sincerity. Signed at the left, Dated, 1880. Height, 45 inches; length, 55 inches, ed ee 3 HA Ins Jrabonr, A. LUBEN Under the Hammer An old naturalist has died and been buried, and his little stock of specimens and books is being sold at auction. The figures and still-life are admirably painted, and the picture is a fine example of the best German genre painting of the Munich School. There are over twenty figures in the composition, and each face is a carefully executed study of character. The fact that withsuch a profusion of detail, the ensemble is one of unity of tone and color, deserves special mention. Signed at the right. Height, 46% inches; length, 68 inches, ig Aes o4 Ferelul haley F. $. LACHENWITZ ¥ Sebrvacts Elk Pursued by Wolves A big elk in the deep snow is near succumbing to the attacks of four gaunt and ferocious wolves. One of them has just received a body blow from the elk’s antlers, and falls in pain to the ground, while another, clinging on the elk’s back, bids fair to reach his throat with his sharp fangs The two other wolves are in hot pursuit. The incident is very stirringly presented, and the picture isa good example of strong animal painting. From the A. T. Stewart Collection. Signed and dated 1850. Height, 47 inches; length, 67 inches. DAY are ain 95 AS4. 9G. bolre R. NECHUTREY The Hussites Before Naumburg, 1432 Procopius, the General of the Hussite army, is here represented giving atten- tion to the mute appeal of the children of the fortress of Naumburg, before which his forces camped during the long war which followed the burning of John Huss, the Bohemian reformer, on the 6th of July, 1415. The victorious General had threatened to give everything in the fortress to fireand the sword. A deputation of children was sent with the ‘ey of the place, and a plea to spare the lives of the inhabitants. This incident is the subject of the picture. Night is settling down upon the city. The glimmering of the camp-fires is seen in the distance. The little children are in the foreground, presenting the ae key on a yellow cushion to Procopius, who, clad in his armor, is surrounded by Wei ‘ his stern body-guard. The two groups are effectively contrasted, and the PG treatment is dramatic and forceful. . Signed at the right. Height, 49 inches; length, 6714 inches, ia Anerre 96 LA, | E. J. DAMBOURGEZ Oyster Woman in the Kitchen This fine, life-sized figure of a blonde Normandy woman opening oysters is painted with much distinction of color and handling. The blacks in her bodice and shoulder cape, and the still-life, are worthy of special mention. Inthe background is another woman busy at her cooking range. The whole picture has an air of individuality, and is the work of a painter of fine talent. Ex- hibited at the Salon of 1885. Signed at the right. Dated, 1885. Height, 62 inches; width, 50 inches. ; | i oy aa i i : (a4 pA | | Ae att hs ae 97 Pas ee as w K. F. SOHN Diana and her Nymphs The majestic figure of Diana appears as the central feature of this fine com- position, holding up her white drapery, and surrounded by four beautiful nymphs, who crouch about her in the fear of intrusion. The goddess stretches out her right arm witha forbidding gesture, as if to warn off the indiscreet hunter Actzon. Her head is turned in the same direction, and her eye is lighted up with the fire of indignation. The grouping of these nude figures; the classical style of the drawing and modeling, and the picturesque mdse en ‘ scéne, make of this work one of the most important compositions produced by the painters of the modern German School. From the A. T. Stewart Collec- tion, 1887. Signed at the left. Dated, 1852. Height, 90 inches ; width, 74 inches. 8 zie veo ae 98 Hh oh J. F. BALLAVOINE A Dream This beautiful full-length nude female figure is shown as emerging from the horn of Morpheus, typical of sleep. It isan ethereal conception, and the young girl is of an innocent but voluptuous type. A girdle of pale yellow drapery floats about her figure, and the broken chains of slumber drop from her wrists. The figure is surrounded by a decorative border, painted on the canvas, of beautiful and symbolic design. The whole is executed with a fine conception of creative beauty, and shows a delicate scheme of color. This important work was painted to order for a Russian prince. Signed at the right. Dated, 1875. Height, 104 inches ; width, 68% inches, SECOND NIGHT’S SALE Thursday, January roth, at 8 o’clock | 1 t AT CHICKERING HALL * Ve Metal ‘ DAVID COL A Regular Customer il 0, 9? An excellent example of the famous Dutch artist. A good-natured old gentleman, seated at a table in the hall of an inn, has come across an amusing story in his newspaper, and hastens to repeat it to the hostess, who, clad in red, with a gray apron, stops to listen. Truth to nature characterizes this fine little bit of anecdotal painting. Signed atthe right. Dated, 1884. Height, rz inches ; width, 9 inches. ¢ M. SCHOLZ Monk : Bs Cages Wi fou This is a monk who works for his living,as may be seen from the blue apron covering his chest. It isa natural study of human nature. Signed at the right. Height, 12% inches; width, 9% inches. OI I EE EE Ee (7? a peaks IOI eee oo ve v q 44 LOUIS APOL River Scene A symphony in grays. A church and houses appear on a point of land which juts out into the stream. The sky and water are delicate in tone. Signed at the left. Height, rz inches; length, 15% inches. SALAMI 102 i Ce Anrrr Ha Oty ~ 4 G. HYON Ta 7 A French Cuirassier The figure of the horseman in this excellent cabinet picture is directly and effectively painted somewhat in the masterly style of Géricault. The cavalry- man in his steel armor, and the chestnut horse, are relieved with striking effect against a background of gray sky and dull green plain. Signed at the right. Height, 12% inches; width, 9% inches. Us VAn1 411 Bs ot oO , iy, is A. TAMBURINI A Good Hand A monk in brown laughing so that you can almost hear him. Heis holding back his cards, and has just played one which makes it difficult for his oppo- nent to beat him. An excellent example of Tamburini’s cabinet studies. Signed at the upper right, Height, 1114 inches; width, 10 inches. A . Hatin att AG 4. °° BURR H. NICHOLLS A Street Scene in Brittany Near the window of a cottage in Finisterre sits an old woman with her knitting. The sunlight falling upon her is welcome, and the cocks and hens about her are also enjoying it. A good example of genre painting by a well- known American artist. Signed at the left. | Height, 19% inches ; width, 15 inches, $, De Lakh ne 105 obo. MAX GAISSER The Village Politicians The town oracle in a Tyrolese inn is propounding a difficult question to his two hearers, who are smoking their pipes and drinking their beer in per- ie plexed reflection. The treatment of the subject shows excellent study of char- } acter and breadth of handling. Signed at the right, Height, 15% inches; length, 18% inches. cles nr _ ve ce Oe GOMEZ PLASERT Scene in Venice In this pretty composition there isa marble terrace in Venice, and a park by the water side. Gondolas ply on the water, and in the distance appear the sea and other boats. The picture is deftly painted with attractive color. Signed at the right, Height, 15 inches; length, 21 inches. : " * t, . U AAA 107 wr Bs ot) | L. E. JARDON / The Little Swede A blonde little peasant girl, with rosy cheeks and blue eyes, is standing against anold gate. Her expression is intent, and full of childish seriousness and innocence. Signed at the left. Height, 21 inches ; width, 15 inches. | 108 a A ; OP J Ms Waves ) I, FALAT | Portrait : CWater Color) Head of an old man with gray hair and beard. Reflective expression. Broad, clean water-color work. Signed at the right. Dated, 1880. Height, 17 inches; width, 13 inches. : co p Bare. 109 ables - ef CHARLES F, CERAMANO Sheep The flock is in the stable, and the light falls from above upon their fleecy backs. Chickens are seen scratching inthe straw. The effect is strong, and S the execution hardy. Signed at the right. Dated, 1875. Height, 13}¢ inches; length, 25 inches. LENS II0 Fh Gibb PAUL SEIGNAC Resting Two peasant girls, one sitting on a stone block at the corner of a wall, the other on the ground, with a background of a village street. A typical rural picture. ; Signed at the left. Height, 174 inches; width, 14 inches, J 4d. oy IIt Re Lith E. L. GARRIDO Streets of Paris View from the quays on the Latin quarter side of the Seine, with the Tuile- ries seen on the other sideof the river. Inthe foreground are a newsvender’s kiosk and various figures. The people are typical, and the color is artistic. Signed at the right. Height, 14% inches; length, 17% inches. LoS. 2 na CC, Otte’ 5 te T. E. DUVERGER Preparing for Market ee fen a Nee ae ee Go eee A girl is sitting on a wheelbarrow plucking a fowl, while a child interestedly looks on. The scene is a peasant’s humble dwelling, and there are big pump- kins on the earthen floor. This isa superior example of French painting of country interiors, and is executed with perfect knowledge and breadth. Signed at the left. Height, 17% inches; width, 14% inches. W. MERRITT POST Whence all the Blooming Flush of Life Has Fled A November landscape with a gray sky. Thedead plants and grasses ex- plain the title. There is a pool in the foreground, and the trees in the middle distance are bare of leaves. A faithful portrayal of American scenery. Signed at the left. Height, 13 inches; length, 21 inches. AUGUSTE HAGBORG Waiting for the Boat The fisherman’s wife, with her child in her arms, waits on the beach for the return of the boatin which her husband earns their living on the briny deep. The good woman is healthy and fresh looking in her white cap, her blue socks and sabots, and the group makes a fine silhouette against the steely colors of the sea and sky. Signed atthe left. Dated, 1881. Height, 17% inches; width, 13 inches. Ass and Colt The amazing detail painting shown in this picture should be closely exam- ined. Almost every hair of the animals’ coats is separately painted, and the same holds true of the straw on the floor of the stable. The canvas also, when seen at a distance, presents a good general aspect. Signed at the right. Dated, 1882, Height, 18 inches; length, 25 inches. A. PIOTROWSKI The Wood-chopper’s Story Four Russian soldiers, passing along a road through the forest, have stopped to ask for some information from the woodman, whose hut is seen in the back- Me. Hanulte. Ag ala ak ag ail Re I. Levidaacy II4 F 73% x 115 Q. a BENNO ADAM OS poo VA Teepe si pie ts TNL. ae A i ground, and whose family are grouped about the principal figures. It isa characteristic picture of the far-away Russian country life, painted with knowledge, and interesting for its evidently veracious rendering. Signed at the left. Height, 20 inches; length, 28 inches. “ oo AS. | 117 exe oe AUGUSTE bat A Sweet Reverie A lady in a gown of blue with a white bodice stands by a gilt etagére and is smelling a rose, while she seems to be thinking of the picture, showing a sylvan group of a young man and a maiden in intimate converse, which hangs on the tapestried wallat the left. This isan example of the celebrated genre painter’s work in his best period. Signed at the left, Dated, 1879. Height, 24 inches; width, 15 inches. 118 3. I. Lothar W. MENZLER / es red Pad) Character Study This ideal portrait shows a pretty girl, with a large flat red hat with a white plume, on her head, looking over her shoulder at the spectator. The face is attractive,and the costume picturesque. A clever portrayal of a prepossessing subject. Signed at the upper right. Dated, 1878. Height, 26 inches; width, 1814 inches. rd ee OV ® SOS: II9 row Dior An, A. GIROUX Waiting for the Train Scene at a French railway station in the country. The white smoke at the left shows where the train is rounding the curve. A stylish cob and cart, driven by a lady, with another holding the horse by the bridle, and a third lady in blue amazon on horseback, form a fashionable group of chateau’ people. A striking picture of French country life painted by a clever artist. Signed at the right. Dated, 1886. Height, 24 inches; length, 36 inches, wr © Fg %. AD. Sogrol #0 3 : Sere a R. DE MADRAZO La Belle Désoeuvrée This beauty, with nothing to occupy her, is sitting in some public resort in | carnival time, with a glass on the table beside her. Her costume is the garb of Pierrette, with a blue cloak trimmed with white fur. The girl is of a charm- ing type, and the painting of the picture is of that extremely clever, dashing sort, yet combined with the most serious technical qualities, which is found in Madrazo’s most successful works. Signed at the upper right, Height, 3514 inches; width, 25% inches. ot) 7. 121 7n. 5, Phra Pg 20, FO FELIX ZIEM View in Venice The effect is in moonlight, and the picture is painted in a light key. Inthe foreground a gondola makes a valuable note of dark color, as the view shows the towers and domes of the Queen of the Adriatic. Signed at the right. Height, 24 inches ; length, 32 inches. thu F. AVz Dig Lp ee Fs PO 2: es ge BOGGS | View of Dordrecht The town is seen froma foreground of water, with boats moored to the 4 quays. Along the bank isa row of trees, beyond which appear the houses, z and, in the center, the picturesque mass of the cathedral. The sky is lumi- nous and atmospheric. This is, in every way, a representative example of the work of an American artist who has won honors abroad and at home. Signed at the left. Height, 17% inches; length, 25 inches. C. M. DEWEY Brown and Sere A warm, rich autumn landscape, with an evening effect of fading light at sunset. A yellow streak at the horizon. shows the last of the departing sun. -A group of trees, with dried foliage, occupies the center of this effective com- position. Signed at the left. Height, 16 inches ; length, 24 inches. He if AY | ] 5 a D vo 4 . anf Ab rrr, £ J. G. BROWN Dead Broke A street gamin, with a green cap anda red handkerchief about his neck, pulling his pockets inside out, and looking out of the canvas with a puzzled expression. Signed at the left. Dated, 1883. Height, 23 inches; width, 15% inches. i. aa 125 el oe ‘: LUIS ALVAREZ Hide and Seek The composition shows a rich salon, or hall, with two ladies and a cavalier in hiding behind the portiéres, while in the next apartment are seen the other players, and the man who is “It” searching blindly about the room. Signed at theright. Dated, 1873. Height, 14% inches; length, 22 inches, LENS fo beleali ee ey, : J. G. FERRY | A Literary Reunion under the First Empire Over a dozen figures, men and women, old and young, grouped about a long table covered with a green cloth. A young man is reading a paper, or poem, to this attentive audience gathered in afine library. The types of savantsand blue-stockings are full of character; the general treatment is sober, and car- ried out with a great deal of charm. This picture is of value not only for its artistic excellence, but also because it is a truthful document portraying a scene of life and manners in a brilliant epoch of the past. Signed at the left, Height, 14 inches; length, 24 inches. ‘ « c er of ti brteon 127 GE a. ; G. SIMONI | Waiting for the Bey A negro attendant in Oriental costume waits by the garden wall with two horses in his charge. Plants, flowers, and foliage in full sunlight make a bright setting for the group. Signed at the middle left. Dated, 1882. Height, 14 inches; length, 21 inches. L JuwAly 128 Nay a C/E. ATALAYA An Outing A party of city folk in the country, seated by the river’s brink, with camp- chairs and wraps. The landscape is gay and bright under a summer sky of white and blue. The figures are deftly painted, somewhat after the manner of Boldini. The costumes are modern. The general aspect of this picture is pleasing and attractive, Signed at the left. Height, 15 inches; length, 21% inches, Me Verh tee Pe le E. GRUTZNER Contentment and Happiness A fat German monk, with a blue apron over his robe, is here seen content- edly sitting in his big leather chair, his cigar in his mouth and his mug of beer on the table. His hands are folded, and he rests after his labors. The face is carefully studied, and the browns and blues form a pleasant color harmony. Signed at the upper right, Dated, 189r. Height, 16% inches ; width, 13% inches. Y to. 130 WA ; Yuta J. G. VIBERT The Disclosure This is a fine example of the work of the famous painter of cardinals, priests, and monks. Here wesee a cardinal and a priest in a secluded walk in a garden, the priest evidently revealing to his superior some important secret, or perhaps the existence of an ecclesiastical plot. The story is very clearly told, and the contrast between the red and black robes is made very effective. The two figures form a group of much interest, and the technical qualities of the work are of the best. Signed at the right. Height, 16 inches; width, 13 inches. 6s” 131 A. J ebutthire H. OCHMIDIEN Music, not Mathematics The boy, who is kept in after school, is more intent on whistling a tune than on learning his lesson. He isa barefooted youngster in a red waistcoat, and his book lies unopened on the floor. The interior is well painted, and the boy is an interesting looking little chap in spite of his idleness. Signed at the left. Height, 16 inches; width, r2 inches, TS 0 «PP if Garten Oaterre ANTON SEITZ The King of the Riflemen Here are many jolly people in an old farmhouse. A doughty old crack shot has carried off the prize at the target shooting, and his friends and some village musicians are celebrating the event. A truthful presentation of an episode of German country life. Signed at the middle left. Dated, 1874. Height, r2 inches; width, 19 inches. [ae APNE Tee WHE es 3 ey z ae | ‘ARLE AER - j J Pe Gee Z ; UAL 4a 133 PS? oO, FP ERSKINE NICOL Patience is a Virtue The color is very true and of mostagreeable quality. Especially fine is the effect of light in the room at the backof the picture, where, at the head of a _ flight of stairs covered with a rich red carpet, the squire sits at his ease, and peruses the letter, or petition, that has just been presented by one of his tenants. This worthy man standsin the hall resigned to await the outcome of his mis- sion. The types are Irish; thestory is well told, and the execution of the pict- ure is worthy of the high reputation of its painter. From the George I. Seney Collection, 1891. Signed at the left, Dated, 1860. Height, 24 inches; width, 18 inches. Me ee 134 Pie OP | HORATIO WALKER Striking a Bargain. (Water Color) The scene shows a Dutch farmer, in blouse and wooden shoes, talking with expressive gestures to an old wife, who holds her cow by the horn, and seems to reflect on the value of the farmer’s words. The thatched roof of the shed in the background and the chickens pecking among the straw form an appro- priate setting for this rustic picture of every-day life. The artist, well known for his skill in the manipulation of the water-color medium, has treated this subject with breadth and simplicity. Signed at the right, Height, 20 inches; length, 24 inches. | ae | Narn ig (tite 135 EMMA E. LAMPERT Mother Claudius An interior in Picardy, with an immense chimney-piece in the background. Before the smouldering embers sits Mother Claudius, who was a good old dame of the region where the artist painted the picture, and took great delight in the thought that her portrait was to be carried across the ocean. The color scheme is attractive. ota?” a Las, fo Signed at the right. Dated, 1889. Height, 211% inches; length, 29% inches. es a AOU 136 G hive ae M. GARCIA The Moorish Doctor (Water Color) The doctor, in a wine-colored cloak, isseated near a fountain basin in which are flowering plants, and his negro servant in scarlet stands before him. This water color is a typical example in subject and execution of the clever Span- ish School. Signed at the upper right. Dated, 1882. Height, 29 inches ; width, 2134 inches. are Av (ik 1) ane [SS OP Landscape Rocks and pools of water compose the foreground, and clumps of trees ap- pear in the middle distance. The sky consists of broken white clouds. It is good in color, and showsstrong, broad painting. Signed at the left. Height, 27 inches ; length, 39 inches. CTO 138 ME Pes. PETER KRAEMER The Monk Musician A half-length figure of a monk playing ona brass horn, with his music rack and notes before him. The head is luminous and well studied, while the still- life is executed with remarkable reality. 192 QC. Ha ee AFTER RAPHAEL The Sistine Madonna An excellent copy of the original in the Dresden Gallery, painted by Theo- dore Schmidt, director of that museum. Height, 56 inches; width, 4134 inches. Ue ol 5 « wi 193 Di? Ge EDOUARD DUBUFE The Pacha’s Favorite i, Beauty, luxury, and ease speak from the features of this petted sultana. ‘a She lies on her couch with her knees drawn up, her head in half-tone, anda book ia her hand, The masses of light and shade are effectively managed, and the color is attractive. This picture is a representative and important example of the work of a very notable painter. Signed at the left. Dated, 1872. Height, 44% inches; length, 56% inches. ef Penta g er 194 PA Se a a yi CARL VON PILOTY Elizabeth and Frederic of Bohemia Receiving News of the Loss of the Battle of Prague Prague, the capital of Bohemia, in the year 1620, had two kings at war with each other, Frederic V., supported by the Protestant Prince of Germany, and Ferdinand, by the King of Spain and the Catholic League. Sunday morn- ing, November 8, 1620, is the time of the dramatic scene represented in this masterly historical picture. ~The room in the palace is crowded with figures. Elizabeth is seen standing behind Frederic. His mother, a daughter of Wil- liam of Orange, sits on his right. The English ambassadors are in the back- ground, The musicians are throwing down their instruments in alarm. The messenger who brings the news of the disaster is on the left of the central group. He wears the style of armor used by theprinces in the Thirty Years’ War. Armor in the first part of the seventeenth century was becoming a thing of the past and was used for display more than for service. Its introduction, therefore, in this composition is seen to be appropriate. There is masterly work inthe execution of these heads and figures, and the ensemble is both dramatic and artistic. This great picture may well stand as one of the best of all those painted by the famous Munich master, as he painted nothing in every way more complete and successful. Signed at the left. Dated, 1868. Height, 4: inches; length, 65 inches. | C TRE 195 AY DO | F, XAVIER WINTERHALTER - Susanna and the Elders In this interpretation of the well-known apocryphal story, the life-sized : nude figure is seen in profile view, with the head turned to the spectator. The draperies are crimson and blue. The figure detaches with fine effect from the surroundings. From the A. T. Stewart Collection. Signed at the right. Dated, 1866. Height, 6324 inches; width, 45 inches. tte ey ra) d pathy Ses Co rer oot a ae rm = | 3 0. | 106 G-Je, COM a Jj. E. LEMAN | Homage to the Dauphin, 1638 A faithful and most interesting historical picture. The infant son of Louis XIII. and Anne of Austria is being presented to the court to receive its hom- age. This is the royal babe who afterward became Louis XIV., ‘‘ Le Roz Soleil.” To conjure up from the past, after a lapse of two and a half cen- turies, a court ceremony of this description ; to bring the dead to life ; to clothe’ them with historical accuracy, and make them move, speak, and act, as the painter has done in this work, is a difficult undertaking. It is equally difficult to handle so many personages with such a wealth of brilliant color, and pro- duce an ensemble that will not be confused. Both tasks have been success- fully accomplished in this remarkable picture. The joyous queen mother and the royal father will be at once recognized. The other personages, beginning on the left, are the following: Lady of Honor (in front), Marshal de Bassompierre, Madame de Lausac, Duke de Chevreuse, Princess de Guéméné, Duke de Longueville, Princess de Condé (Geated), Duke de la Trémouille, Countess de Soissons, Duke de Liancourt, Duchess de la Trémouille, Duke de Chavigny, Duchess de Montpensier (young girl), Bishop of Beauvais Duchess de Bouillon, (King’s Confessor). Height, 42 inches; length, 75 inches. | W. LINDENSCHMIDT Luther and the Reformers at Marburg, 1529 In this fine historical work there are over twenty figures grouped about a large table witha green cover. Luther’s impressive figure is on the right facing the others across the table. The heads are full of character, and the composition is natural but so arranged as to give prominence to the great Protestant leader. The color scheme is rich but subdued. Preéminently a master work. From the Mary J. Morgan Collection. Signed at the left. Height, 55 inches ; length, 79 inches, T. HILDEBRANDT Lear Awakening from Insanity King Lear is seen seated in his chair, with Cordelia before him bend- ing over with her hands clasped as she questions him. The Shakspearian lines are well illustrated in this impressive composition. From the A. T. Stewart Collection. Signed at the left. Height, 69 inches ; width, 68 inches. 6 . Ue A ie Hh io if mh % : ADRIEN MOREAU Rehearsal of Richelieu’s Tragedy, “Miriam.” A most sumptuous scene, with the great cardinal-minister of Louis XIII. in his red robes, seated in his great red chair of state, while an actor in blue ty and steel-colored velvet declaims before him. Ladies and gentlemen of the a court are present in numbers. The apartment is one of the splendid rooms of : a the Louvre. It isa fine study of the types of nobility, and of life and manners, 1 oe under Louis XIII., and it is painted by one of the most talented of modern ay “i French artists. It is one of the most important and successful of his many a: pleasing works. it Signed at the left. Dated, 1879. Height, 46 inches; length, 70 inches. i | oe) wraengs CNTR ' : i f s Tw ee | TO, Cds thi i] (aa a! u J aha ? iW my as q M , i Io ‘ / ay Hf’ THIRD AND LAST NIGHT’S SALE Friday, January 2oth, at 8 o’clock AT CHICKERING HALL es AAS, ka 200 Be G hbbory KARL F. SOHN Aire PIT Traveling Locksmith A clever little study of a young man, all in brown, seated on a stool, with his big key ring by his side. It is executed with care and precision, Signed at the right. Dated, 1836. Height, 1114 inches; width, 7 inches. Cae PP 201 1h In In Se GEORGE H. McCORD Autumn in Westchester Re | a Cabinet landscape, with a sunset sky and crescent moon. The church spire | in silhouette against the evening glow adds poetry to the conception. A charming bit of painting. Signed at the left. Height, ro inches; width, 8 inches. OTTO PILTZ Grandma Tea Drinking The old lady is represented with saucer and cupin hand. Excellent in char- acter and color; skilfully wrought. Signed at the upper right. Height, ro inches; width, 8 inches. i a 5 Me ae, A» . In : names 203 b Py Hae, H. BALLVE Gathering Fagots in the Forest There are great dark trees in the foreground, and the light falls on the woods, up on the hillside, where two women are engaged in gathering fagots to load on their donkey. A clever wood interior. Signed at the right. Height, 15 inches ; width, 11 inches. ' > é; 20. ~~ Des o, /3 ee far 4 bi had em A. TAMBURINI The Choice Vintage The cellarer of the monastery is carrying a cask of fine wine, the bung sealed with the tape, wax, and ring of the abbot. This he eyes somewhat longingly. Excellent example of Tamburini. Signed at the upper right. Height, 12 inches; width, ro inches. fo: 205 Os Meme Barger ¢ as Pe pe /GABRIEL MAX Pc On Sister Agnes This head of a nun with costume of black and white is wistful and sweet in expression. Thecolor scheme is very simple, and the aspect of the picture is one of distinction. It is carefully and artistically painted. Signed at the upper left. Height, 6 inches; length, 8 inches. ~ ape are EA See) ng Se pS Ss al Re oe ra es ey Cn Gee =r 4 - > five * 7 Se i OE EPS NS ee eee tf PPI om Se ot ne snags eee LX, Ral sesh gms HS 206 | wie. i LEON DE ESCOSURA Portrait of the Artist This is a cabinet portrait of Escosura, painted by himself and presented, as the inscription on the canvas shows, to Mr. Powers. The head is turned full face to the spectator, and the execution is clever and characteristic. Signed at the left, ‘To Mr. Powers, Flint, Mich., 1888,” Height, 8 inches ; width, 5% inches. HANS MAKART The Church Door The door is partly open, and within are seen the light of a stained glass window and the end of a carved and gilded pew. This isa strong study by the great Viennese artist. Signed at the left, Height, 154% inches ; width, 12 inches. ahs 208 Yi, (0) ay eee ‘ ) {7 AAN 6 oo H. DANGER French Girl This little canvas is worthy of Alfred Stevens, and might well have been signed by him. It isa head of a charming blonde Parisienne, with a bodice of © pink and gray, and a bow of yellow ribbon at the throat. A fine bit of color. Signed at the middle right. Height, 13% inches; width, 11 inches, 209 vie pa erent: W. C. BEAUQUESNE The Alarm A chasseur with his head hastily bandaged, where he has been wounded, has run to a great doorway to inform the troops within of an unexpected assault.. The figure is strongly put in with effective notes of red made by the trimmings on the uniform. Signed at the right. Dated, 1887. Height, 16 inches; width, z2 inches. eA. 210 of EMMA E, LAMPERT Woman with Fagots An old woman with a bunch of fagots, which she has placed on the ground while she rests. The landscape setting is painted in pretty tints of gray and green. The scene is local to Grez, near Fontainebleau. Signed at the left. Height, 16% inches; width, 11% inches. . O a} Re. Soto 211 Ae | DAVID TENIERS (THE ELDER) Diana and Her Nymphs The goddess, with red drapery, is at the left of the composition. In the right foreground are her hunting dogs. The nymphs are seen somewhat farther away. A vista of landscape is pictured on the right. The canvas is in excellent preservation. Signed at the left. Height, 1o inches; length, 18 inches. uh, J J agurre 212 oa eee | U C. DE HAGEMANN Camp in the Desert A typical desert scene at an oasis with palm trees, plants, and Arabs’ tents. A horseman is before the tents, and other figures are seated on the ground. The African atmosphere is well rendered, and there is a fine sky of blue with some white clouds. Signed at the right. Height, 15 inches; width, 12 inches. : aa eg oe es : *\oe SH PLAN yr son's Pa he E. T. GUISSER Soldiers Playing Cards Four brilliantly dressed cavaliers of the time of Louis XIII., about a tablein a somber apartment and intent on their game. One of them is in a perplexed state of mind as to what card to play. A carefully finished cabinet picture. Signed at the left. Height, 12% inches; length, 14 inches. POuieo ma ndhy 214 O. & REGINALD CLEVELAND COXE The Narrows, New York Harbor The scene is enveloped in a light gray mist. A big liner is seen coming into the upper bay, and a couple of fishermen are pulling away in their yawl in the foreground. The color is very delicate, and the composition simple but effective. i Signed at the right. Height, 9 inches; length, 13% inches. Vee fis 215 ae ¥. Prone 4 A, ‘RICCI Reading An elderly cavalier, period of Louis XIII., with a buff jerkin, sits in his big chair with a flask of wine on the table, his pipe in hand, and his book to keep him company. Signed at the right. Height, 13 inches; width, ro inches. mae. 216 (i Gtivimatt | F, DEFREGGER i Portrait ; Cabinet head of a young woman, excellent in color and firmly painted. Signed at the left. Height, 8% inches; width, 6 inches. oy re a7 AL. Diy cael H. BRELING of q The Jolly Fiddler This little cabinet picture is broad in handling, but well finished. It repre, , sents a man wearing a Louis XIV. waistcoat of white playing on his beloved instrument. Signed at the upper right. Dated, 1874. Height, 9 inches; width, 6 inches. 4 WILLIAM H. BEARD “Go When I’m a Mind To” A study of monkeys by this humoristic painter. The picture tells its own story. Signed at theleft. Dated, 1880. Height, 12 inches; length, 15 inches. . Yale 219 “2 bat ANTON SEITZ The Card Players In this little composition a man and a woman are seated at their game ata table, while a child looks on, The setting for the figures is a typical Tyrolese interior. Very close finish. Signed at the right. Height, 8inches ; width, 6 inches. ae W. C1 BEAUQUESNE Bugle Call The sturdy figure of a French cavalryman in the courtyard of the barracks, effectively relieved against the walls and the sky of gray. Signed at the right. Dated, 1882. Height, 133g inches; width, ro inches. eee Ud om Wt of. thwarts F. STREITT eet eat An Accident Four or five itinerant musicians in a snowy roadway, with one of their num- ber in distress. A passing peasant woman points to an approaching sleigh as a chance of relief. The scene is local to Poland. Signed at the left. Height, 8% inches; length, 16 inches, Ann 218 PMN cig 2 LP Aik Atay he Heer ae ile zea AS: Coa C. DE HAGEMANN Lost in the Desert An Arab on his camel is shading his eyes with his hand as he scans the horizon in the effort to find his bearings. The sdzse en scéne, consisting of the sands of the desert, and a blue sky tempered with dust in the air, is effective, and sets off the figure to advantage. Signed at the left. Dated, 1873. Height, 15 inches ; width, 12 inches. an 223 A. mn. Rindiony C. KRONBERGER “Couldn’t Resist It” The younger of the two graceless rogues about to be locked up cannot resist the temptation to steal the constable’s handkerchief as he bends over to unlock the padlock of the jail door. With the snow on the ground, the dark- blue uniform of the constable, and other effective color notes, this little genre deserves to be ranked with the best art of the Munich School. Signed at the left. Height, 14 inches; width, z2 inches. os. = T. ROUSSEAU Landscape A stretch of country with valley and river, hills and mountains. The skyis gray. This little picture bears an unmistakable air of truth, and it is broadly and frankly laid in. Especially notable for its color harmony of blonde tints. From the George I. Seney Collection, 1885. Signed at the left. Dated, 1856. Height, 9% inches; length, 14 inches. vs O ae 225 AG XS J. B. C. COROT The Village Church A gem among the remarkable early works of the great Corot, which bear the impress of so much sincerity and possess so much pure artistic feeling. Up the roadway beyond the church are seen a few figures. The sky is filled with a white clouds. The greens and clay yellows in this delightful picture are A, wonderfully subtle, and the composition is exceedingly happy. From the _ George I. Seney Collection, 1885. Signed at the right. Height, 13 inches; length, 18 inches. 7 CF, DAUBIGNY Springtime Apple trees in blossom, rich dark green grass in the meadow, a path lead- ing toa cottage inthe middle distance, and a tender sky of blue and warm white. The work is characteristically treated, and shows breadth of handling and puissant color. From the H. L. Dousman Collection. Signed atthe left. Dated, 1876. Height, 13% inches; length, 12 inches. bits Ge CAZIN Night A roadway runs through the village, with houses on the right in the moon- light. On the left are trees and bushes. The stars are seen in the sky, and the picture impresses as being a characteristic and beautiful work by the cele- brated French Jaysagiste, whose high reputation is due tohis poetic fancy and admirable technical achievements. Signed at the right. Height, 14 inches; length, 18 inches. A Dn. Kenda ay 228 vias ! FDOUARD ZAMACOIS Levying Contributions This important work by a master painter was finished in 1866, and exhibited at the Paris Salon of 1867. Inthe hall of a grand seventeenth century chateau a begging monk receives entertainment at the hands of his roguish hosts, He is seen seated on a bench, sipping a cup of chocolate, while an elderly cavalier, Pe GQ, thal, 220.5 ae TOD oe SEAGEDA ¢ Sar. nan BRC 9 a young lady, and a young gallant form a group about him. The young man seems to be reading verses, a love poem, probably, from a manuscript copy, and accompanies some subtle point with a gesture full of meaning. The older man stands at the right of the monk in a pose suggesting authority and a sense of pleasant mockery and humor. Particularly worthy of note are the heads of the elderly cavalier and the monk. The young lady, in blue, is very cleverly painted, and her hand, resting on the arm of the bench, is equal, technically, to anything to be found in the pictures of the Old Dutch Masters. The composition is so admirably disposed, and the story so well told, that the picture may be ranked very highly, both from the point of view of subject genre and artistic achievement. This picture attracted much notice at the Salon of 1867, and is to be marked as a rare example of a painter whose works it is almost impossible now to acquire. It is in every way representative. From the J. H. Stebbins Collection, 1889. a Signed at the left. Dated, 1866. Height, 12 inches; length, rs inches. 4 9 eo 2 Le he ory 4 a 2 Wy a+ : ‘ S JOSEPH COOMANS . ‘ A Classic Beauty 4 Head of a girl, with her hair dressed 4 da Greegue and a pink drapery over | her shoulder. The expression is attractive, and the painting is highly finished. A Signed at the right. Dated, 188. Height, 17 inches ; width, 1334 inches. AW ear . OS ea U.P a0 os eh Janrdletiocs te et pea % . L. CROSIO | : ; i‘ The Lecture | q S ' 5. A gentle reproof is being administered by the mother to her little daughter. e The costumes and accessories are of the Louis XVI. period, and there are ‘ effective contrasts of color, notably in the notes of black and yellow. 7 ‘ Signed at the right. Height, 1914 inches ; width, 13!4 inches. | Bas wo 231 Dh Poe ; T. W. WOOD a oo a “T Reckon” An old farmer, in his well-stocked barn, is counting on his fingers. An American genre subject. Signed at the left. Dated, 1877. Height, 20 inches ; width, 24 inches, 232 Oe ee a j A, KOWALSKI A Ride in the Park ; This is an admirable canvas, as good, in its way, as a Meissonier. Two gentlemen, in seventeenth century costumes, the one with a coat of mouse color and the other in red, are riding their horses—one iron gray and the other dun color—through the park. The season is in the autumn, and bare trees and a sky of dull gray, white, and patches of blue appear above the marble terraces. The execution is thoroughly artistic and of the cleverest sort, while the color is delicate and delightful to the eye. Signed at the left. Height, 12% inches; length, 17% inches. f Ce @~-o im. 3 gma a 233 as | ETER KRAEMER A Knight This is a strongly painted head of a man wearing a helmet, whose counte- nance is stamped with shrewd benevolence. Signed atthe right. Dated, 1880. Height, 18 inches ; width, 14 inches. Bo Uh eer 234 ME To itis AUGUST FINK Landscape and Cattle A landscape which is very pleasant in tone with a dark gray sky, a group of dark foliaged trees in the middle, and cows in the pastures. Signed at the right. Height, 13 inches; length, 21 inches. WG ed. so a cpm L. E. ADAN Marguerite A graceful, attractive figure in a lilac gown. Out through an archway appears a courtyard with a well, and women drawing water. This charming picture is painted with the skill and distinction that characterize the work of a popular and very clever artist. From the J. Abner Harper Collection. Signed at the right. Height, 1534 inches; width, 1234 inches, EE Se a a re = ~ —— “ -_ — oveweonven . ” tthe mp REAR fe seid 236 oo M. ARNOUX The Old Hunter An old man is seen before the fireplace warming his hands, while a little boy — holds his gun and a little girl tantalizingly holds up a rabbit before the good dog that has helped to kill it. A fine little genre picture with good, quiet color. Signed at the left. Height, 18 inches; width, 14% inches. Po iat 237 £. J. otalie GEORGE H. STORY A Cape Ann Fisherman A weather-beaten, white-bearded old man, seated with his pipe in his hand. A careful, conscientious study of a toiler of the sea. Signed atthe left. Dated, 1879. Height, 18 inches; width, 12 inches, ro. we 238 Jie oh /° Haro LOUIS BRUCK-LAJOS Rehearsal An artist, in a suit of brown velvet, is at work in his studio, while, in the foreground, a lady and a cavalier are amusing themselves singing a duet. Costumes and accessories of the time of Louis XIII. Signed at the right. Height, 17% inches ; width, 14 inches. , de ete 239 JL. A. Ahanrat sad J. G. VIBERT Inspecting the Fort A view on the ramparts of a fortified castle in the olden time. On the left a sturdy old retainer, with his arquebus planted before him, stands near a highly polished cannon on a massive carriage. The royal banner floats proudly above his head. Beyond,a party of ladies and gentlemen are looking _ about under the guidance of a young officer. This isa picture of great merit and much individuality. It is remarkably well painted, and notable for its excellent drawing and the faithful reproduction of an episode in earlier days. From the George I. Seney Collection, 1885. Signed at the left. Dated, 1867. Height, 17 inches ; length, 28 inches. “by 240 | A ie ae RAL al er ms G. WRIGHT The Smoking Room There are overa dozen passengers inthe smoking room of this Atlantic liner, and thereis dirty weather outside, as may beseen through the open door. This is a familiar scene to all ocean travelers, and it is depicted with fidelity. The effects of color, atmosphere, and smoke are cleverly rendered. Signed at the right. Dated, 1880. Height, 15 inches ; length, 31 inches. 1. Say 241 Gr, oP? Wg) uy 4 : ae ne J KEMENDY YENO The Téte-a-Téte A pretty genre, with a story told by the man and the woman whose velvet armchairs are hitched together, and who seem very happy in each other’s society. Signed at the right. Dated, 188r. Height, 17 inches; length, 24 inches. Ws Ds aa 242 I Ne Ci BH CHAPIN Moose Lake, Adirondacks CWater Color) A carefully studied landscape in greens, grays, and white. Signed at the left. Dated, 1883. Height, 18 inches ; length, 30 inches. Nolim apts 243 Pu. ~3 A. DE GROSSI The Jolly Cavaliers (Water Color) Here is a group of cavaliers in a courtyard and two pretty girls to flirt with. A good example of the Roman Water Color School. Painted in very brilliant tints. Signed at the right. Dated, 1882. Height, 21 inches; length, 30 inches. ae us om 9. Clean a L. GABANI Moorish Prisoners (Water Color) Half-nude men under guard of a soldier in blue. For a Roman water color this is somewhat somber in tint, but it is none the less excellent. Signed at the right. Height, 25% inches ; width, 19 inches. se 245 oy. A Tee ae a F, FASCE A Bird that can Sing, ete. (Water Color) The admirers of this kitchen beauty are trying to coax asong from her. The scene isin a wine cellar. Painted in the brilliant tints of the Roman School. Signed at the right. Height, 21% inches; length, 30% inches. ? a YD 246 Jy , Srglfam . E, ZAMPIGHI : | The Gun-maker of Tangiers (Water Color) The gun-maker is nude except for a loincloth. He is seated on a rug and examines a long gun which two Arabs have brought for his inspection. Signed at the right. Height, 29% inches; width, 20! inches, G. SIMONI Cavalier and Jester (Water Color) z. This picture shows extraordinarily clever work in watér-color painting. The ai washes are simplicity itself, yet they ‘“‘model’’ beautifully. Especially to be noted are the treatment of the jester’s red costume and the carved coffer on “ which he is seated. Signed at the right. Dated, 1879. Height, 14% inches; length, 20% inches. G. ae Harem Interior (Water Color) A highly finished water color, with minute detail painting. Signed at the right. Dated, 1882. Height, 9% inches; width, 6% inches. ot J. G. VIBERT Rehearsing A cardinal, in his brilliant robe, is playing on his bass-viol before a lectern of bronze which holds his score. A Spanish hat and jacket, hanging on the wall, indicate that the room is the sacristy of some great Spanish cathedral. It would be difficult to find anywhere a more complete, brilliant, or more charming cabinet picture by Vibert, than this example. Signed at the left. Height, xz inches; width, 7 inches. CG. Tovth ¢o/orr 750 YP By D, A. C. ARTZ Gathering Wild Flowers CWater Color) Little Dutch peasant girls gathering blossoms in fields near the sea. It is pretty in color, and cleverly washed. Signed at the right. Height, 14% inches; width, 9% inches. Bisex 247 : EAM tes ae me ei #49 A On Ge By, boa ttin. HGF PISO. sy ia es asx A» Jota LOUIS EUGENE LAMBERT The Pet Kitten Lambert is undoubtedly the best painter of cats and kittens in modern art. He chooses no other subjects. This isa delightful little picture of a kitten. with a big sky-blue bow at her neck, with her head turned to one side. Signed at the right. Height, 14 inches; width, 11 inches. / ayy | LN asa het, toarlter, A. TAMBURINI Hard Luck An old monk looking at his cards and wondering how he shall play to avoid being beaten. A representative cabinet picture by this clever artist. T ssn Kies Ne RR STS Signed at the upper right. Height, 11% inches; width, 10 inches. LENO, &D 253 eh ee J. A. DE GRAVE < School Recess ame ae ¥ Lede TS SOOT pe oP eave be x z Oa ee z oa Sey eae Bes aes hs ee PC RE Og, ae PON TE EE a TELETYPE ETE PORE NE MES UT TER I TIER EM ERC ST ET Five little tots are here sitting in a row on a low bench at recess time. The | A. B. C. is forgotten and the point of interest isin dolly, From the J. Abner Harper Collection. Signed at the middle right. Height, 13 inches ; width, 10% inches. ee} a eR | 2 [3 4 an NG ae ov 34 ea Ue. AB hie | W. C. BEAUQUESNE On Guard A French soldier of the line standing on sentinel duty, his hands tucked in his coat sleeves and his arms enclosing his gun. The setting shows that it is acold,raw day. An artistic bit of painting. Signed at the right. Dated, 1882. Height, 13 inches; width, 10 inches. nd Hrerny Sr. 255 Dae i A, A. LESREL Soldier, Time of Louis XIII ’ A very carefully and ably painted small figure of a man past middle age, but still young in spirit and strength, firmly planted on his feet and bending the point of his long sword on the floor. The painting of the head reminds ' us of the work of the lamented artist Bargue. From the J. Abner Harper Collection. Signed at the right. Dated, 1873. Height, 94 inches; width, 7% inches. g. o, ey, 256 ene JAN VERHAS In the Boudoir j This charming work shows a tall and beautiful lady in a black velvet gown, with a gray picture hat with black plumes, and a white lace wrap over her shoulders, about to leave her elegant boudoir. As she parts the green and white silk portiéres she turns her head and makes a sign to her little lapdog, who wishes to follow her, but must stay at home. The technical qualities of this picture are of a high order, and the color scheme is most attractive. Signed at the right. Height, 27 inches; width, 19 inches, f7 Ve om 6 Ga stm EMILE VAN MARCKE Cattle A fine group of two cows close up in the foreground, with a third farther off on the right. The attention is at once arrested by the splendidly painted dun color and white cow, which forms the most prominent feature of the picture. No less excellent is her companion, a dark red animal, gazing into space after the manner of cows. This isa remarkably fine piece of cattle painting, notable for its strength and technical beauty. From the H. L. Dousman Collection. Signed at the right. Height, 22 inches ; length, 32 inches. It ite, ~ 258 Jn. Firredlar ¢ GM N. V. DIAZ a Forest of Fontainebleau This masterly composition shows a clearing in the forest with a pool in the foreground. The foliage is all green and of great variety and subtlety of tint. The arrangement of the masses, the light, and the shadow, are admirably dis- posed. The painting throughout is broad and virile. From the George I. Seney Collection, 1885. Signed at the right. Dated, 1862. Height, 30 inches; length, 38 inches. f -_ i: fi “5 o PO 259 We a. if atten J. L. GEROME Bab-el-Zouel This large composition by the great French master includes many figures and elaborate architectural work. It is very finely finished throughout, and is singularly agreeable in color. The entire foreground is in transparent shadow, and sunlight falls on the walls beyond with fine effect. The scene is laid at the gate of Bab-el-Zouel, which ends the large bazars at Cairo. This place is always filled with people of all countries. One sees there Fellaheen, Jews, inhabitants of the borders of the Red Sea, people from Central Africa and Abyssinia, men from the Soudan, traveling merchants, purchasers, loung- ers, and European tourists. The composition shows two Sais, or runners, in white, who clear the way for a pasha on horseback. The mixed population forming the throng in the gate appear in a variety of picturesque and, of course, as Gérdme is the painter, absolutely authentic costumes. The scene is full of life and color. M. Géréme, in a letter to the late Mr. Powers, dated ‘65 Boulevard de Clichy, Paris, November 16, 1886,”’ writes as follows concerning a most interesting feature of this picture: ‘‘ Contrary to my usual custom and to accede to your wish, I have signed this picture twice—the first time with my name and the second time with my portrait; in the right hand corner, the person dressed in blue. On my head there is a green turban, to which I have no right, because only those who have returned from a pilgrimage to Mecca may wear it. It istrue that I have been very near that holy city. This work is therefore doubly authenticated.”’ aa in i i, ! ea a aN ne i re ef [. a it al wy Signed on the wall on the right, just above the head of the artist’s own portrait. Height, 39 inches ; width, 25% inches, | A0rranol UGTY G aa 6 eS Gels ; EUGENE FROMENTIN Arab Falconer Falconry in Algeria is the exclusive sport of high Arab chiefs. In this noble picture, the falconer on his horse is galloping at full speed with his _ right hand extended upward. On his hand sits one of the falcons, another perches on his head, the third is flying close behind. The figure and horse are full of life and motion. The workis highly finished and richincolor. It was painted for M. Durand-Ruel ; etched by Milius for the catalogue of the collec- tion of Lepal-Cointet, Paris, and was purchased from that collection in 188x. It came to Mr. Powers from the celebrated collection of Albert Spencer. Signed at the left. Height, 42 inches; width, 28 inches. 1 5.4. ie 261 PA on. 4? | M. DE MUNKACSY Feeding the Favorite A rich drawing-room in which two ladies, one in blueand the other in pink, are sitting at a table whereon are seen fruit and dainties. The lady in blue is giving a sweet morsel tothe greyhound by herside. Thestill-life is especially fine in treatment, and the color throughout is clear and fresh. From the Gov. ernor Morgan Collection. Signed at the right. Height, 31 inches; length, 40 inches, | Ue NS 262 oe fir | fo Tae E. RICHTER The Jewel of the Harem A dark-skinned slave clothed in the richest of stuffs with heavy gold orna- ments, holds a tambourine in a graceful pose to shade her face. At the right we see a hall with open windows, and white minarets and a blue sky without. From the Dousman Collection. Signed at the left. Dated, 1879. Height, 34% inches; width, 2234 inches, ) il cement diel Saeed cmt 3 Eee ris ee ee ae tao ee oes Serafin ae gn orp ee a A a és iia ee (en eee pT Siac 263 (7. Chev t Ge, GARCIA Y MENCIA El Pelel The effigy of Judas is being tossed ina blanket, on Easter eve, according to an old Spanish custom. Seven women, all gaily attired, hold the blanket, and men and other bystanders are looking on, The fun is going on in a carrefour, with shops in the square and the sky above as a background. Signed at the right. Dated, 1876. Height, 2534 inches; length, 3614 inches, 4 , “ ) CO. nie 204 J 7 caMainla hsv) ; fi A. MAUVE Holland Landscape and Cattle A remarkably fine example from the brush of the celebrated modern Dutch master. Ina lovely landscape, with a pool and willows on the left, and level pastures, are two cows, one white, with a black head, and the other dark red. The sky is fine in tone, and the whole picture is delicious in color. It isa very strong piece of painting, and the white cow is seen at a glance to bea most admirable morceau. Signed at the right, Height, 29% inches ; length, 4214 inches. ih Va \ : Lh + } J vi 0 . 265 es \ Ay 7 . AUGUSTE HAGBORG The Fisherman’s Wife The fisherman’s wife is young, healthy, barefooted, and brown. With her basket slung on her hip, and her. baby boy on her back, she is striding over the sands of the seashore, and presents a charming picture in her bodice of dark blue and skirt of brown. Thesea stretching out in the distance, and the cloud- covered sky over all, form a pale gray setting for this picturesque figure. There is much atmosphere in the depiction, and the painting throughout is characteristic. Itisa fine example of Hagborg’s pictures of fisherfolk and the sea that feeds them. Signed at the right. Height, 4614 inches; width, 29% inches. Pur ‘ sowy 266 aes 7O ANTON ROMAKO Louis XV. Sentinel This is not, as might be supposed, a weather-beaten soldier, but a pretty woman with crimson cloak and laced cocked hat with plumes. She holds a jeweled musket over her shoulder, and looks like a mistress of the revels. Signed at the right, Height, 38 inches; width, 313¢ inches. Peta. 267 gee ey T. KINDSDAEL The Fishing Boat The boat has been hauled up on the beach, and a man and a woman are busying themselves about it. The sea stretches out beyond. A striking effect. Signed at the left. Dated, 1886. Height, 3a inches; length, 57 inches. ee 0. fl te D9 aoe i BENJAMIN CONSTANT “4 Al Fresco, Tangiers Here is a picture under African skies with roofs and terraces, beautiful women, rich costumes, and rugs. This celebrated painter is thoroughly at home in this class of subjects, and in this fine composition is seen in one of his happiest moods. The effect is in sunlight, and the upper part of the canvas shows the blue sky of Morocco, i Signed at the left, Height, 51 inches ; width, 38 inches. i / 26 where al iF . ‘ m{ No 9 iti, ee ef: r W. KRAY sf Venus Aphrodite This lovely conception presents the Goddess of Love in graceful pose and floating drapery, surrounded by nymphs and amours. The head is charming in type, and constitutes a superb creation, while the flesh tints of the beau- tiful figure are delicate and life-like. The general color scheme is pitched in tender grays, with warm contrasts. The composition illustrates the myth which represents the goddess as rising from the foam of the sea. Signed at the left. Height, 63 inches; width, 45 inches. San “ab | es 7 a 270 Ju ‘ ae Je Teaty . G. JAKOBIDES a Children’s Quarrel An old woman is holding a baby on her lap, and it is pulling the hair of a little girl, Two other children at the table are interested spectators. The figures are life-size, and the painting is typical of the Munich School, the color inclining to grays and the drawing competent. Signed at the left. Height, 44 inches ; length, By) inches, ae. a A0a Jhard W. A. BOUGUEREAU The Little Pilferers A peasant girl and a child have been pilfering fruit, as it is easy to see from the well-filled basket in the foreground of the picture. The young girl is helping her little companion to climb over the orchard wall, and the action of both figures is expressive, and well caught by the artist. The drawing is masterly, as is usual with Bouguereau, and the heads, hands, and feet may all be noted for their grace and charm of line. The color scheme shows chief notes of purple, blue, white, red, and brown. A superior and very important example. Signed on the right of the canvas near the top of the wall. Dated, 1873. Height, 79 inches; width, 43 tachen” Ma CAT Ban ae Ab of her, : A, VELY | : The Heart’s Awakening { i This is a picture which attracted great attention at the Paris Salon. A ee beautiful young girl, who is just reaching the age when her heart longs to find its deals in the flesh, is listening at the feet of a stately grande dame, ie b who has, perhaps, been reading to her, from the book in her hand, the story ie of some young and gallant cavalier. The color scheme, with its two robes of / white and black, is diversified by other tints, and the ensemble is harmonious | 4 and beautiful. From the H. L. Dousman Collection. Signed at the right. Dated, 1880. Height, 96 inches ; width, 57 inches. | | Reburt Ril-ert, 273 BE PEON? 2, T. COUTURE Love Drives the Worid This splendid cartoon is a most important and interesting work by the famous painter of ‘* The Roman Decadence,”’ now in the Louvre. A woman with white drapery drives a cart of modern construction, to which are har- nessed a span of four men. They represent Bacchus, the Soldier, the Poet, and the Lover. The conception is carried out with a noble decorative sense, and is a unique canvas in the world of art. From the T. J. Blakeslee Coilec- tion. Signed half way up at the left with the initials ‘“T. C.” Height, 58 inches ; length, 83 inches, EGS Spa Ad aga vo age AUGUSTE HAGBORG October. The Potato-Gathering This is the masterpiece of a celebrated Swedish painter who is identified with the modern French School, and has won many honors at the Salons and Universal Expositions at Paris. The pictureis in every way complete, and impresses the beholder by its sentiment and its hardy and virile technical achievement. The group of the laborer and the woman, the latter holding the mouth of the sack, into which the man pours the potatoes from a basket, is resolute in line and vigorous in execution. The head of the young woman, seen in profile against the gray sky, is charming in its simplicity. The man’s head is shadowed by his wide-brimmed hat, and forms an effective contrast to the other. with its forceful silhouette. The composition reveals the most earnest and thoroughly artistic qualities both in drawing and color, and the picture may be said to take rank with the best productions of the naturalistic school, which seeks its subjects in the picturesque life of the toilers of the soil. Signed at the right. Height, 100 inches ; length, 74 inches, C > han tourt 275 fA Ws (Seite Grand Clock f Made to order by Eugéne Cornu, movement by E. Farcot; has calendar, astronomical, thermometer, barometer, and other attachments, elaborate carved Sienna marble case, with finely wrought bronze figure, by Carrier, surmounting, holding pendulum. From the A. T. Stewart Collection. Extreme outside measurement: Height, 13 feet; width and depth, 3 feet. SCULPTURE WOd:: a 276 ae pay”. Marble Medallion “Morning.” Sculptured by William Couper, of Florence. Height, 18 inches; width, 18 inches. Moone 277 Yh ike Marble Medallion “Evening.” Companion to the foregoing, by William Couper, of Florence. Height, 18 inches ; width, 18 inches. ya 278 ria: at Masel, Life-size Bust ‘“*Forget-me-not.” Sculptured by William Couper, of Florence. Height, 20 inches; width, 12 inches. Se 29 Aan. 9, 5. fact Life-size Bust “Joy.” Sculptured by Thomas Ball, of Florence. Height, 20 inches; width, 14 inches. oh a ot r Ay A Sew Noa 280 Dh Deige Marble Group “Confidence Betrayed.”? Sculptured by Chev. N. C. Popotti, of Rome. Height, 22% inches; width, 16 inches. ‘a Gap fone 281 in Deh WT Marble Group “Flower Girl.” Sculptured by Chev. N. C. Popotti, of Rome. i eee Height, 46 inches; width, 17 inches, Dp : Pik 280 eg ie | Marble Group “The Young Hunter.” Sculptured by Chev. N. C. Popotti, of Rome. / , Height, 38 inches; width, 17 inches. A ‘ ‘4 z st Dh rs es YS ¢ atl 283 x 78 4 ay Marble Figure “Sunshine.” Sculptured by Chev. N. C. Popotti, of Rome. Has ebony pedestal. Height of figure, 43 inches ; width, 14 inches. af ys Pvt Lol 284 Oo ik Marble Figure “Storm.” Sculptured by Chev. N. C. Popotti, of Rome. Companion to the foregoing. Has ebony pedestal. Height, 43 inches ; width, 14 inches. a A9. bara 285 Pas hi Marble Bust Life-size. Sculptured by J. A. Jackson, deceased, Florence. Height, 21 inches; width, 11 inches, of. Ye ag, L111 286 F bad ee Marble Bust Life-size ‘‘ Psyche.”’ Sculptured by Percy Wood. « Height, 22 inches ; width, 16 inches. Marble Group ‘“Rebecca at the Well.” Sculptured by Andrioni, of Rome. Has marble pedestal, Height, 49% inches; width, r7inches. Cp 288 aa Marble Group ‘“* Feeding the Bird.” Height, 37 inches; width, 14 inches. re. oe A Marble Bust “Winter.” Life-size. Height, 20 inches ; width, tr inches. VALUABLE CLOISONNE ENAMELS AND BRONZES | x. AO, Arar 290 aL of, He ANTIQUE VASE. Kutani faience. Tall cylindrical shape, with relief ornaments and handles, dark blue and green enamels with gilt decorations, brown crackle texture. Height, 24 inches; diameter, 8 inches. t oul ye LARGE JAPANESE VASE. Satsuma faience, tall cylindrical shape» basket or wicker work design, artistically decorated with figures of warriors, foliage, and other designs, in finely combined colors and gold ; fine creamy texture. a on 8 ; Height, 37 inches; diameter, 12 inches. | 4 Van. We elikinn. 292 Go. PAIR LARGE VASES. Japanese, old Arita porcelain, decorated with equestrian and other figures in medallion and floral designs in bright colors. Height, 40 inches; diameter, 14 inches. | ie | i / Uf 4 y ? yo as) beg & : Orn at Lit nts 2903 eo 3 wRY PAIR OLD JAPANESE VASES. Arita porcelain, tall, cylindrical shape with scallop top, bold relief ornamentations of flowers, rocks» and foliage, and painted decoration of peonies in brilliant enamels. Height, 39 inches ; diameter, 12 inches. PEL ROR AER BRONZE. VASE, old Japanese ornamentation of dragon Phoenix, cast in bold relief. | . Height, 36 inches; diameter, 1 A : i Ay ie pes a5 PAIR ELABORATE JARs. Old Japanese shippo or cloisonné enamel landscape, water scene, flying storks, and other designs i in beau tifully combined low tone enamels. ey Height, 30 inches ; diameter, 15 inches. _ LOL Le te eae 296 fF: PaiR PEDESTAL TABLES. For the foregoing, carved and ebonized, Chinese design. ce 30 inches ; width, 2: isch das ep cae ie TO. & 297 Be ParR ELABORATE GourDS. Fine Chinese cloisonné snared, gourd design, blossoms and inscriptions in various colors of enamel on. turquoise blue ground. thks Height, 40 inches ; ue, 19 inches. i FO. Vets Bae sai pie re Pair PEepESTAL TABLES for the foregoing, carved, and cbonteedl Chinese design. :. “i CARVED EBONIZED TABLE. Elephant design. : Height, 29 inches ; diameter, 22 inches. Wes 4 THE AMERICAN ART ASSOCIATION, MANAGERS, _ THOMAS E. KIRBY, AUCTIONEER. A RE Rg) Pepin ey ee NA e WD Pe ee, SD PRP SME aT Te RS AES eON URS PE Geer TS Renee, WY ee ane GETTY RESEARCH INSTITUTE TAO 3 3125 01662 8212