Ver eee leew if i " i pelele bia pepbtss } +19) @ orehergie ie ele wi Ore rerepe ded opepeserels a eS =s ear * sepe * TERETE PETE EES bs bee Oe oe meer ee bees ee ee Pans ey bs y feease Tere Teta aey tata teat thes » rit paisa jel dierets batt ate. boa + sHihe Hit i seta ssi aia i seit ys shibaephdbtey it bad Thhe bree rere as bee bintaleiarieis bbteebe biaieiainaal teehee ray tii aha ~ 23 Sctetecotets reer >. rai HiT eins iti enatat eer 1% > rareieee * ‘ i; ab ny bial jehsiey ojeiee) Sebabs ealgiel aeibas + bebekaL Poest irae peyegre: tt) CLL ek presales Sorsehejarere teenies Slersepeiaiaterere tiesepeiageleis P 2ie Siete arehs Sierer ere leleiereiene Sielele es reresoe: or er ores’ eee fie head t Perth ? sie eeitit {sisters ay ere aie foie} sisleletere bi ba! ait) re telereiete (seocors Pre lerei arb idiere +) ereiere ne bse Sietetiery ehels tee at wee renee riyeee resets + erete pos = i: =$- sfecete cs eer se seees oe ihe ad ew ee z = + 32> qirigieis tetas pa eee oe reeee retecets wietes: HAS iz z ai wleie = ee ES esr si t37 3353 ~ Ses ee es aes S $33 i tt et art te HH sts iis R Cer aetetE ie i itaa gaat eert t tah deietat thoes ress { art if ~ See =+ ite : fhe Say aanuahatan ean fetagettity a seers atiet {7 47 us Teae TiFieisiovese i Lieit * Feithepelelepere eirininiesele ee je pe | hh vephete tases Sehetteaett bh abe ree + ebehe athe teadatyiay} iti ary + Theses eiecetetet diese sisivielerois rai peseeer ee) pbeer ors e)aye > peeveers tieleleierene. i rej tieiaseserereltissaicte. peselel tiee * roti pes She hebesses erie) > Sel & fe eeieseieie it i * ra sips parteseteseaten ats ite : Te) * bhai f ! saben ets i ba : is + i 7 Pete tetheeeee 3 > Siieliitte ies eeetetatetes Siaieees Miata te Shes SSeS oe Gus : pescesesess 8 - Terietes = 2, o> aoe ae Roepe rs rreere 7 : t Hae . it nettle pita iit ; oy ; i itt i i ; t tit yeiele * rh ts i i, 3 aaa iit it unt aa rf +h; wi isis rors sels. iit arsenate sitisieieiene ue tf its it sieiteeteterniaanee ieisgs il ° <. nit sere fais + i ele tee ei3t33 eae ee Oe eed i Tet te woes at alee se i i . bi * sitiaiititi 4 4 he if a= ae + . * : as aaa ly nawte S254 ee ros Serer etses eat ebaseeetepel a wee wi ee wee ewe aH Lees Tells tees Teaser ee Si me aie ewe ett: =< peers eee er esess == seek Ie Teias Ra aa e ae Pe eseateoeeeed ee Ret eT Oe Om Om = = wee eat at wea re <2. eeeebbeeed et eentesete > Piece tm at ei awl wee $25 4 ptetete! ete ate tate ae = 3 + oo oe Sastre = 3 = = =. zeae S22 ae - > stetetetetesssstssa +54 > we ecaty ate ee : seeereres Seeere voters Scexeeeteeste Ss . mat x . esta eset SSE5 rf paeeebesesee * 7 Litt iit i ith rats hh ‘ it i rested tars fattststet: oe iscaeecaptassasneneat rh i Haapeits i * i) t i + His th it o 5 Tetra Peete) sot sesetosen Sie 14 Baan ARTE * $ tent Coe test it : * ‘ Perot ei trary + } wrerereybe a ehei hem iart ‘ + iH ; ejeiehe Hae ret th it te titi i: iethtt . jets =s 2 irre eee ee Sates setae. estcece asad => + eeseres ate .2> = ae ae eee tae el aeee ata Seo tare. -s iy ¥ 2: Sets. ‘ess conssed one reese i zt es atte tits seitt Ht i ; t i t i rt: sttisist eee Pa Oe ee aahtyts Hitt ae 8 nee i i ? i f iti> fia ahs yy bel uaniest astra Hpaiets T7585 ro pieaeaes Hh tse esst Petes eee eye we rprees weet 444 riaie) Libs =i = ees Peete peer ese ese =253 aes aes Sse os pest ae +> eee re ee saeasetetateeeeeea (2-2 =e =e tates Lesntrtaenss etrnre a ces ess os =? <> > Sw two newe ee eee eee at ae aee eis ? ate cease yiateeese IhISTS wie ee ta lsewewee Tap ates Stat a ial we wewe = i ete © itt i Hitish iti + i r HE it} i Hit path atti tht x +] Ht +! rf Bigesisisterst t we it pas erery Hints - saint ai i t sist aiid) pn a in etapa atey ; rbbeegngenignaassaeeacy rfaragat erate iitustgiatatathee a daett ye pat Sdbegeetasaderg says bthe be) ii it 4 tages i an : ace ee ae aera y iter de ntite enn hth iH bey ’ porapete: eee leset= He i teats ii 14} th + s43) ; bah ’ Sciedece SSeezscsttset oot i fart tt : i * sg sisi esses TEsat f ss eS eses 12ia5 ptsistetstesi ¢ + tit i i + itt RT ditt te itt eater re es tit + . ” t i hey oo aes Pee toe et eee Sree ae see .23 Sietessies sesaee od ee ale sss 52a oes = esteeaeecss ' ‘ i + ¢ tat ece * = > capepeas Hit + + e tibet +e att Rtititehe setisttt are i ren pass rest 2: SHEE tt =<. 7. . 4 ditrttttt rasiaeeee BEE) +! tf Sirteeesepe inti macy iet iy ah areata Load sie 7 4 sagith i i qth 1° 4367 His : 4 sitteeee > eyes it Siege it “ssort O}ML AD . «UasOWS WEL, . Av WN a ae vo : ylOSVOIHO JO ‘GYOANVH ‘D d “SUW Ee) NOILDATIOD. AHL WOds SANNLOld ‘INGWAITdd NS CULVUISATH GANOSTHL MYOA-MAN i i a S OS Fee | wa | > 8 sx . | SS | qt 8 in > co oon z= : = Oo 6 2@ oe on . = as SS. a . et < ACC,’ ww 68 Vw i Eg : 3 $ 3 : H f ie E H €% 5 “soqesy suesng Ag «HOVSSAN WAOT WHEL, jpuesmmsy” Ag « LNYVANDOODY. SH. DLLISVISMIONG NV AO LIVULYOd a 1 ‘upoqjoH suey Ag ; 3O010D “OD ‘a ‘f Aad NYVIBDLSEOOn EALIM 6 VTTIANON oq “W 4G HAVOSGNVI WHOUVK BAHL NO GNINVA 0 ADMINVAND UALAIWAUGL Wes PS OR RE ss Charles F. Haseltine, i es Haseltine Art Galleries, | OL ore e2enC hestnut Street, ry ee i Sd “at Sd tains Sg is ’ ¢ - a ay % n i r + ¢ 1 . n a, - how . - a é . ‘ a S a ee ee tae EE te ‘ = tes c ie pe mies TiS iF >. KEY 2 off THE HANFO 2D COLLECTIO ae " _ Remarkable Examples. of Rembrandt, Murillo,ivan Goyen, and Later | Painters. Score excellent paintings by ‘the Romanti- (cists of the last century in France should Shave existed in Chicago, hardly known to! § the collectors and the press, seems at first Voiush surprising, but it is only an incident! ¢ like Many others. The people who make }mMoney quickly and after a few years passed | i}in Burope are able to appreciate ayhat ig) | s0ood in art are more than, we\imagine. | ‘Every day examples of the{ Kind are com=| ling to light. Apparently. the late P. C,) } Hanford belonged to this edtegory, and the phigh average of the \Hanford collection, } which will be sold next Thursday by order! /of the widow, is the result. } The gem of the collection, which does not! }lack precious canvases, is a portrait, b |; Rembrandt giving with infinite spirit and! those dramatic effects: of light and shade amd color of which he was past master the! -likeness of some scholar, scrivener, or , Seribe, With pen in hand and open book, ) before him. The dull red coat ana brown Pishered cap blend with the olive-toned! / background and give a subdued richness to} (the composition. The right hand holding (the pen is painted in broad, easy strokes / without the slightest attempt to model the. 'fmgers for minute inspection, while the leit hand is almost lost in. the shadow, but holds. its position as part of the composi- fion all the same, It rests on the open ‘book. Neither book, nor white bands fall- (ing from the throat, nor cuffs are obtrud- ped, but are kept back in tone, while the yedge of the cap and the sleeves of the! )60wn are deep red and enrich the some- j/what sombre color scheme greatly. There )is movement in the figure, as if the writer i had risen to expound something in the book (Just written and was stooping slightly for- ;ward. A vivid intelligence shines from his j face, which is handsome from its inner ra- ‘diance rather than its proportions or the texture of skin and hair. The moustache has been shaved above and below, so as.to describe & narrow arch on the upper hip; it gives a peculiarly individual appearance} to the face, not in ‘all respects attractive. | |The countenance is painted in harmony} with the color scheme. The method of} | painting is found among living artists in ; Some of the later portraits by J. M. Whis- tler, whose etchings often’ recall Rem- brandt’s etchings, and whose paintings are) also now and then suggestive of Rem-)| ,brandt without any signs of conscious ini-| tation. Another old master that bears the stamp) of Senuineness is the'“ Immaculate Concep-} tion,” by Murillo, a large canvas with a) very large, small-headed figure of the Vir- gin in the air, her feet on a Sphere, twelve! Stars in clouds above her head, and angels) round about her. It is not one of the Yaesti attractive examples of Murillo’s Madon-) AGP 6 eyes being too large and senti-| ; mental, the head too small, the expression) lachrymose rather than inspired. But it af-! fords an example of his work very valuable to a collection of old masters which does!) not contain his better canvases. The copi-| | ous tresses of the Virgin and the angels are’! painted with great power. How much hand| the master had in it and how much his ap- prentices must be left to the experts. who) revel in such distinctions. It comes from the collection of Sir Lewis Jarvis. An instance where a great painter is misrepresented by the work of a disciple or copyist is the full-length portrait of Philip Il. of Spain attributed to Titian, which is) said to have been at Blenheim in the fa- mous Mariborough collection. Neither ara w- ing nor flesh painting suggest the master, The figure does not stand on the floor; one i Jeg looks shorter than the Other, and that! leg On which the weight of the body rests does not appear to be doing any work,! Probably it is an old copy from the paint-} ing at Naples, which gradually won its way) into the lists of pictures ascribed to Titian) as. a replica by his own hand. But the MfPaknesses here seén cannot be explained restorations; they are too radical. | fine piece of work is Charies 1. Hastlake’s collection. It is| ted<4o29 and states the age of the gray-| aired nian it represents at seventy-four. & wooded, hilly landscape by Jacob van) suysdael has figures» of falconer, erey- nounds, and horsersan; its fine luminous | ky is its chief attraction. .A similar pict-| pure by Aelbert Cuijp, ‘Cavaliers on a} Road in Holland,” shows a more open cdun-| try and 2 rich, warm effect of sunlight, | The luminous quality of the Ruysdae} ap-| vears In a river scene by Jan van Goyen, a} the Holbein from| That a collection numbering a half-dozen| | old masters Of the Netherlands and a half-! | ‘ish-brown pottery émpty. ‘Jast century is a river scene by Daubigny. _to have been a gift to Daubigny, is not es- | Fine, -HANFORD COLLECTION SALE. | len ie? res- ne of com- One of the finest pieces belonging to the) much ‘richer than usual, A tall Corot, said ecially fine,.the sky lacking the exquisite Pederhane: Corot often gave his) horizons. put a scattered composition is the Troyon, ‘‘ Landscape with Cattle Near Hon- fleur.’’ The nude by Corot has miore inter- est than beauty, the twist of the woman's) torso making the picture uncomfortable to) look at. The little ‘“‘ Hussar,*’ by Meisso- nier, is a first-rate example; it came from the Secretan collection, Perhaps the most) delightful example of Louis Eugéne Isabey ever Shown in America is the “ Love Mes- sage,’ a mediaeval housefront with. figure | in fifteenth century dress, ‘‘ Crossing the} Ferry,” by J. J. Veyrassat, is a little jewel, far better than the big cattle pieces. Other paintings are good, indifferent, and plainly’ bad, as must always happem when the ex-'| ecutors sell out a collector's entire gallery. | Low Prices for a Rembrandt and a Murillo Occasion Surprise—Total Amount Realized, $124,135. The amount realized by the sale of Mrs. | P. C. Hanford’s collection ,of paintings by the American Art Association at Mendel- ssohn Hall on Thursday evening was $124,- 135. The appearance of a Rembrandt, ‘‘ The Accountant,” and the price which it/ fetched, $238,000, gave rise to some sur- prise. A dealer bought the picture. A Rembrandt had not appeared in a pub- lic sale before since the: Schaus collection sale several years ago. Since that time three of the portraits of this master are known to jhave changed hands at private Sales, and they are known also to have brought more than $50,000: each, Several other paintings brought good prices, among them a Troyon, which went to ex-Mayor Hugh J. Grant for $10,000; Rousseau’s “Marsh in Spring,” which a dealer purchased; Richard A. Canfield se- i cured De Neuvilie’s “ Trumpeter’ for $4,600. The Murillo, which is said to have j ae the last owner $20,000, went for 8,700, Paintings which brought more than $1,000 | were these: “ Planning the Campaign,” Carlemont; E. Fischhof ee ee ee a ee ee ee Ter Gein OO s o's Reding com ire ea oe Mouie oe , 700 “Figure of a Nude’ Woman,’’ Corot; Puranas Biel sce Neasna Wiig at mae eres ,000 “Marsh in Spring,’’ Rousseau; EH. Bran GLUE esata a lyla ate Wie Re a Seeny EM a tsieet ce mns ans ae 1,000 “* Watering the Sheep,’”’ Jacque; H. Thomp- arte BUS ae ai DE GUC Ly Meat eh alana SII HER To phan terse oe TRS 3,500 ** Cattle Returning Home,’’ BH, -Brandus 243k ee IT tee OPN EMO RCN “Landscape with Cattle,’? Troyon; Hugh SN Grant << oe lb, ; ‘The Trumpeter,’’ A, Canfield ‘“ Grandfather PYSCHOL see soos RET ACR ie Rare rs Van Marcke; Hens o,¢ Pe ee eee ee ee de. Neuville; Richard Chaltank ie eee go WR Ee daa weal hal ees eee SUMING 4,250 ** Drinking Scene,’’ Teniers the younger; BF | WVASSBIMME TY Wa,G ar chk orcs heats Be ee ces se eers ,300 ™ Portrait of an Heclesiastic,*? Holbein. the YOUBET Say ROMO cisliecailtn glk Vici alate wie aia : 000 * Banks of the Meuse,’ Van Goyen; G. S. Palmer vie ihto ws Gesu erates eater As 2,700 | ‘The Accountant,’’ embrandt; HE. Fisch- Na apna OPE Hl ge ua at PA oa a ag Uns eM MR nc SR 23,000 | ** Cavaliers in Holland,’’ Cuyp; M.. Chal- LOVE ipa ilg Ws mg tae Waele oh tio a siad ,800 | *“ Wooded Landseape,’? Raysdodl; BR. Bran- LUIS se ss ni chi whe asia rete g Ha wren Rieoiete ar aim BIL a cemhonaRtCH UTE aN 3,400 i“ Portrait. of Phillfp 11.7%. Titian; |B, | PESCHHOE) Lara a sheds tombe aah ci eb oe eee »400 | “ Immaculate Conception,’’ Murillo; Wil- ROTA) gay wile ob, aie wom lecalara re mia al erate line: earn amie bla dle 700 io SREY Bon isi ; SoS: $20,000, Went for Only Total Received for — ings Sold Is $124. Grant Pays $10,600 The sixty-one paintings and |in the collection of Mrs. P. © ‘Chicago, which were sold by | Kirby. of the American Art . jat Mendelssohn Hall, last ev $124,135. The attendance at the hall, was filled, had been foreshadowed by demand for the unusually fine e luxe catalogue, the best that the 4 ‘Art Association has issued of | a demand which went beyond the _ There were a number of yery |New Yorkers in the hall, few of whc ‘names, except those of dealers, ale ap in the list of buyers, although it is that some of the promi ‘the real purchasers of some e | The sale was not witheut sur] indeed, not without humor. — ‘inated by the Rembrandt, * ant,” acknowledged to ,fine quality, but notwithste di ‘of the appearance of Rem New York auction Mirai a old masters were not out after it. A Rembrandt has not appeared in a pu sale here since the sale of the Schaus_ lection some years ago, and at least portraits by this master which hav disposed of at private sale in New Within a few years—two of them _recently—have — red hands at a _ $50,000 each; but “The Accov J bid up only to $23,000, at which fig e ' went to a dealer, rae ee _ When the Titian portrait, of Philip” of Spain was put up it was difficult to co clude that the bidders believed deep it, although it came from Colnaghi, offers were small and slow. When at call of $1,350. a voice raised the bid to the temptation to alliteration was too m for Mr. Kirby, who exclaimed,“Ten dollars Hh a ee eb Fa ack out A the excuse they longed for to laug aes meeting. A dealer made the bid an 0 hundred and the portrait went at $ There are three of these portraits, one at Madrid and one at Naples. testing The Murillo conception went at $§ to a buyer whose name as announced not disclose his identity. Hugh J bought the excellent Troyon for and a dealer took Ro u’s “Marsh Spring” at $11,000 after a stror Ong tussle with another determined bidde Dick Canfield paid $4,600 for De Neu ("Prumpeter.” 03 40 AEE A ae Van Goyen’s “On the Banks of the’Me "was Ghiieed by two bee rence _upon being put up a second time was up to $2,700. The Murillo, which sold $8,700 cost the last owner $20,000. . Following is the list of the Baler: “ 4 Regs ‘ - pe Geo rge \ 2. “Pruite an loweus” ariseapees + Wee verinignis ss: ao bane Finis cotys Pee acters 3. “Sheep and Chickens,” Verboeckho John Fleming ...,... SO é 4. “The Favorite Dog,” Rosa. theur; Blumenstiels<...\.c2-sredenisctn vet 5. copes Sir," Moormans; G. D, Lover Ga a ini'p Winlelds ey vie e-wets Binelsy eee ety tee, oO AHN en Exchange,” Muntier; i. Rein- ate ‘ Tat rae 7-6 ha: ee ee ee teh eee eee eneuebe tke te eee Sua be Damascus,” Pasini; S, P. 4% VOT OE Te wu cige Tewtawtanss 50} da via a yee EY ? “soldiers iat Breakfast,” Pettenkofen; » ASEHMOL 97.120. oked «ole ok wares i ree ai “Fully Absorbed,” Mannicardi; We H.. Sheehy a paleo ene eee i ieee 3 : ares Bas Campaign,” Charlemont; ue io? Ge Pee i eae Wir eens ery £ - “The Smoker,” Lessi; M. Chalfant...... | 1,10 “Absalom and Tamar,” Cervera; _R. ¥. CRLVERA iad sb wale ae eS a AS . “Gains of a Day,” Faivre; W. H. Sheehy — “Crossing the Ferry,” Veyrassat; G. S. Palmer .. ‘ “In the Wine fees je eae ee ere ee tet ebwease Cellar,” Gabrini; 0. Dress- a 270 a on I Seeking Shelter,” Schreyer; Hugh Bb ie. 63% ii dy Ga een iy sivatees 5 - “Sunset. at Thebes,” Pasini; Warren SHEEDUIHS ws i bb ee Oe “The Love Message,” Isabey; u Je, Grant... «-.. Wee Cle Pere eee = Ae . 4 agen? ee dl for i hares Golicctian: _ Pictures—Horatio Walker's Re- _ cent Work at the Montross Gal- ?rench-Canadian Peasants es More, with No Lack of | Saleh in Their Interpreta- P. G. Hanford’s collection, sold last night ‘at Mendelssohn Hall by Thomas E. Kirby, of the American Art Association, bidders paid a total of $124,135, an aver- age of just $2,035. Prices on the whole were excellent, the large Rembrandt, of | moderately good quality, fetching $23,- 000. There were several disappoint- ments, however, for the owner of the | Titian of for the large portrait by Philip II. brought only $1,400, ite (th y said to have cost i : ‘ f tion. For the sixty-one paintings of Mrs. ; while the big Murillo, | Mes. Hanford $20,000, brought $8,700. | Here are the pictures that brought $1,000 or more, with catalogue number, | ‘title, name of artist and name of buyer, in this order: i e “10. PI g the Campaign, | Charlemont; B, Fischhof, .. .$1,225 ia “The Smoker, + Tessi; M. Chal- ah *** “Goching ”” Shelter,” bia Wearever: Hugh Hill ....... 1,900 18. “The Love 6,’ Isabey; | Hugh J, Grant oo. ees 2625 | “The Pond—Sunset,’”” Dupre; M. 0 | iva ibaleant 2 ohhh epetees, +. 5 ' genheim e “*Cattle® Returniies Homie? Marcke; E, ‘Brandus AeA aigh e870 | “Landscape and Figure,” Corot; M. ‘Chailfant ~ oo ee eee eee cee 3; . “Landscape with Cattle,” Troy- on; Hugh J. Grant weree ess -10,000 | “Landscape with Washerwo- men,’? Munkacsy; I. Guggen- Helm «es hirere Liha Medal ates s ecento . “Oriental Scene,” ~ Ziem; A. Tooth & Sons, Gielaceacsious eye 1,775 . “The Trumpeter,” De Neuville; - Richard A. Canfield ,....... 4,600 “Grandfather -Sleeps,” Mun- kacsy; E, Fisehhof ........-2,550 1,100 ‘40. “Columbus at Court,” von Bro- wzik; Warren Sherburne ..... 1,600 | 41. “The Undecided Question,” Volkhard; M, Chalfant ..... 1,250. 58. “Drinking Scene,’’ Teniers the Younger: J, Wasserman .... 1,300 ‘54. “Portrait of an Evcclesiastic,” ‘ Holbein the Younger; “Hen- i TY3 eoreeceree se © ee oe 4,000 55. “Fleet on Anchor Ground, ” Van k de Velde; J. Wasserman, 1,625 56. “Banks of the Meuse,” Van _ Goyen; G, §. Palmer ...... 2,700 57. “The Accountant,” Rembrandt; gr ed, SENSO TOT 6 5 ip iaterare ce n¢ gs 000 58. “Cavaliers in Holland,” Cuyp; MM. Chalfant yo. ou iiee ves. 4,600 59. “Wooded Landscape,” Ruys- dael; BH, Brandus ~ 2.0... 5. 373,400 60. “Portrait of Philip II.,” Titian; H.. Misechhot ..)0 2... ~+-+-- 1,400 61. “Immaculate Conception, ” Mur- illo; Wilson eeree2 e824 @aieneaad 8,700 THE ART WORLD. v é : \ Despite unfavorable weather a large iaudience gathered last night at Mendels- ‘sohn Hall in West Fortieth street to at- itend the sale of the pictures belonging to ‘Mrs, P, C. Hanford of Chicago which. have. been on exhibition recently at the ‘American Art Galleries. ‘collectors were present, but with, an ex- ception or two, their names do not appear as buyers, the dealers executing most of the orders. The Rembrandt, once in the ‘eollection of Sir Joshua Reynolds, brought the highest price—$23,000. It was called “The Accountant.” The Titian, “Philip II.” went for $1,400, and the Murillo, “Im- ‘maculate Conception,’ brought $8,700. Hugh J. Grant paid $10,000 for the fine Troyon, ‘“Tandscape With Cattle,” and ‘Edward Brandus bought the Rousseau, | “Marsh in Spring,” for $11,000. A list of prices and buyers follows; total sum real- ized being $124,135: 1. “The Rehearsal,’’ Gloza; George i ' ODE 2h) vas i selec peOO |} 2 “Fruits and ‘Flowers,’” Wisenger; G. LISMTLOV CLIME Wuiemhinledhs <4) 0s. + Gace soe’ 100 3. ‘Sheep and Chickens,’’? Verboeckhov- en; John Fleming.. 260 4, “The Favorite Dog,’”” Rosa Bonheur; sf A. Blumenstiel,,. 475 5, “Speak, ite 4 Moormans; G. fi py “Lov- ‘ering’. oe dinite 80 6. XK Fair “Exchange,” “Munier! H. he FRGIMRADAL J. petites chpnr es -caseene 225 | 7. Streets. in eis 3a Pasini; 5S. | PHBE Y, | ST pa aitas bhp nied tio. s slgin a wags £50 | g. “Soldiers at pronase, ad arias } E, Fischhof.. . 3 560 | 9, Fully ‘Absorbed, » “‘Mannicardi: We. y Hi. BHCERY.... ccceaee cen cee cer evere 175 ) 10. ‘Planning ie Campaign,’’ Charie- %. : mont; BE, Fischhof........+.++:+04+ eae 15225 ‘ii, “The Smoker,’ Lessi; M. Chalfant.. 1,100 / 12. ‘Absalom and be sae id Cory ees R. ; Cervera ... me 110 | 18, ag cree: of a Day, oe Paivre; WwW. "ty un { SHGWT Midiles . no piddle’s Medic cerhisten aes } 14, “Grossing the Ferry,’’ Veyrassat; G. ey . Palmer ..... PS See eg Phare 575 Many prominent | ae tal... a pt She ~e [18 "th the “Wing "Oeliar”~ Gaprint; er or 2'S:v oe shea 9 eee e teres ee 875 16, “ionaes “ache Xs bie Feahads - , Hugh Sills... psdeen 1,900 17, ‘“‘Sunset at Thebes,’ Pasini; ‘Warren Jatey aldo cy: AR CEE eee pat eee, 270 18. ‘‘The Love Message,” Isabey; Hugh | Grant j.'s" 2,825" | 19, “Borders of the Black Forest,” | Wenglein; S, W. Bowne.. 350 } 20, “Trumpeter of Seckingen,”” Probst; [ W. J. Waller... 175 21. “Contemplation,” ‘Palmaroli; “John : Wleming .... 0.3 +. 160 22. “Landscape, ut Daubieny: ““enry”,. 975 | 23. “‘The | Pond—Sunset,’’ Dupre; M. } Chalrantewers, aemewaccwer . > disw 1,500 | 24. i vie Hussar,”’ Meissonier; M. “Chal- . i , 700 | 26, ton ee Water’ 8 “age, a Daubigny: K OE eT Simi 4 hind wees 2,700 26. ‘‘Figure of a Nude A ial Corot; Durand-Ruel . 1,000 we Bee ofa Cow,”” Troyon: E ‘Bran- eo / 28, ‘Marsh in Spring,” ae BE. } Brandus ... » 11,000 | 29, "Watering the “Sheep,” Jacque; E | Thompking : Mut averuerays teem aeons 3,500 | $0. ‘In the Harem,” Diaz; I, Guegen- f FOUN fos sok aera sree Atte Cie ROR Uae 4,400 | 81. ‘Cattle Returning Home,” Van Marcke;: Hi Brandusiip. 3 5. neo 8,700 | 82. “landscape and Figure,’’ Corot; M. Chalfant. occ aun» pete ve tan ety pee 8,000 33. ‘‘Landscape With Cattle,’ Troyon; Hugh. J. (Grant Pons . cae aadea eh ie 10,000 84, “Environs of ‘Cleves,’ Koekkoek; Heinemant iis oaiiyein ns ahr ol enigma 500 35. ‘‘Landscape With Washerwomen,’’ Munkacsy; I, Guggenheim..... Fah goks 200 36. ‘Oriental Scene,’’ Ziem; A. Tooth & SODBK (2 )6'. dered cy sed ae hi ee ose eee 1,775 | 37. *'The Trumpeter,” de Neuville; Rich- ard A, Canfieldss csada aipics. see 4,600 , 88 ‘Sunrise in Holland,’’ Jettel; BH, | Fisehhort ) 4 dus aa a aenes seine eieiey pale eee 450 | 89. “Grandfather Sleeps,’* Munkacsy; E. | Wischhot, 5 araee eo, ae lier Coline 2,550 40. “Columbus at’ Court, rs von Brozik; Warren Sherburne..: /..i0750 aeuaes 1,600 | 41. “The Undecided Question,’ ‘Volk: hard: "M, Chalfanta. “sia denyederns + 1,250 43. “Autumn Flowers,’’ Vibert 0} Pischhot: \vgiassmes seaplane ss ta vole 150'4 | 48, ““Flowers,’”’ Letour; M. HE. Reardon. 90 44. “Sheep,” De Luc; D. G. Gunther... 60 | 45... ““Cattle,”? De Luc; D, G, Gunther. 7, 60 46. “‘Coast of Normandy,’’ Thompson; M). BE) ReardGn wes ieee ease 90 | 47, ‘"Sunset in Venice,” Thompson; 0. Dresslor..5 ts eas hae eos Gnbnamteaial 130 48. ‘‘Weary Shepherdess,’’ Millet: BH, Fischhot'; ieee aauiaies sinensis 600 | 49..‘‘Man With Jug,” Van Ostade; Rich- ard, A; ‘Cantlelde tiie sssiem seeks oe 675 | 50. ‘fPhe Hermit,’”’ Van Slingelandt; G. 1G; Benjamipeyvcee crates aera Mens 325 51. ‘The Merry Couple,” Steen; A. A. | Higaly.,.’:.. Vases eipares eats so ecteat ieee s 625 | 52. “Landscape With Figures,’ Ber-; chem; ©. GiCormeli Ir: fs... tac iss ATS! | 53. “Drinking Scene,” Teniers the | Younger; J. Wasserman........+... 1,300 | | 54. ‘Portrait of an.Eeclesiastic,’’ Hol- bein the Younger; ‘‘Henry’”’.....1.. ‘4,000 55, ‘Fleet on Anchor Ground,’’ Van de Velde; Ji> Wasserman: 2... 329 2 1,625 56. “Banks of the /Meuse,’’ Yan Goyen; GB, PaubrnereesOog acute sa oneal 2,700 57. ‘The Accountant,’’ Rembrandt; E. Mischhoftganeweeys den cca peek ee 23,000 58. ‘“‘Cavaliers. in Holland,’* Cuyp; M. Chalfan tise wasisieteul oben es saa eee 4,600 59. ““Wooded Landscape,”’ ‘Ruysdael; EH. i (Bran dup tissaonperaes cicaaas © + sinrcianree 3.400 | | 60. ‘Portrait of Philip II.,’’ Titian; E. ‘ Fischhofyacers.setn be deeses «taees ee 1,400 | 61. ‘Immaculate Conception,” Murillo; WEISON rece hein le oie cape) e winnie ee 8,700 HEY made $23,000 the price of a Rem- ag brandt at the sale by auction on Thursday evening of the Hanford ga‘iery in Mendelssohn Hall—the art loyers fo whom works of old masters are worthy ef fanciful sums of money only if they be hought in HKurope. They paid $23,000 here for a Rembrandt. Bnt what a beautiful Rembrandt it is! lé is the figure of a man of middle age, the age of the cavaliers of trade in the tire when Holland had in trade the ardor and the glory of ancient Greece in battle. What an assurance is in his eyes and —————————————— The Rembrandt That By Henri Pene du Bois. that figure painted by Rembrandt makes a similar impression. “rhe. Accountant’? of Rembrandt is the Thelawnay of Holland. He is set against a daxk olive background at a desk, and. smiles What a. fascinating individuality igein that smile—crafty .aid) Mmduigent, affable and self-reliant! ~His\ body is in- clined. slightly sferward. One of his hands vests on a ledger with the peculiar strength of Napoleon’s on the map of Hurope, the other holds a pen. His face-has the glow of health and the matks that ceaseless counting of columns Head of 'Rembrandt’s “The Accountant.” Jot an audacity of energy in his atti- tude! He knows all of his work and all of himself. Do you remember Trelawnay, 3yron’s friend, who lit the flame of Shel- ley’s funeral pyre on the shore of ithe Spezzia? Trelawnay’s figure, tawny on- the red background of that holocaust, has the ex- treme traits of. the HDnglish race, and, yio- lent, it is indelibly impressed on. one’s tiind as charactcristic and intense, Well, of figures forehead, at the corners of the lips. The pupils are deep set, the nose is long although not aquiline, the mouth is broad and imperious. He has brown hair under his cap bordered with vermilion antl decked with a jewel. Pleats of a white shiit appear above ‘his olive «waistcoat laced in front. Red revers of a gown and links of a long gold chain set under his collar and over his shoulder adorn him, Broug The pahiting is extraordinary even in a Rembrandt, The touches of the brush were sure and made once forever. The light from the left illuminates the cap, face, shoulder, chest, cuff and ledger. The har- mony of the composition is learned and captivating. : The picture, engraved by Humphrey, is’ described in Smith’s ‘‘Catalogue Raisonne.” | Its date there is given as 1658. ‘This was) in the period of Rembrandt’s noblest por- traits. (le had been, for two years, a bankrupt. His ‘‘Night Watch,” an artistic | {dol of to-day, was detested then, It had made a solitude arourd him. He painted now without hope of pleasing the. publie, without an effort to compromise his {deals of aitistic excellence. Ihe burgo- masters, indignant at the indifference to mere likeness and to questions of social rank in his “Night Watch,” gave him no orders for portraits. He was financially ruined. He had no. sitters to please. He was free. He could paint friends who appreciated him. “The | Accountant” must have been one of his faithful friends. He must have been a real art lover. He was a man of elevated char- acter, surely. | It is pitiful that his name should not) have been preserved. It is not known now, and one may not write about him one of, the biographies, clear as effigies on med-) als, that illuminate literature. But a biography may melt into a history; tme por) trait of a man may melt into the syinbol of an epoch. — tet This portrait is the symbol of Holland at its height. Michel described it in his “Rembrandt.” Dr. Bode described it im “Phe Complete Works of Rembrandt,’ Sir Joshua Reynolds owned the painting in 1795. From him it passed into the col- lection. of Thomas Hardman, of Manchester, England. i | He sold it in 1838. Doubtless the world has works of Rembrandt better pre- served than this one, but certainly it has none as intensely expressive of its paint-| er’s art at his best. | ‘The competition for it at the sale in Men. | delssohn Hall was excited. In it dealers, | gollectors, experts were alert. Thé first \ pid was $5,000; the second $6,000. At the knock of the auctioneer’s hammer the, auditors applauded. Their enthusiasm was evidently sincere. ' The buyer, Eugene Fischhof, is the son- in-law and ageut of Sedelmeyer, of Paris, who sold to J. Pierpont Morgan recently) a Raphael and a Titian. q Mr. Fischhof said: “I have in this Rem- brandt a bargain,’’ And art lovers, think- ing of the “St. Paul im Prison,” a replica py Rembrandt, for which John W. Gates is said to have paid $60,000, agreed with /Mr. Fischhof. ‘The Accountant,” at $23,- | uo0, was relatively a bargain. — as makes at the eyes, on the} } ~ SALE EXD MENDELSSOHN HALL -FORTIETH STREET, ts be OF BROADWAY THURSDAY EVENING, JANUARY 30TH BEGINNING PROMPTLY AT 8. 30 o’CLOCK : THE he Cc. “HANFORD COLLECTION gh ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES From FRIDAY, JANUARY 24TH, UNTIL THE MorNING OF | } | 5 easel be THE Day OF SALE, INCLUSIVE of et , ~ we ; nf 4 (Qo ¢ i 4 r 4 e 4 » : CATALOGUE OF VALUABLE PAINTINGS BY THE FIRST MASTERS ANCIENT AND MODERN SCHOOLS Mrs. P. C. HANFORD CHICAGO TO BE SOLD AT ABSOLUTE PUBLIC SALE ON THURSDAY EVENING, JANUARY 30TH BEGINNING PROMPTLY AT 8. 30 O'CLOCK AT MENDELSSOHN HALL FortigtH STREET, EAST OF BroaDWay THE PAINTINGS WILL BE ~ ON VIEW DAY AND EVENING AT [THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH FROM JANUARY 24TH UNTIL THE. MORNING OF SALE, INCLUSIVE THOMAS E. KIRBY, of THE AMERICAN ART ASSOCIATION, WILL ConDUCT THE SALE THE AMERICAN ART ASSOCIATION, Manacers : NEW YORK 1902 Press of J. J. Little & Co. Astor Place, New York ‘ ‘ = - * = f 7 LIST OF ARTISTS REPRESENTED AND: THEIR WORKS ARTIST SUBJECT BARBINI, G. In the Wine Cellar BERCHEM, N. Landscape with Figures and Animals BONHEUR, R. The Favorite Dog BROZIK, V. VON Christopher Columbus at the Spanish Court CERVERA, R. Absalom and Tamar CHARLEMONT, E. Planning the Campaign Cog, 7. B.C. Figure of a Nude Woman Landscape and Equestrian Figure CATALOGUE NUMBER 15 52 40 12 IO 26 32 CATALOGUE ARTIST SUBJECT NUMBER UY tne Cavaliers on a Road in Holland 58 DAUBIGNY, C. F. Landscape 22 On the Water’s Edge 25 DE LUC Sheep 44 Cattle 45 DE NEUVILLE, A. M. The Trumpeter | DIAZ, ON. V. In the Harem 30 DUPRE, JULES The Pond: Sunset 23 FAIVRE, TONY The Gains of a Day 13 GIOZA, B. D. The Rehearsal I GOVEN, J. VAN On the Banks of the Meuse 56 CATALOGUE ' ge = ce ae a _ > ins! es a . ¥ i ; ‘oa Portrait of an Ecclesiastic eee ay Spt Ae Love Message ; 18 ; ¢ i AVS eZ eid ‘Watering the Sheep wi gh 29 Sunrise in Holland : 38 Environs of Cleves 34 eo, 3 ; ee - ro 3 _ LESSI, TITO The Smoker ; II Flowers 43 _-- MANNICARDI, C. ee i =i Fully Absorbed 9 _ MARCKE, E. VAN 7 . - Cattle Returning Home 31 ~ ae artist At ateke T MBISSONIER, iicl. (ha. 3) eam AK na The ‘Hus sal ¢ < nee ‘ MILLET, J. F. 22 ; The Weary Shepherdess MOORMANS, F. “ Speak, “Sirs: MUNIER, f. A Fair Exchange MUNKACSY, M. Landscape with Washerwomen, Grandfather Sleeps" MURILLO, B. E. : The Immaculate Conception OSTADE, A. VON Man with Jug M PASINI, A. Street in Damascus Sunset at Thebes, with a View of the Memnon PALMAROLI, V. Contemplation 4 CATALOGUE TAS Meat te Soldiers at Breakfast ae fF fo 8 ig The Trumpeter of Seckingen 20 The Accountant 57 A Marsh in Spring or 28 EL, JACOB VAN : | A Wooded Landscape 59 Horses Seeking Shelter from a Storm 16 i _ SLINGELANDT, P. VAN a The Hermit So _ STEEN, JAN ay ee The Merry Couple 51 _ TENIERS, D. (THE YOUNGER) _ Drinking Scene in an Ale-house 53 _ THOMPSON, G. | Coast of Normandy, near Dieppe 46 ‘ Sunset in Venice 47 % —" : Sake r ee ar y hak Ns R Aas yee 4 ee PR seo TAL ¢ i 4 . a4 “3 re me" Mg i: + i py! A sy . os re 4 hae AG teed ok : fi eS, is ae = ee ARTIST SUSIECT Wr. Sale \> , ‘ark lag Oe ae ko . TITIAN, V. mane at Portrait of Philip II. of Spain TROYON, C. _ Study of a Cow and Landscape Landscape and Cattle 3 VAN DE VELDE, W. A Fleet on Anchor Ground VERBOECKHOVEN, E. J. Sheep and Chickens VEYRASSAT, J. J. Crossing the Ferry VIBERT, J. G. Autumn Flowers VOLKHARD, M. The Undecided Question WENGLEIN, J. Borders of the Black Forest WISENGER, F. Fruit and Flowers ZIEM, F. Oriental Scene a \ NICOLAS BERCHEM (OR BERGHEM) 1620-1683 Nicolas was born at Haarlem, the son of Peter Klaasze; and why he changed his surname is not known. His teachers, besides his father, were Jan van Goyen, J. B. Weenix, and Jan Wils, whose daughter he married. Berchem painted in several styles; portraits, large and small, figures, battle-pieces, and landscapes with cattle and figures, in which last class he is chiefly distinguished. There is no record of his having visited Italy, and the Italian feeling in his pictures was probably the reflex of the Claude Lorrain tradition. At the height of his reputa- tion, in 1665, he sold his labor from early morning until four in the afternoon for ten florins a day; but his wife is said to have intercepted a large portion of his earnings, as he was given to spending his money too freely on Italian drawings. At the sale of his effects after his death, his pictures brought 12,000 florins, and his sketches 800 florins. Berchem was also an etcher, and fifty-six plates are attributed to him, chiefly of animals, which are very scarce. He died in Amsterdam. ROSA BONHEUR 1822-1899 Rosa Bonheur was born at Bordeaux in 1822, the daughter of a struggling artist who later migrated to Paris. Here she was placed at school, but showed such a strong determination to study drawing that her father removed her and set her to copying pictures in the Louvre. Gradually she turned her attention to animals. Her habit of making studies of sheep and cattle in the abattoirs induced her to adopt male attire as the readiest way of avoiding annoyance which a woman was liable to meet in such places. Her first important picture was “ Ploughing in Nivernois,” exhibited in 1849, followed by the “Hay Harvest in Auvergne” in 1855, bought for the Luxembourg, and two years later by the “ Horse Fair,’ now in the Metropolitan Museum. Her fame was thoroughly assured, and in 1865 The Journal published the decree of the empress, naming her Chevalier of the Legion of Honor. She was, however, refused admittance to the Insti- tute, but, as if in protest, was elected member of the Institute of Ant- werp. She lived in her chateau By, in the village of Moret, sur- rounded by her animals and beloved by all the people round her, working indefatigably up to the age of seventy-two. VACSLAV VON BROZIK 1852-1901 Brozik’s birthplace was Tzcmoschna, near Pilsen, in Bohemia. After graduating from the Academy at Prague, he passed under the direction of Piloty, in Munich, and in 1876 settled in Paris, where he remained until his death, studying for a time with Munkacsy. His long list of distinctions includes many gold medals and medals of honor, officership in the Legion of Honor, the order of Leopold of Belgium, and the Bavarian order of St. Michael. In 1897 he was raised to the rank of a noble. ¥yapitl ; we . EDUARD CHARLEMONT Born at Znaim, Moravia, in 1848, Charlemont became a pupil of the Vienna Academy under Engerth, and later studied with Makart, who made it possible for him to visit Italy. After a prolonged stay in Venice he travelled in Germany and France, finally settling down in Paris. JEAN BAPTISTE CAMILLE COROT 1796-1875 That an artist should reach the age of fifty before discovering his true bent, and then enjoy more than twenty-five years in which to give expression to it, of itself makes the life of Corot a unique romance. The son of a hairdresser, who by his marriage to a milliner and by his own address became court modiste in the imperial days of Napoleon I., Cor6t’s early influences were of the comfortable middle class and of money making. When his father consented to his becoming a painter, provided he could live on the 1,200 francs allowed him, the artistic influences were those of David, reaching him immediately through the precisely orthodox teaching of Bertin. With the latter he visited Italy, and after remaining there two years and a half was able to exhibit at the Salon a carefully balanced classical landscape. In 1835 and 1843 he stayed again in Italy, and only after the third pilgrimage were his eyes opened to the charm of French landscape. In 1846 he received the cross of the Legion of Honor, and his father, remarking that “ Camille seems to have talent, after all,” doubled his allowance. His talent revealed itself, however, particularly in the still-fresh recep- tiveness of his mind. Hecame under the influence of Rousseau; full of new enthusiasm set himself to re-learn his art; spent nearly two years in study, and emerged from it the Cordt that posterity honors. They tell us that he painted with a song upon his lips; that he was constant in his attendance at the concerts of the Conservatoire; that he played _the violin; and his own comparison of himself with Rousseau was that the latter is an eagle, while he like a lark pulses forth little songs in the gray clouds. His latest art is musical, tenderly vibrative, and melodious. The recollection of the Italian landscape and of the classic influences of his youth find renewed expression in the idyllic character of his pictures, so often quietly animated with figures that are crea- tions purely of the imagination, lending the help of their presence to the motive of the scheme. Great and strong as a Hercules, clad ina blue blouse, with a woollen cap over his white hair and a short pipe protruding from his ruddy face, Corot, twenty years the senior of the great landscape painters, was in their eyes at once the patriarch and a younger companion. He kept his innocence, his bonhomie, and song- fulness to the end; and the end of his life was without trouble—“ the evening of a beautiful day.” AELBERT CUYP 1620-1691 The son of Jacob Gerritz Cuyp, himself a painter of portraits, Aelbert was born at Dort, his father’s native city, in 1620. After studying with his father and perhaps travelling in other parts of Hol- land, for little is known of his early life, Cuyp settled in Dort, or Dordrecht, as it is now called, even then a thriving port on an island in the estuary of the Rhine and Maas; and it was along the banks of the latter river that many of his most charming pictures were made, for always his studies were direct from nature. He was a painter of extraordinary versatility, producing, besides his better-known land- scapes, marines and shipping, horse fairs, portraits, and still-life; a painter of evening effects as well as sunshine, and of winter scenes as well as summer. His works received a warm welcome in England before his own country had realized their worth. In 1658 he married Cornelia, widow of Johan van der Corput, who died in 1689, Cuyp himself surviving her but two years. He was buried in his native city. CHARLES FRANGOIS DAUBIGNY 1817-1878 Daubigny came of a family of painters, and received his first les- sons from his father, following them up by a visit to Italy and later by some study with Delaroche. He early showed his preference for landscape, in which he made his first exhibit at the Salon in 1838. It was, however, ten years more before he received a medal of the second class; and then, in 1853, the emperor purchased his picture of “ The Harvest,” and his reputation was made. He will always be remem- bered as particularly the painter of the Seine, Oise, and Marne, which he traversed in the summer time in a houseboat, studying the beauty of the rivers and also the pleasant evidences of occupation on their banks. His devotion to this roving life hastened his end, for he be- came a victim to rheumatism, which eventually caused his death. He has been likened to Corot in his charm of style and love of atmosphere and tender light. ALPHONSE MARIE DE NEUVILLE 1836-1885 By the death of De Neuville at the comparatively early age of forty- nine, France lost the greatest of her military painters: one of the greatest of all time. He was born at St. Omer in 1836, of wealthy parents, who proposed for him an official career. But from the first he wished to join the army, and was entered in the school at Lorient, where his skill for drawing was immediately recognized. Desirous, however, of meeting the wishes of his family, he went to Paris and entered the law school, though spending much of his time at the military school and in the Champ de Mars, sketching and familiarizing himself with the details of a soldier’s life. During these days Dela- croix was his friend, and he studied also under Picot. His early pic- tures were not remarkable, but the Franco-Prussian War, in which he served in the Artists’ Brigade, gave him at once the inspiration and subjects unlimited. “‘ He learned the secret of painting powder and smoke and the vehemence of a fusillade.”” When the war was over, his “ Bivouac Before Le Bourget” brought him marked success, which was sustained by such important works as “ The Last Cartridges,” “ Le Bourget,” and “ The Graveyard of Saint-Privat.” He was admitted to the Legion of Honor in 1873 and made an Officer in 1881. NARCISSE VIRGILE DIAZ DE LA PENA 1808-1876 In early life Diaz was at odds with the world. His parents were Spanish refugees, who for political reasons had abandoned their coun- try and settled in Bordeaux. At ten years old he was left an orphan, and at fifteen apprenticed to the porcelain works at Sévres, where Troyon and Dupré were fellow-students. But he quarrelled with his master, and made his way to Paris, there maintaining himself in slen- derest fashion by painting little subjects suggested either by books or by his own teeming imagination. Dupré introduced him to the colony at Barbizon, and he strove to learn the science of his art from Rousseau. But by heredity and habit he was a rebel—a light-hearted and harmless one, incapable of severe discipline, and full, moreover, of an independence of creative spirit that more rigid training might have cramped. He found his utterance especially in color, upon which he played with a facility of execution and brilliance of motive that has earned for him the sobriquet of “ virtuoso of the palette.” In 1876 he found himself attacked by an affection of the lungs and went to Mentone, where, after a little respite, he died. JULES DUPRE 1812-1889 Dupré was the romanticist of the Barbizon group, and his own life was a romance—a lonely existence pregnant with passionate en- deavor, and continually nourished by the necessity of finding some- thing more to be attempted. As a boy apprenticed in the porcelain works at Sévres, he’spent all his leisure time in wandering in the fields, making endless drawings from nature. Ignorant, then, of what the Dutch masters of the seventeenth century had achieved, of the work of the English Constable, or of the similar strivings of his own country- man, Rousseau, he was instinctively feeling his way to nature. In 1831 he exhibited at the Salon and won the favor of the Duke of Orleans. Then followed a visit to England and acquaintanceship with Constable, and on his return to France he exhibited ‘‘ The Environs ’ d of Southampton” and “ Pasture Land in Limousin,” which revealed him already as an accomplished master. But to the end he was a student. ‘“ You think, then, that I know my profession?” he once re- plied to a dealer who urged that with his sureness of hand and eye he could finish a certain picture in a few days. “ Why, my poor fellow, if I had nothing more to find out or to learn, I could not paint any longer.” In his home at L’Isle Adam, across the river from Nantes, where he was born, Dupré lead an enviable life, surrounded by books, receiv- ing’a few chosen friends, and rarely missing his walk across country of an evening, no matter what the weather might be. His friend the Duke of Orleans, returning to F rance from political exile, invited the old painter to his house. Taking him into a room he showed him his early picture. “Ah, my friend,” he said, “that picture is more for- tunate than you and I; it does not grow old.” Notwithstanding his fervent character as an artist, his temperament was an equable one, being as little disturbed by his success as it had been by his early struggles. TONY FAIVRE Tony Faivre was born at Besancon in 1830. He became a pupil of Picot, after which he visited Italy. Upon his return he gained a medal at the Salon, and became identified with genre portraits and decorative subjects. JAN VAN GOYEN- 1596-1656 Van Goyen, one of the earliest of the famous Dutch landscapists of the seventeenth century, was born at Leyden in 1596. Up to his twentieth year he had had at least three instructors, but seems to have acquired little from them except the rudiments of his art. Then he visited France, and on his return completed his studies under Esaias Van de Velde at Haarlem. He married and settled in Leyden, his works of this period showing remarkable proficiency and a close resem- blance to the style of his master. During the next thirteen years he gradually developed the manner by which he is now best known, and then removed to The Hague, where he became president of the guild and resided until his death in 1656. He was the father-in-law and teacher of Jan Steen. HANS HOLBEIN (THE YOUNGER) 1497-1543 This prodigy of a painter, who developed so early his extraor- dinary ability, was born at Augsburg, and received instruction from his father, the elder Holbein; being influenced also by their fellow- citizen, Hans Burckmair. When he was seventeen years old he mi- grated to the free city of Basle, whose university and printing press made it the centre of literary activity and a resort of men of learning from all parts. The youth’s genius was recognized by Frobenius, the painter, Erasmus, and Jacob Meyer, the Burgomaster; and at the age of nineteen he made his first essays in portraiture, painting among others Jacob Meyer and his wife. He was given the freedom of the city and intrusted with important fresco decorations. These have perished, but the designs for them are still retained in the Museum at Basle, together with 104 drawings, a sketch-book, and fifteen paint- ings. Among the celebrated portraits of this period are a “ Portrait of Erasmus” and the “ Meyer Madonna” at Darmstadt, of which a copy by a later hand exists in the Dresden Gallery. The outbreak at Basle of religious and political dissensions, and the added horror of the plague, induced Holbein to seek employment in England, whither he set out with letters from Erasmus, stopping at Antwerp and making the acquaintance of Quentin Massys. In England he was cordially received and housed by the Chancellor, Sir Thomas More, whose portrait he painted, as well as one of Archbishop Wareham and some others. After two years he returned to Basle to complete his decora- tions of the Rathhaus; but revisited England in 1532, to find that More had been deprived of his high office. The German merchants of the Steelyard, however, welcomed him, and commissioned two decora- tions on canvas for their hall—the ‘ Triumph of Wealth” and the “Triumph of Poverty.” Many portraits belong to this period, notably the celebrated one in Dresden of Hubert Morrett. At what date he entered the service of Henry VIII. is not known, but the first entry of his receipt of a salary occurs in the accounts of the royal expendi- ture under the date of March 25, 1538, and the entries follow quarterly as long as the accounts are extant. He was employed by the king in several of his matrimonial ventures to visit the continent and make portraits of prospective wives, and it is probable that he remained in the royal service until his death, apparently of the plague, in 1543. LOUIS EUGENE ISABEY 1804-1886 A son of a miniature painter, Jean Baptiste Isabey, Louis was born at Paris in 1804. He commenced his career as a painter of genre and marines, receiving in 1824 and 1827 medals, respectively, for those two kinds of work. In 1830 he had the good fortune to receive an appoint- ment as marine painter with an expedition to Algiers. Henceforth his works were received into the most important museums of France, and were contended for by private collectors. He made for himself a distinct position as a genre painter, depicting subjects of a fancifully aristocratic character with remarkable facility of drawing and’a viva- cious splendor of color. He worked unceasingly during a professional career of more than sixty years, and “left perhaps fewer works un- worthy of his genius than any other painter of his period.” CHARLES EMILE JACQUE 1813-1894 Living to the age of eighty-one and retaining his forcefulness to the end, Jacque was the last survivor of the Barbizon brotherhood. He was born at Paris in 1813, and in early life was apprenticed to a map engraver. After serving for a time as a soldier, he practised wood engraving, and then passed to etching, in which he won recognition iia i hae rl - 3 - that time has thoroughly indorsed. Though he began to paint in 1845, it was not until sixteen years later that a picture of his was awarded a medal at the Salon. Jacque’s interest in domestic creatures was not confined to painting them. He bred fowls and wrote a book about them, and extended his sympathies to pigs. But it is sheep with which his fame is most enduringly connected. He has painted them with a comprehension that has never been surpassed; and associated with his profound knowledge of form, the product of his experience in engraving, was a skill in simplification, the particular accomplish- ment that marks all great artists. He died rich and honored, and the sale of his studio collection was a notable event. EUGENE JETTEL 1845-1901 Eugéne Jettel was a native of Janowitz, in Moravia, where he was born in 1845. After studying with Zimmermann at the Academy of Vienna, he travelled in Holland, Italy, and Hungary, making his head- quarters since 1873 in Paris. He won many gold medals and was a member of the Legion of Honor. BAREND CORNELIS KOEKKOEK 1803-1862 Born at Middelburg, Zeeland, in 1803, Barend Cornelis was the son of the painter Johannes Hermanus Koekkoek. After studying with his father, he became a pupil of the Amsterdam Academy under Van Oos, and later travelled in Belgium and the Ardennes, and along the Rhine and Moselle, also visiting Paris. For a while he settled in Beek, in Gelderland, but in 1841 founded an Academy of Design at Cleves, where he resided until his death in 1862. He was a member of the Rotterdam and St. Petersburg academies, a knight of the orders of the Lion and of Leopold, a member of the Legion of Honor, and a recipient of gold medals in Amsterdam, Paris, and The Hague. EMILE VAN MARCKE 1827-1891 Emile Van Marcke was born at Sévres, his mother being a French woman, his father favorably known in Germany as a landscape painter. He learned to draw at the Liége Academy, where he carried off all the prizes. Marrying when very young the daughter of M. Robert, who on the death of Regnault became the director of the Sévres porcelain works, he secured a position under his father-in-law, and for nine years decorated vases with landscape and animals. Troyon, whose mother lived at Sevres, visited the city at intervals and became interested in the young man, and finally invited him to Fontainebleau, where he worked alongside of the master. He was encouraged to take a studio in Paris; but for a while his work reflected closely his master’s, and was unfavor- ably compared with it. After Troyon’s death in 1865, however, Van Marcke’s work grew sensibly more individual. He purchased a farm in Normandy, raised herds of fat cattle, and painted them in their rich pastures, with a vigorous presentment alike of the beasts and their surroundings that won him a distinct position. The sale of his pictures, following upon his death in 1891, was one of the most remarkable occasions of the kind. | 4 : JEAN LOUIS ERNEST MEISSONIER 1815-1891 Meissonier left Lyons, his native city, for Paris when quite young, and for a time was apprenticed to Menier, the chocolate manufacturer. At length he started on his career as a painter on the small income of fifteen francs a month, and became a pupil of Léon Cogniet. He made his first success with rococo pictures, and gradually rose in popularity, buying a little house at Poissy, near St. Germain, after having been admitted to the Legion of Honor when only thirty years old. In 1859 he was selected by Napoleon to accompany the army into Italy, that by his pictures of victories he might institute a parallel between the emperor and his mighty uncle. The only battle painted was that of Solferino, in which Napoleon is represented watching the conflict from a hill. The next opportunity for martial painting came with the war of 1870, but when events took a disastrous turn Meissonier returned to Paris and helped in the defence of the city, after which he com- menced his cycle of pictures of Napoleon I. He was indefatigable in attending to every detail that might add to the accuracy of his paint- ings, and spent large sums in purchasing horses, arms, and costumes. As his wealth increased he beautified his estate at Poissy, and became the owner of a stately house in Paris, in the Boulevard Malesherbes. He was a fine horseman and swimmer, and retained his vigor to the end, and as late as the year before his death headed the migration of younger painters who left the Champs Elysées to establish their own exhibition at the Champ de Mars. No painter has more fully shared in his own triumphs. His reputation reached its highest during his life, and the large sums paid for his pictures passed directly into his own pocket. JEAN FRANCOIS MILLET 1814-1875 Millet, the painter of the laboring peasants, was born at Gruchy, a little Norman village near Cherbourg and the sea. As a child he re- ceived a good education from an uncle who was an ecclesiastic, and in after years could read his Virgil and other Latin authors in the original text. As a youth he worked with his father and brothers on the farm, spending his leisure in drawing, until at last a family council was held and he was permitted to take lessons from two painters in Cherbourg. But two months later his father died, and Millet, now twenty years old, was forced to return to the farm. After three years’ labor a subsidy from the municipality of Cherbourg, augmented by the subscriptions of private individuals, enabled him to go to Paris, where he entered the studio of Delaroche. Such discipline as he encountered there was not for one so full of what he himself desired to do; he found the master’s pictures “huge vignettes, theatrical effects without any real sentiment.” For a time he tried to support himself by painting little genre pictures such as he thought the public seemed to want, but they were unsuited alike to his method and taste; so that at length he dared to hearken to the “ cry of the soil,” with which he used to say he was haunted, and produced “ The Winnower.” The sale of this picture encouraged him, and hearing from Jacque of the Barbizon colony, he determined to join it. In June of 1849, when Millet was thirty-five, the two painters, with their wives and children, set out, and by evening reached the spot with which their names will be forever associated. Several years of grinding poverty ensued, and it was 1863 before the artist was in a position to buy a little house in Barbizon. But by this time his reputation was no longer in doubt. At the Uni- versal Exposition of 1867 he was represented by nine pictures and received the Grand Medal, and two years afterwards was on the Hang- ing Committee at the Salon; and he lived to see his ‘‘ Woman with the Lamp,” for which he had received a hundred and fifty francs, sold for thirty-eight thousand five hundred. “ Ah,” he said, “they begin to understand that it is a serious picture.” ~ He lies buried near Rousseau, in the churchyard at Chailly on the edge of the forest, and the heads of the two masters are recorded side by side on the Barbizon stone by Chapu. FRANCOIS MOORMANS 1831-1873 Born in Rotterdam, Moormans became a pupil of the Antwerp Academy. His genre pictures won him a distinct reputation. MIHALY MUNKACSY 1846-1900 Mihaly Lieb, later called Munkacsy, after the little village of Mun- kacs in Hungary, where he was born in 1846, was the son of a peasant. He began life as a carpenter’s apprentice, until a portrait painter of Guyle, seeing that the boy had talent for drawing, undertook to teach him. From this master he passed later to the Vienna Academy, whence he graduated in time to Munich, Professor Adams becoming his friend and instructor. His advance was so rapid that he estab- lished a studio at Diisseldorf, where he came under the influence of Knaus and Vautier. Emboldened by the success of his ‘ Last Day of a Condemned Man,” he migrated to Paris, where, except for visits to his native land, he made his home, winning a popularity that was world-wide. At the end his intensely vigorous mind succumbed to disease, and a brilliant career was closed in madness. He was one of the most prominent and best known of those eager Hungarian artists whose genius, pent and cramped at home, has overflowed the art centres of other countries; belonging to a generation too early to share in the harvest of the late renaissance of art in Hungary itself. BARTOLOME ESTEBAN MURILLO 1618-1682 Both Murillo and Velasquez were born at Seville; the former in 1618, eighteen and a half years later than his illustrious fellow-towns- man. While Velasquez is reckoned in the Castilian school of Spanish painting, which, drawing its traditions from Toledo, grew around the courts of Philip II. and Philip IV. at Madrid, Murillo was the head of the Andalusian school, whose centre was Seville and its chief patron the Church. He was taught to paint by a relative, Juan del Castillo. In 1641, having acquired a little money by painting heads of saints and sacred pictures for South America, he was induced by Pedro de Moya, a former fellow-student who had studied in England under Van Dyck, to proceed to Madrid, with the intention, as some writers state, of going on to England and to Italy. But the death of Van Dyck, his own limited resources, and, most of all, the kindly advice of Velasquez, decided him to remain at Madrid, where the great master procured him every facility for completing his studies. In three years’ time he had made such progress that Velasquez advised him to proceed to Italy, and offered him letters of recommendation from the king, which honor he declined, preferring to return to Seville. Here he painted a series of pictures for the Franciscan monastery, representing events in the life of St. Francis, and henceforth was acknowledged as the Caposcuola, or head of the school of Seville, his principal ‘rivals being Francisco de Herrera the younger and Juan de Valdez Leal. Marrying a wealthy lady of Pilas, he was enabled to maintain a handsome establishment, his home being the resort of people of taste and fashion. In 1660 he founded the Academy of Seville, and for the first year was its presi- dent. His earlier pictures, painted with considerable force and realism, are chiefly illustrative of humble life, a favorite subject being the bare- legged, dirty street urchins sleeping or playing in the sunshine. But later, scriptural or religious pictures occupied his brush, and of these the most important were a series of eight large canvases painted for 4 : a ia,” La Caridad, the hospital of St. George. Many of these are now dis- persed, some of them having been taken away by Marshal Soult during the Peninsular War. His last -work was an altar piece of St. Catherine, painted at Cadiz for the Church of the Capuchins. But it was never finished, for a fall from the scaffolding obliged him to return to Seville, where shortly afterwards he died. ADRIAAN VAN OSTADE 1610-1685 Adriaan Van Ostade was baptized at Haarlem on the toth of De- cember, 1610. He became the favorite pupil of Franz Hals, and was in time himself the master of Jan Steen. Twice married, his second wife being the daughter of Jan Van Goyen, he lived and died in Haarlem, and was buried there May 2, 1685. Few collections are without examples of his peasant subjects, which are among the best of the “Jittle masters.” His earlier pictures are the cooler in tone, the later more golden and showing the influence of Rembrandt. His drawings and etchings are also held in high esteem. DON VICENTE PALMAROLI Born in Madrid in 1835, Palmaroli studied under Federico Madrazo and at the San Fernando Academy, afterwards continuing his studies in Rome. He gained reputation for portraits as well as for his genre subjects, in which latter his style is likened to a mixture of those of Fortuny and of Meissonier. For many years he was director of the ‘Spanish Academy at Rome. ALBERTO PASINI 1826-1899 Chevalier Alberto Pasini was born at Busseto, near Parma. After being taught to draw by Ciceri, he continued his studies in color under Isabey in Paris, and also enjoyed instruction from Rousseau. Being of independent means, he was able to take advantage of a chance to visit the East, and resided there, in various countries, for three years. “No man of our time succeeds like him in realizing upon canvas the life and spirit of the Orient, its splendor of color, brilliancy of burning light, and barbaric sumptuousness.” He was an Officer of the Legion of Honor, and received a long list of medals, among them the Grand Medal of Honor at the Universal Exposition of 1878. AUGUST VON PETTENKOFEN 1821-1889 August von Pettenkofen was born at Vienna in 1821, ana spent his boyhood on his father’s estate in Galicia. _He served for a while as a cavalry officer and then turned to painting. A visit to Paris made him acquainted with the work of Alfred Stevens, and fixed his subsequent style. Returning to Vienna, he became a marked man, substituting for the steely, hard, and polished method of genre painting that then prevailed a delicately colored, simple, sunny flexibility of manner that was concerned less with the subject than with representing it in an artistic way. His early experience in the army made him partial to subjects introducing soldiers, but he preferred to represent them when | off duty and taking their ease, and he extended his studies into the life of the little towns and villages of Bohemia and Hungary. His most famous picture is ‘“‘ A Market Scene in Hungary,” exhibited at Vienna in 1876. He was a Chevalier of the Austrian order of the Crown of Oak. KARL PROBST Karl Probst was born at Vienna in 1854. He wasa pupil of Angeli, and in his genre subjects closely imitates Meissonier. REMBRANDT VAN RYN 1606-1669 Rembrandt Hermanz (son of Herman) van Ryn was born at Leyden in 1606, the son of a prosperous miller, Herman Gerritzoon (son of Gerritt) van Ryn. He was sent to the Latin school of Leyden with the idea that subsequently he should study jurisprudence at the uni- versity; but his inclination for art was so marked that his father put him in the studio of Jacob van Swanenburch, with whom he remained three years. After further study for a short time under Pieter Last- man at Amsterdam, he returned to Leyden and devoted himself to study from nature, especially to portraiture, both in oils and etching, and to the problems of light and shade, to which last he may very probably have been attracted by the engravings of Lucas van Leyden. In 1630 he returned to Amsterdam, where he remained until his death. Although only twenty-two years old, he had already executed many of the subjects now so highly prized; and as soon as he settled in Am- sterdam patrons recognized his worth and pupils gathered round him from all parts of Holland. His fame and fortune grew rapidly; he was able to indulge his taste for collecting objects of art, and in 1634 crowned his happiness by marrying a lady of good Frisian family and some property, Saskia van Ulenburg. But the heyday of his happiness was all too brief: his beloved Saskia died in 1642, leaving one son, Titus. That same year was finished “The Night Watch,” which in- volved him in a controversy with the guild that had ordered it, and the following years found his financial embarrassments increasing, until in 1656 he was publicly declared insolvent. The rest of his life was darkened with money troubles, brightened by the devotion of his mis- tress, Hendrikie Stoffels, and sustained throughout by undiminished enthusiasm for his art. After Saskia’s death, shunning the desolation of his home, he found solace in nature, and produced his finest land- scapes. After his bankruptcy, when he was being driven into con- stantly narrowing circumstances by his creditors, he seems to have found consolation among a few tried friends, and this period is dis- tinguished by his noplest portraits. THEODORE ROUSSEAU 1812-1867 Rousseau was born in Paris, his father being a tailor, who lived in the Rue Neuve-Saint Eustache, No. 4, au quatritme. As a boy, he is said to have been vety fond of mathematics, and when he began to learn to paint, it was in the studio of the classicist Lethiére. But from the window of his home overlooking the roofs of Paris, he was even then beginning to study the facts around him, and in the summer rambled in the country round Paris, making little landscapes of nature as he really saw it. His first excursion to Fontainebleau occurred in 1833, and the following year he painted his first masterpiece, the “Cétés de Grandville,’ for which he received a medal of the third class. But after this his pictures were refused at the Salon for fifteen years, and it was only when the Revolution of 1848 had upset the Academic Committee as well as the king, that his pictures obtained official recognition. In the meantime he had had a hard struggle for a livelihood, and even after 1848 people, accustomed to brown land- scapes, were repelled by the greenness of ‘this. “‘ Spinach,’”’ was the contemptuous cry. ‘“‘ Ah, but it was hard,” he said in his later years, ‘to open the breach.” Even to the last official recognition was grudg- ingly given. At the Exposition of 1867, although he acted as the president of the International Jury, his services were not rewarded, as is the usual custom, by an officership in the Legion of Honor, and his chagrin over the insult is supposed to have hastened his death. The sorrows of his life were added to by the affliction of his wife, a wild young creature of the forest when he married her. She became in- sane, and, resisting the entreaties of his friends to confine her in an asylum, he kept her in his home and devoted himself to the care of her. The poor thing was singing and dancing when the great painter died. He is buried in the churchyard of Chailly, on the edge of the forest of Fontainebleau, and Millet marked his grave with an unhewn stone, bearing the inscription: “ Théodore Rousseau, Peintre.” JACOB VAN RUYSDAEL 162 5(?)-1682 Jacob, the nephew of Saloman van Ruysdael, was born at Haarlem about 1625. Being intended by his father, Izaak, for the medical pro- fession, he received a good education, and was sometimes styled doctor. He may have learned to paint from his uncle, and was certainly influ- enced by Albaert van Everdingen; for, after picturing the simple country around Haarlem, he was attracted to the romantic district from which that painter received his name. In 1646 he joined the Guild of Saint Luke at Haarlem, but in 1659 moved to Amsterdam, which had conferred upon him the rights of citizenship. Later he returned to his native city, oppressed with sickness and poverty, for his contemporaries seem to have cared little for his art, and it was more through pity than appreciation that they procured him admis- sion to the almshouse. Here, within the year of his return, he died. Little but what hints at discouragement and sadness is known of his life, and much of the shadow of it is reflected in his art. The figures in his landscapes are said to have been inserted by others, notably by Berchem, Adriaan Van de Velde, Wouwerman, and Lingelbach. ADOLF SCHREYER 1828-1899 Adolf Schreyer was born at Frankfort-on-the-Main, and in time entered the Institute School, studying under Stadel, and making a special study of the horse, both anatomically and in the riding school. Being of independent means, he was able to pursue his studies in Stuttgart, Munich, and Dusseldorf, afterwards travelling with Prince Thurn and Taxis through Hungary, Wallachia, and southern Russia, and later accompanying the Austrian army in its march through the Danubian principalities in 1854. Then, after further travelling in Syria, Egypt, and Algiers, he settled in Paris, where his ability was heartily recognized. Théophile Gautier, who was a particularly strong admirer, once defined him as “a Teutonic accident.” In 1870 he settled upon his estate at Kronberg, near Frankfort, where he lived surrounded by his horses and dogs; and the remaining years of his life were divided between this home and Paris. His honors included medals and orders of many European countries. PIETER VAN SLINGELANDT 1640-1691 Slingelandt was a pupil of Gerard Dou, whose manner he very closely imitated. He devoted himself chiefly to genre subjects of homely life, and was one of the popular painters of the Flemish school. JAN STEEN 1626-1679 Jan Steen was the son of a brewer of Leyden. He studied with Van Goyen and afterwards with Adriaan Van Ostade, and also felt the influence of Franz Hals. The Corporation of Painters at Leyden ad- mitted him to membership in 1648, but for some time he was absent from the city, finally returning in 1658, and settling down to combine the business of tavern keeper and painter. He died and was buried at Leyden. One of the foremost brushmen of Holland, admired greatly by Sir Joshua Reynolds, Jan Steen is richly represented in the public and private galleries of Holland. DAVID TENIERS (THE YOUNGER) 1610-1690 Teniers the younger was baptized at Antwerp, December, 1610. He was taught painting by his father, Teniers the elder, whose style he adopted, though the influence of Rubens is perceptible in his pic- tures, and, still more strongly, that of Adriaan Brouwer. He was admitted a master into the Antwerp Guild of Painters in 1622 or 1623. His works were in great request. The Archduke Leopold William, Governor of the Spanish Netherlands, appointed him his court painter, and the country seat that he bought at Perck, a village between Ant- werp and Mechlin, became the resort of the Spanish and Flemish nobility. He died at Brussels at the age of eighty, and was buried at Perck. TITIAN (TIZIANO VECELLI) 1477-1576 Titian was the son of Gregorio Vecelli, and was born at Pieve di Cadore, in which district of the Carnic Alps his family, an honorable one of Venetian origin, had long been settled. At the age of ten he was sent to Venice to the care of his uncle Antonio, a lawyer, who placed him with Giovanni Bellini to study painting. At least this is Vasari’s account, for Ludovico Dolce, a friend of Titian’s, says that he was first intrusted to Sebastiano Zuccati, and by him sent to Gentile Bellini, whose style was distasteful to the youth and drove him to study with Giovanni, whom he also left to associate himself with Giorgione. Though the last named was younger than Titian, his genius had flowered early and was already being felt by all the Vene- tian painters, and it is certain that in 1507 he and Titian worked to- gether on the frescoes of the exterior of the Fondaco de Tedeschi. In I511 Titian was invited to Padua, where he executed the three frescoes still to be seen in the Scuola del Santo. Giorgione having died the same year, the duty of finishing his work in the Sala del Gran Con- siglio in Venice was intrusted to Titian, who performed it with such satisfaction to the Senate that the latter conferred upon him the office of La Senseria, worth one hundred and twenty crowns per annum, and involving the obligation of painting for eight crowns a portrait of each doge elected during his time. Meanwhile he had attracted the notice of Alphonso I., Duke of Ferrara, for whom he executed the “ Bacchus and Ariadne” of the National Gallery, and the “ Bacchanal and Sacrifice to the Goddess of Festivity,’ now in the Gallery of Madrid. By the death of Giovanni in 1516, Titian was left undisputed master in Venice, and between 1514 and 1530 produced such masterpieces as the “Tribute Money” (Dresden Gallery), “Sacred and Profane Love” (Borghese Palace), “ Assumption of the Virgin” (Academy of Venice), and the “St. Peter, Martyr,” for the Church of SS.” Giovanmieagd Paolo. The last, the grandest achievement of Titian in dramatic painting, having been laid away in the sacristy during the restoration of the church, was destroyed by fire in 1867. Titian’s style now becomes broader. At the age of about forty-five he reaches a period of ripe maturity, adorned especially with a series of splendid nudes and portraits which place him foremost among the great portrait painters of the world. He enjoyed the friendship and patronage of the Emperor Charles V., and after the latter’s abdication found as stanch a patron in his son, Philip II., who granted him a pension of four hundred crowns. When, in 1554, the artist com- plained of the irregularity with which the money was paid, the king wrote an order for the payment to the governor of Milan, concluding with these words: ‘ You know how I am interested in this order, as it affects Titian; comply with it, therefore, in such a manner as to give me no occasion to repeat it.” Titian was now living, in the lovely villa of Biri Grand, overlooking Murano, the Lagoons, and the Friulian Alps, a life of splendid epi- cureanism that tinges somewhat his later works, without preventing him, however, from rising again and again to efforts of sublimity. His friendship with the notorious Aretino, profligate and unprincipled, has been counted against him, and yet there is no evidence that Titian dropped to his level; rather it would seem that this friendship was the redeeming trait in Aretino’s life. When sixty-eight years old Titian visited Rome for the first time, and met Michelangelo and painted the portrait of the Pope Paul II. The following thirty years were filled with noble work: portraits such as those of his daughter Lavinia; sacred pictures like the ‘‘ Presentation of the Virgin ”; classic subjects, as the “ Dance” of the Naples Gallery—a range of work unparalleled in splendor. At last, with a prescience of the end, he concentrated all his power on a “ Pieta” which should secure him burial in the Church of the Frari. The picture is now in the Academy of Venice, but his body rests, as he had desired, in the chapel of the Crucifixion. The terrible plague that swept away 190,000 people in Venice attacked the great master even in his retreat at Biri, when but a year was want- ing to complete a century of life. CONSTANT TROYON 1810-1865 Troyon was born at Sévres in 1810, and worked with his father in the porcelain factory, Diaz and Dupré being his fellow-students. But the real story of his art life begins when he and his two friends found themselves at Barbizon in companionship with Rousseau. A man of strong, massive form and blunt simplicity of manner, he found in the strength and sincerity of Rousseau’s ideals the very stimulus that he needed. His way of seeing nature was large and ample, intent on the big significances and their harmonious relation to a complete ensemble; his method broad, direct, and forceful, pregnant with intuition. From 1832, when he first exhibited at the Salon, until 1849, when a long list of honors was crowned with the Cross of the Legion of Honor, it was as a painter of pure landscape that he was known. The picture | of 1849, “ The Mill,” shows the influence of Rembrandt, for he had recently returned from Holland; a visit which in a still more decisive way affected his career and subsequent fame. For several years previously he had been closely studying cattle, and had been urged by his friends to introduce them into his pictures. In Holland he seems to have realized at last their significance in the landscape, the oppor- tunity which they offered of noble masses of form and color, their intimate relation to the character and spirit of the scene. So at length, in 1855, after a prolonged sojourn in Normandy, he paints that mighty picture, ‘‘ Oxen Going to their Work,” and becomes the Troyon whose position in art is unrivalled and imperishable. Henceforth he is known as the greatest of all landscape and cattle painters; not as the painter of pictures always perfect in composition or absolutely perfect in draw- ing, but as the one of all others who gives the actual life of the cattle, without sentimentality, in its natural environment; whose landscapes, as Muther says, “‘ with their deep verdure, their massive animals, and their skies traversed by heavy clouds, are the embodiment of power.” WILLEM VAN DE VELDE (THE YOUNGER) 1633-1707 Bearing the same name as his father, and being the younger brother of Adriaan Van de Velde, Willem was born at Amsterdam in 1633. He was taught to draw by his father, and to paint by the marine and landscape painter, Simon de Vlieger. In 1677 both father and son went to England and entered the service of Charles II., continuing their official position under his successor, James II. Each was granted a yearly pension of one hundred pounds, the father “for taking and making draughts of sea fights,” the son “ for painting the said draughts with colors.” They lived at Greenwich, on the Thames, where the older Willem died in 1693 and the younger in 1707. “ Willem Van de Velde the son,” writes Walpole, “ was the greatest man that has ap- peared in this branch of painting; the palm is not less disputed with Raphael for history than with Van de Velde for sea pieces.” He is very fully represented in the National Gallery and the Royal Collec- tion, and his pictures are to be found in many of the English private collections, notably that of the Earl of Ellesmere and of the late Sir Richard Wallace. EUGENE JOSEPH VERBOECKHOVEN 1799-1881 Verboeckhoven was born at Warneton, West Flanders, in 1799. After commencing his studies with his father, Barthelem, a sculptor, he prosecuted them in England, Germany, France, and Italy, finally settling in Brussels. He was a member of the Academies of Brussels, Ghent, Antwerp, Amsterdam, and St. Petersburg, a member of the Legion of Honor, and of many European orders of merit. JULES JACQUES VEYRASSAT For his pictures, generally involving horses, Veyrassat received repeated medals and the cross of the Legion of Honor. He was born in Paris, 1823, and in early life studied under Lefman. JEHAN GEORGES VIBERT A Parisian of brilliant versatility—wit, critic, dramatist, as well as painter—Vibert in his pictures portrays the actualities of elegant life or a shrewd characterization, often humorous but always genial. A pupil of Picot and afterwards of Barrias, he began with historical sub- jects and made a failure. Thenceforth he followed the bias of his own temperament, and along the line of his special subjects has reaped a continual harvest of success. He early discerned the fascination of Fortuny’s skill in water colors, and practised the art himself, being one of the leaders in the new school of French Aquarellists and a recog- nized master of the medium. He received the ribbon of the Legion of Honor in 1870. MAX VOLKHARD Son of Georg Wilhelm Volkhard, historical and portrait painter, Max was born at Diisseldorf, and in time entered its Academy, study- ing under Eduard von Gebhardt. Later he studied in Brussels, Ant- werp, Bruges, and Ghent, also visiting Italy. His reputation is based entirely on genre subjects. | JOSEF WENGLEIN Josef Wenglein was born at Munich in 1845, and was one of the first of the Munich painters who ranged themselves alongside of Adolf Lier, upon the latter’s return from Barbizon. His favorite haunts have been the neighborhood of the river Isar, Bavaria, and the Black Forest, and his landscapes show a preference for effects of sunlight struggling with vapor and for masses of distant forest. FELIX ZIEM Ziem was born in 1821 at Beaune, a little town twenty-three miles southwest of Dijon. At the Academy of that city he received the art education which he supplemented by study from nature in the south of France and in Holland, receiving his first Salon medal in 1851 for a picture of Dutch scenery. Then he visited Constantinople and Italy, and found his true bent. Pictures of the Golden Horn and of St. Mark’s Place, exhibited in 1857, made an unusual sensation; he was elected to the Legion of Honor, and the remainder of his life has been devoted to variations on the dream of light and color represented in those two pictures. He has shared with Rico a recognized position as painter of Venice, but while the former depicts fragments of the city under the broad glare of noonday, Ziem has chosen wider hori- zons and rendered especially the dreaminess of morning light or the splendor of sunset, and in a spirit altogether more romantic. In the Eastern subject contained in the present collection, there is again this feeling for the romantic suggestion of the scene. a OE a a SALE AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY ON THURSDAY EVENING, JANUARY 30TH BEGINNING PROMPTLY AT 8.30 O’CLOCK Sense i D. B. GIOZA 15 1—The Rehearsal In a chamber decorated with brown woodwork, above which runs a frieze of tapestry, is a gathering of people dressed in the costume of the sixteenth century. To the right, under a hanging lantern, sit a lady and gentleman, looking over a sheet of music. By their side sits a man with a mandolin, and from a raised platform in the front of the picture a man, leaning against the back of a chair, stands watching the group. To the left, in front of a high carved doorway, a lady leans back in her seat, turning her head and giving her hand to a gallant who sits with his back towards us. Signed at the left, and dated ’8o. Height, 6% inches; length, 9% inches. FLORIAN WISENGER f o / 4 2—Fruit and Flowers ; q- 4 ay ts. Los f Xe Against a dark-brown background is bunched a mass of black- berries, ruddy leaves, purple dewberries, scarlet and yellow berberries, interspersed with wild flowers and some delicate sprays of grass. Signed at the right. Height, 7 inches ; length, 9 inches. Flaws E. J. VERBOECKHOVEN 3—Sheep and Chickens +, ® ‘Near a railed fence and some bushes on the left of the picture are two hens, while in the centre lies a sheep, near which two others are feeding on the grass, that grows in scanty patches over the sandy ground. On the right a flat stretch of meadows, dotted with cattle, stretches to the horizon, where a tower is visible. Signed in the centre. Height, 6 inches; length, 834 inches. Verboeckhoven’s studies of animals are characterized by a minutely accurate execution and a sort of sculpturesque feeling, which may be due to his having been taught to draw by his father, who was a sculptor. Pbf- i! ROSA BONHEUR : 0 awe es crouches under a bush. The dog leans back on three legs and the other one in the air. ae Signed at the right, and dated 1859. Bs Height, 83/ inches ; length, 11 inche SS oes a ~€ 5—‘* Speak, Sir!” At a table, which has a white, lace-edged cloth over a Persian table- cover, sits a young lady, offering a piece of sugar to a greyhound, while a fair-haired child rests her arms upon the table, watching the game. The older girl has her blonde hair brushed off her forehead and falling behind, and wears a point-lace collar around the square-cut neck of her gown. Signed at the left, and dated ’71. Height, 1234 inches ; width, 9% inches. \ no EMILE MUNIER . bo Sitting side by side on a bank are two children—a little girl offering an apple to a boy in exchange for a taste of what is in his yellow bowl. She is clad in a dark-gray bodice and dark greenish-blue skirt, over which a dull-green apron is looped up, while the boy, who has his hand behind his companion’s back, resting against a tree trunk, wears a blue waistcoat and brown breeches. A little black and tan dog stands be- side the girl, and on the ground to the left is a basket with apples, bread, and a white cloth. ? 21f.— 6—A Fair Exchange Signed at the left, and dated ’71. Height, 1234 inches ; width, 9% inches. EL lrg pe 7—Street in Damascus ALBERTO PASINI ‘ by The scene is the end of a narrow street, with a gallery along the wall of the house on the right, and a structure of beams and broken thatch across the roadway, beyond which the street terminates in an arch- way. Near the foreground a man in rose-colored cloak, riding a brown horse, has stopped to speak to a figure wrapped in white, with a red and orange bernouse on his head. To the right, upon a stone ledge projecting from the wall, a man in amber and blue tunic sits smoking; and near him another, in a red fez, stands leaning forward as he reads a paper. Across the angle of the street, on the left side, is suspended by its corners a dull-red awning. Signed at the right. Height, 9% inches ; width 7% inches, In his outdoor genre of Oriental scenes Pasini has made for him- self quite a unique reputation. He suggests the piquancy of detail in the architecture, while maintaining also much breadth of treatment, especially in the management of light and shade and in the rendering of warmth, and enlivens his pictures with figures that are more than subsidiary, for they are individual in character as well as units in a general scheme of animation. ISL - AUGUST VON PETTENKOFEN bi b 5 8—Soldiers at Breakfast 4 Hiicbhel / In the courtyard of a little whitewashed house three soldiers are eating their midday breakfast, their accoutrements being piled against a fence on the right. From an arched doorway a woman in blue apron and rose-colored skirt, with a kerchief of the latter color over her head, is coming towards them with a dish. To the left of the group is a little tree, and between the arches of an upper gallery flutter the pink, white, and blue of clothes hanging on a line. Signed with monogram at the left, and dated 1850. . Height, 12 inches ; width, 10 inches, Pettenkofen spent his summers in the town of Spoenok, on the Theiss, near Pesth, wandering among the little whitewashed houses and noting the people busy at their work or resting in the sunshine. He avoided painting character, and contented himself with rendering simple actions at picturesque moments, and always in a delicate scheme of color. Among his early patrons was Sir Richard Wallace. se 4 wbbeed, ‘ C. MANNICARDI Te g—Fully Absorbed In a dull-pink interior a boy is sitting on the edge of a chair, split- ting a piece of osier. He wears a gray felt hat with the brim turned down, a drab checked jacket, and gray trousers, and by his side on the seat of the chair is a basket covered with a white cloth. Signed at the right. Height, 14 inches; width, 1o¥ inches. Sane Pony EDUARD CHARLEMONT 7448. 4 Le ‘ 10—Planning the Campaign eds ‘ The conference is being held in a room that opens into a white, lighted corridor, at the entrance to which is a guard on duty holding a spear. To the right of a table covered with a green rug, a man, in black costume and white ruff, sits with his elbow on the table, resting his chin on his hand. Opposite to him another leans forward, with his left hand on the arm of his chair and a malacca cane in his right, and looks over to a gentleman who stands on the right of the table. The latter has brown curls hanging over a lace-edged collar, and wears a drab leather doublet with blue satin sash, and red trunks and boots reaching above the knees. Near the centre of the picture two men standing against the wall in shadow are watching the proceedings with interest. Signed at the left, and dated ’85. Height, 10% inches ; length, 14% inches. From the Fauvre Collection. Cad. me .([f Wiry_ > atend T 1 do (2390) WA 4, A olf eat a LESSI yy 1p I 1—Bhie Smoker Sitting in a square-backed chair, a man with half-closed eyes and his mouth drawn down at the corner by his long pipe is giving himself up to the enjoyment of a smoke. He wears a black beaver hat with very wide brim, and a doublet of smooth red cloth with slashed sleeves that are lined with buff and show the white shirt underneath. Signed at the right. Height, 113/ inches ; width, 9 inches. From the artist. . @ f yi " R. CERVERA , 7” VAS QOY | 12—Absalom and Tamar {) : bay aaa This is a copy of Cabanel’s picture of the same subject. Absalom, in a loose white robe edged with gold, is sitting on a divan, and his sister in her grief has flung herself across his knees. Her body is nude to the waist, the lower part being swathed in white drapery, orna- mented with gold and plum color. Against the blue-tiled wall on the right of the picture leans an attendant, in yellow and blue headdress, and a wrapping below the waist of rose material. Height, 1414 inches; length, 18 inches, T %, Shee "4 TONY FAIVRE 13—The Gains of a Day < 4E , In a corner of some Italian village a little pifferone is counting money into his felt hat, while a little girl nestles close to his side, with her hand on his arm as if checking off the count. The boy has a brown coat and red vest, and wrappings of black and white around his legs. The other child, whose tambourine rests against a fence at her side, is dressed in a full-sleeved white shirt, with black velvet bodice and a scarlet skirt, over which hangs a green apron with broad decorated border. Signed at the right. Height, 18% inches; width, 14% inches, JULES JACQUES VEYRASSAT’ ER See | fa ‘ 14—Crossing the Ferry 4 a) ladmer A ferryboat laden with horses and men is being pushed off from the bank on the right of the picture, conspicuous in the group being a black horse with a man on its back. The bank curves back to the middle distance, where a figure is standing by the water watching a barge floating in midstream. On the opposite side of the river is a faint, low line of land. Signed at the right. Height, 1214 inches ; length, Ig inches. t 4% * i G. BARBINI 15—In the Wine Cellar In a cellar a girl is kneeling before a cask, drawing off some wine into a pitcher, her face catching the glow of the lantern that is held by a cavalier who sits to the left. His costume consists of an old rose velvet doublet, dull-green trunks with buff stripes, and long russet boots drawn up above the knee. Signed at the left. Height, 20% inches ; length, 18 inches. m> * a. 16—Horses Seeking Shelter from a Storm ADOLF SCHREYER Out of a dull, leaden sky the wind from the left is whirling the snow in fine dust against a low hut and a stretch of wall, behind which a number of horses are huddled for shelter. On the outside of the group is a whitish mare, with a little black colt by her side. On the left a dog is limping through the snow, and figures are dimly seen within the open doorway of the hut. Signed at the right. Height, 13 inches; length, 23 inches. Schreyer thoroughly knows his horse; and equally the stern life of Siberia or the glowing warmth of the Orient. His resolute dash, tempered with great refinement, gives to his pictures an individual distinction. While the incident that he depicts is realistically rendered, he adds to it the further charm of imaginative treatment. ae ALBERTO PASINI : 17—Shnset at Thebes with a View of the Memnon A strip of desert is bounded by gray, rocky hills, and in the fore- ground two sitting colossi loom sharp and clear against the brilliance of the evening light, which is bursting up from the white and rosy horizon towards the blue sky above. Near the farther statue is a low, broad-angled tent, to the right of which are some figures beside a fire. In the foreground three camels are disposed over the scanty brown- green grass, which is interrupted on the right by a little pool of water. Signed at the left. Height, 16 inches ; length, 22 inches. A fortunate chance permitted Pasini early in his career to visit the East, and during several years’ residence in Turkey, Arabia, Persia, and Egypt he accumulated the experience which he uses so effectively in his pictures. From one of his masters, Isabey, he had acquired the facility of introducing brightly animated groups of figures, which give his landscapes the additional interest of genre pictures. ‘‘ His color is strong, bright, and true, and his grasp of form and character vigorous.” LOUIS EUGENE ISABEY tas : f 18—The Love Message Au fi bude Through the square shutter of the front door of a little house a Dy 2 ay hand is thrust out to receive a letter, delivered by a man who stands at the top of a flight of steps. He has long sandy locks, wears a white doublet with tags of pink ribbons, black loose breeches, and scarlet stockings, and holds a drab felt hat with a big feather on his hip. Sitting on the steps is a King Charles spaniel, and on the balustrade rests a tray with gray pitcher and tumbler. Roses and hollyhocks grow in profusion to the left of the steps. Signed at the right. Height, 2514 inches ; width, 18% inches. From the artist. Isabey’s was a delightful, sympathetic individuality, that made for itself a world of fancy, in which beautiful costumes and elegant come- dies of manners were depicted with studied gracefulness and vivacity of color. JOSEF WENGLEIN 19—Borders of the Black Forest Foresters are resting in a glade that is bounded in the distance by ranging ranks of forest. On the right of the pale-buff grass a man sits upon a stump smoking, while another is stretched upon the ground, and a third stands with his hand on a dog’s head. On the other side of the picture a number of men, standing or sitting, are strung out in line under three birch trees. . Signed at the left, and dated ’8o. Height, 20% inches ; length, 29% inches. Wenglein was one of the first of the German painters to feel the influence of the Barbizon painters, and his pictures show a close study of the simple characteristics of natural landscape. Af i da ally KARL PROBST > » . 20—The Trumpeter of Seckingen The trumpeter, with rapier in his right hand and black beaver hat in his left, is saluting a lady who, in the alcove of the window, has risen from her embroidery frame to receive him, while a girl who sits oppo- site to her leans forward with her right hand extended. The costumes are of the middle of the seventeenth century, the lady’s being white, the girl’s black. A black cat is rubbing its body against the wainscot of the window. Signed at the left, and dated 1888. Height, 2214 inches ; length, 27 inches. VICENTE “PALMAROLI 21—-Contemp ation Against the dull-red window curtain of a brownish-colored room, a girl, dressed in white with a bunch of violets on her bosom, sits upon a bright-red settee in an attitude of reverie. Over the edge of the latter is spread a small tapestry rug, on which lies an open book, and on the floor is a gray vase, decorated with blue and brown streakings, holding a palmetto. The girl’s head is turned to the right, almost facing us; her blue eyes look up, and her right hand is laid upon her lap. Signed at the right. Height, 30 inches ; width, 20 inches. Palmaroli has the Spanish love of brilliant color, and has been de- scribed as resembling in his style a mixture of Fortuny and Meissonier. CHARLES FRANCOIS DAUBIGNY The subject is a harvest field, with figures and a loaded wagon. Low down in the picture a dark hedge stretches across the horizon, 4 ot 22—Landscape ae » irregular in form and accented on the right with a tall poplar and a smaller one near it. A patch of green meadow connects this with the middle distance, where a wagon is seen, and to the left of it the stand- ing figure of a woman ina red cap. A little nearer on the left is an- other woman with white bodice and cap, and on the edge of a road in the foreground a man stooping. To the right of him is a heap of sheaves. Signed at the left. Height, 5% inches ; width, 9% inches. While his brethren of the Barbizon school were painters of nature, Daubigny was the painter of the country—its simple pastoral charm and quiet stir of human occupation, with a preference for the hush and tender mystery of the twilight. 1g JULES DUPRE 23—The Pond: Sunset The evening sky is reflected in hues of cream and wine-rose on the surface of a pond, to the right of which is a thicket. In front of it, near the edge of the water, is a larger tree, beneath the shadow of which aman stands ina punt. On the opposite side a low slope of grass with a willow upon it, projects into the water. To its left is a bold mass of brown foliage, and on the horizon a few low cottages are shining among darker, taller houses. : Signed at the right. Height, 1014 inches; length, 133/ inches, Dupré was the romantic poet of the Barbizon brotherhood. He painted nature in her stressful moods, or in the calm which follows after storm. He was a magnificent draughtsman, yet not so much intent, as Rousseau, on the forms themselves as upon their significance in relation to his passionate, melancholy conception. His color, too, rich and glowing or turbulent and murky, has a character of grandeur. Mi Sed 24—The Hussar JEAN LOUIS ERNEST MEISSONIER His arm resting on the neck of a white charger, the trooper stands with the weight of his body on his left leg, the right being thrown across it. He wears the uniform of the Hussars—a short greenish- blue tunic, trimmed down the front of each edge with buttons and white cord twisted and looped, trousers of green cloth, with a series of buttons on the red stripes, and a high green cap barred with white, which shows against the red cloth and sheepskin on the holster. Monogram at the right. Height, 73/ inches ; width, 53/ inches. From the Secretan Collection, Paris, 1889. Catalogue No. 61. Meissonier’s exquisite craftsmanship assumes its choicest expres- sion in his little pictures, for in them he manages to suggest a breadth and bigness which are more akin to the spirit of a historical subject thanagenre. In them, also, besides excellent drawing and brush work, he reaches often a very distinguished charm of color. ™ ‘vd & 2s “\. Ns wie is a string of ducks. From the shadowed bank on the left N. gas CHARLES FRANCOIS DAUBIGNY 25—On the Water’s Edge The water extends across the picture, and in front, among the lily rise sothe small trees that hang their brownish-yellow foliage against the sky. The water is bounded by a woody bank which slopes up smoothly on the right. On the right drifts a boat with bare mast, and in the little rowboat that trails from its stern is a figure. Other boats appear in the centre of the middle distance and underneath the bank on the left. Signed at the left. Height, 83/ inches ; length, 15% inches. “ Daubigny,” writes Muther, “had the secret of shedding over his pictures the most marvellous tint of delicate, vaporous air, especially in those representations at once so poetic and so accurate of evening by the water’s edge. The painter of the banks of the Oise saw every- thing with the curiosity and love of a child, and remained always a naive artist in spite of his dexterity.” 2700 ed JEAN BAPTISTE CAMILLE. COROT - , Be: 26—Figure of a Nude Woman Goad a be _ a ” ° é * it is a ee p on n the elbows, the face oe three-quarters t to the ‘eon ie of the picture. Ree Bret - ’ % ‘Signed at the right. ; " ; s ; rit Height, 11 inches; length, 16 inches. > Ae : 3 5 Ca as * & ve ‘on - Acar as ni ¥ “Der a * z § ” : * Py & o~ m8 , + 2 “ ‘ bs “ 3 ‘ is » x FR * 4 » S * « - 2 he a : A ] ‘s ? 4 * ” * “ * ~ - + 4 . 7 : F 5 ? ! x ” oe oe Lease erat nite Se ate WEE Ro RA RE Oe Rs . ; B "i 1 1 b ¥ ’ ‘ i r * i 4 u ‘ ‘ ‘ > ‘ 4 g y ~ , - . + t - ‘ r 1 as ‘s @ % * t ep CONSTANT TROYON bEr i 27—Study of a Cow and Landscape A red cow, with white markings on the face, chest, belly, and along the line of the back, stands across the picture, facing to the right. On the left is a mass of russet-green foliage, the upper sprays of which hang over the cow’s back; and the meadow passes through tints of green, brown, and bluish-green to a gray horizon. _ Stamp of the Troyon sale at the right. Height, 12% inches; length, 16 inches. 28—A Marsh in Spring t ‘taneled THEODORE ROUSSEAU de , a + cd Above the flat horizon is a pale-blue sky with layers of eee cloud. In the middle distance are some trees fledged with young leaves, and to their right a cottage, beyond which appear a little church and house. The marsh occupies the foreground, bordered on the right by grass, scrub, and stones. Ona little spit of land that jutsinto the water some brown cows are approaching to drink. Signed at the left. Height, 13 inches ; length, 21 inches. Rousseau’s devotion to form and to analytical study led him, dur- ing part of his career, to paint with a minuteness of detail that does not appear in his earlier and later pictures. But always he painted — with infinitesimal patience. Alfred Sensier describes how he visited ” him while he was engaged upon the “ Charcoal Burners,” one of the retouching the (a3 broadest and strongest of his works, and found him masses with indescribable subtlety.” CHARLES EMILE JACQUE 2ge. Watering: the Sheep Heavy, slaty clouds are rolling up from the left, and dark, stunted trees, bending to the right, stretch across the picture. From under the trees on the left the sheep are crowding down a slope to a little pool in front, where two sheep in front of the flock are drinking with their muzzles inclined towards each other. A little to the right a lamb is peering from beneath the neck of an ewe. The shepherdess, wear- ing a blue apron and a violet-rose bodice with white sleeves, and carry- ing a blue jacket on her arm, holds her staff in her hand as she turns to look at her dog, who gazes up into her face. Signed at the left. Height, 20 inches; length, 26 inches. Jacque has been called the “ Troyon of Sheep.” Certainly no one has surpassed him in the comprehension of their character and form, or in the way in which he makes them contribute to beautiful pictorial results. He is a perfect draughtsman, and, at his best, a colorist of great distinction, especially in harmonies of rich sobriety. He was a man of great force of character, and this quality is represented in his work, SOM 30—In. the Harem * NARCISSE VIRGILE DIAZ a 4 i The scene is a court of white masonry Bg tegicn. with vines and “ Ps * * crossed at intervals by beams, between which a brilliant blue sky is visible. Disposed in various attitudes are a number of women in gayly colored robes of blue, rose, amber, purple, and white. At the back two sit over a game which two others are watching. Near the front of - the picture, on the right, a woman in amber skirt leans against Hie Le a wall, and a eunuch sits cross-legged near her. Conspicuous in the group on the left is a mother, sitting on the ground, with a child lean- ing over her knees. . Signed at the left, and dated ’56. Height, 2534 inches ; width, 193/ inches, The exuberant creative faculty of Diaz, that found its fullest nour- ishment in the deep glades of Fontainebleau Forest, would seize on any pretext that could afford a basis for his fantasies of light and color. He plays on both with the happy improvisation of a musician on his instru-_ ment. His colors have the es and purity of jewels flashing on a lustrous veil of light. | : ee 4 (320n duh EMILE VAN MARCKE > O00. 31—Cattle Returning Home Down a grassy lane, irregularly bordered with bushes and small trees, a mixed herd is returning home, followed by a man whose gray shirt, blue cap, and bundle of fagots are visible above the backs of two sheep. %, ‘45—Cattle Water Color A white cow and a light-red one stand facing us, in the water, which is scattered over with leaves and lilies and bunches of rushes. Behind them is a sloping bank and a line of trees, beyond which, on the right, appears the brown roof of a cottage. Smooth hills stretch across the horizon. Signed at the left. Height, 39% inches; width, 21 inches. 46—Coast of Normandy, near Dieppe : Water Color eal be We ’ Signed at the right. a ™ 13L.— GEORGE THOMPSON 47—Sunset in Venice Water Color On the left of the picture are mooring posts, alongside of which is a black-hulled boat with buff sail, edged at the bottom with a red border. A stretch of the city extends along the right, with a campanile and white domes raised against a saffron and rosy sky. In the front is a dull-red reflection on the water from a sail far back in the centre of the picture, and to the right boats are moored to a barrel buoy. Signed at the left. Height, 21 inches ; length, 29 inches. JEAN FRANCOIS MILLET 48—The Weary Shepherdess 4 he. : / e Ne bof oe Water Color and Pastel ™~ i> Upon the ledge of a rock, which, with overhanging foliage and some small trees, fills the right of the picture, sits a shepherd girl asleep, with her head bowed over her right arm, which is extended horizon- tally along the rock. To the left of her a dark-brown curly dog is looking away from us over the lower ground, where, just below the dip of the ground, appear the heads and backs of some sheep. Beyond them is a pale-green meadow, dotted with haycocks, and in the distance a hedge, red roofs, and a line of poplars. Signed at the right. Height, 1614 inches; width, 113/ inches. “ Millet’s power,” says Muther, “is firmly rooted in the drawings which constitute half his work. And he has not drawn merely to make sketches or preparations for his pictures; his drawings were for him real works of art, complete in themselves, and his enduring and strongly grounded fame rests upon them. His pastels and etchings, his draw- ings in chalk, pencil, and charcoal, are astonishing through their eminent delicacy of technique. The simpler the medium the greater is the effect achieved.” wn - ADRIAAN VAN OSTADE $3 ra 49—Man with Jug A toper, resting his elbow on the table, tilts up a brown jug with pewter lip and looks into it out of the corners of his eye. He wears a big, soft, black hat, with brim turned up over his curly hair, and a brown, sleeveless jacket, which shows the full olive-black sleeves of an under garment. Height, 9% inches; width, 734 inches. A favorite pupil of Franz Hals, Van Ostade is one of the strongest of the “little masters” of Dutch genre. His compositions are skil- fully arranged. There is much subtlety of light and shade and delicacy of color ; the action of the figures is well expressed, and the brush work, notwithstanding its precision, broadly applied. St ie PIETER VAN . SLINGELANDT 50—The Hermit co Y, Aaa aie The hermit, sitting under a rocky bank surmounted by the roots of trees, is reading in a big tome that rests upon his knees, some of the leaves being held between the thumb and forefinger of the right hand. His strong, ruddy brown face, and the mustache, beard, and tonsure of gray hair, are painted with minute elaboration, a similar studiousness of brush work being expended upon the pages of the book and its brown leather cover, which has a projecting flap and strap. The old man wears a dull russet-green habit with hood. Be- yond him, on the right, are a shepherd and his flock, and two other figures appear in an undulating pasture that terminates in hills. Height, 1014 inches ; width, 8 inches. From the Duke of Somerset’s Collection. From the Duke of Hamilton’s Collection. A close follower of Gerard Dou, Slingelandt, like the rest of the “little Dutchmen,” attempted to reproduce in his tiny genre pictures Rembrandt’s handling of light and shade. His pictures lack the sig- nificance of composition and color which may be given even to small subjects, and are apt to be labored in method. Yet their infinite detail has secured them popularity. .™ JS Sy ea hh. Mealy JAN STEEN G2 fs 51—The Merry Couple A woman is sitting with a metal porringer on her lap, while a man at her side turns round in his chair and nips her arm with a pair of tongs. Full white sleeves project from her red bodice, and below her brown-olive skirt the bare feet are thrust into slippers. To the right of the background is a high, funnel-shaped chimney and a small fire on the hearth, and on the other side of the picture a view through an open door of a person in bed. Signed at the upper right. Height, 11% inches ; width, 9 inches. Jan Steen drew human nature on the humorous side; sometimes with unnecessary grossness, but always with truth of character and gesture. He was master of composition, with a special skill in intro- ducing the effect of accidental combinations; his color was of good quality, and the brush work graceful and vivacious. 12 bude, fp, NICOLAS BERCHEM (OR BERGHEM) TIES . 52—Landscape with Figures and Animals A group of figures and animals occupies a spot which is bordered on the right by a steep wall of brown rock that slopes down to where the road dips out of sight. The light is concentrated on a woman who kneels in the centre, washing linen. Behind her a dull-red cow is being milked, and to the right of it are a sheep and a black and white goat. On the left of the picture a shepherd, accompanied by a black and white dog, stands talking to the woman as he leans on his staff. Signed at the right. Height, 14 inches ; length, 1734 inches. From the Duke of Somerset’s Collection. From the Duke of Hamilton’s Collection. Berchem is chiefly famous for his landscapes with figures and animals, which follow the Italian tradition of Claude Lorrain, and are distinguished by good composition, warm coloring, and brilliant lighting, being painted with finesse and yet with considerable freedom. ar. aes ‘DAVID TENIERS, THE YOUNGER 1700 - 53—Drinking Scene in an Ale-house The scene is a kitchen with olive-drab walls, having a small win- dow high up on the left and a shelf facing us, on which are bottles and other articles, while underneath hangs a blue and brown jug. In the front of the open fireplace at the rear of the room, on the right, two men are playing cards and others look on. Near the front of the picture, towards the left, four men are gathered round a small table covered with a green cloth. One of them, as he stands filling his pipe, turns his head round with a smile, as if welcoming some one approaching from behind us, and his companions also show varying degrees of interest in the same appearance. To the right of the fore- ground is a brass-lined cooking pot on a stool, and a black and white dog is coming from behind a settle. Signed at the right. Height, 1734 inches ; length, 22 inches. Though Teniers was a Fleming by birth, the genre pictures in which he excelled place him in company with the “ little masters of Holland.” His favorite subjects were ale-house scenes, often enliv- ened with coarse humor, but usually beautiful in color and painted with a charming ease of brush work. HANS HOLBEIN, THE YOUNGER kk tof 54—Portrait of an Ecclesiastic 4 Woth, Ye 2 . The figure is seen against a pale greenish-blue background, as far as the waist, turned three-quarters round to its own right, but with the eyes looking straight out of the picture. Underneath a black velvet biretta the iron-gray hair falls over the ears. The black eyes are angular, with. thick hair thinning towards the outer edges. The nose is marked between the eyes with a deep, arched wrinkle; the upper lip is rather long, and, like the chin, covered with soft black and gray bristles ; and the thin lips of the wide mouth are set firm together. The costume is a black velvet robe edged with brown fur, over which falls a broad silk stole. On the forefinger of the left hand is a ring, prob- ably the signet of’a bishop, and the second finger forms a curved sup- port for a little volume with reddish-gold leaves and silver clasp, and gold tooling on its brown leather cover. The forefinger of the right hand is laid upon the top corner of the book. In the upper left corner is the date A.D. 1529, and in the upper right, Aet. 74. Height, 233/ inches ; width, 15 inches, From the collection of Sir Charles Lock Eastlake. From the collection of Sir Richard Gerrard. Hans Holbein, the Renaissance artist of Germany, was preéminent in the delineation of physiognomy and character; a realist of amazing veracity, who, notwithstanding his rendering of details, gave to his compositions a remarkable unity, dignified by a harmonious sobriety of color. Executed with an ease of draughtsmanship and with a com- bination of force and delicacy entirely free from mannerism, his por- traits speak direct to us and compel our sympathy by their unaffected humanness. ; A ‘ ° e WILLEM VAN DE VELDE ° ¢ 55—A Fleet on Anchor Ground On the smooth, gray-bluish sea, surrounded by rowboats and smaller shipping, are three frigates. The one near the front has three tiers of guns, and another tier in her raised stern, which is decorated with gilded globes and has a red flag floating from it. A similar flag hangs at the foremast, and her dark, slaty sails are hanging loose. To the left of her another frigate, with white sails, is seen on end, and farther off, on the right, a third stretches across the picture. In the distance appears a low line of coast, and overhead creamy billows of cloud move against the blue sky. Height, 25 inches ; length, 30 inches. Willem Van de Velde stands at the head of the Dutch marine painters of the seventeenth century. His preference was for quiet havens where the ships, with drooping sails, lie lazily on the calm water, and his pictures are distinguished by the serenity of their deli- cate harmonies of sober gray. " - a ga MWR E- 4 PH. can JAN VAN GOYEN 4 5. Valuer 56—On the Banks of the Meuse A sheet of water, dotted with boats, is bounded by a low, horizontal stretch of shore lined with buildings, among which are windmills, a church, and a tower covered with a circular roof and cupola. At the end of this spit of land shipping is moored. Near the front, on the left, a boat, with several men on board, is drawing near a smack that, crowded with fishermen, has just caught the wind in her sails. In the immediate foreground, on the right, a boat with three men in it is being made fast to a post. ; Signed on a boat, at the right, “‘V. G.,” and dated 1652. Height, 2434 inches ; length, 38% inches. From the collection of Max Kann, Paris. During his ripest period Van Goyen subordinated color to tone. He delighted in browns and grays, in a quiet luminousness of color and dreamy restfulness of feeling, and was conspicuously clever in the rendering of lineal and aérial perspective. Jw REMBRANDT VAN RYN 4 3 44 — 57—The Accountant The figure of a man of middle age, in a red costume, set against a dark-olive background, is seen as far as the waist, holding a pen in his right hand and resting the left on a large book which lies open on a desk in front of him. The body is inclined slightly forward, with the weight a little on the left hand, and the face looking up, three-quarters full. It is fresh in color, the flesh honeycombed with minute depres- sions; the eyes far apart, rather deeply set, rimmed with red, and watery; the nose long; and the mouth broad and firm, with a thin brown mustache. Brown locks show beneath the yellow-brown cap, edged with vermilion, which is decorated with a jewel and has a rim of pearls above the forehead. The vertical plaits of a white shirt ap- pear above an olive-brown vest laced across the front, and over this is worn an orange-red gown, with full crimson sleeves and white cuffs. The light is from the left of the picture, touching the side of the cap and face, the shoulder and breast, the right cuff, and tip of the book. Height, 4054 inches ; width, 34 inches. Engraved by W. Humphrey. Described in Smith’s “ Catalogue Raisonné,” Part VII., page 102, No. 275. Ascribed to 1658. Described in E. Michel’s “‘ Rembrandt,” Vol. IT., page 247. Described in Dr. Bode’s “ The Complete Works of Rembrandt.” From the collection of Sir Joshua Reynolds, 1795. From the collection of Thomas Hardman, Esq., Manchester, 1838. sees asa siden he eiund for wane a manner aa: ang and shade, at once broad and mysteriously subtle, that absolutely. con: formed to his conception of a portrait, to its bold and vigorous char? acterization, and to its intimate comprehension of the inner personality. No painter has ever put more humanity into his men and women’s faces—a humanity at once of such everyday simplicity and yet of such ac dignity and irresistible appeal to sympathy. For he penetrated 1 neath the surface of things to the mystery of character, the complexi of good and bad, of big and little, the tragedy, pathos, and humor t make up the sum of man or woman; and each of his portraits is isa of our common humanity. Pos SF DS We Sate 4 Fe eS, Me %~ # fe 38 y oy . : ‘ ; AELBERT CUYP —Cavaliers on a Road in Holland Above a low horizon of faint hills mounts a dove-gray, vapory sky, breaking, high up on the left, into a circle of creamy clouds that catch the light. The sunshine streams softly over a broad, sandy road, which passes from the front of the picture, between two sloping banks covered with trees, and disappears to the right, leading on to a little walled town that stands on the edge of a river. Near the bend of the road is a herdsman driving some cattle; coming towards us is a countryman carrying a jug, his coat hanging from a stick on his shoulder; and nearer still, on the right, are two cavaliers on gray horses. They have halted, while one of them, who wears a plum- colored doublet, and is said to be a portrait of the artist, points along the road with his whip, giving directions to a bareheaded man at his side, surrounded by some dogs. In the centre are some goats and sheep, and to the left of them a shepherd, in a red waistcoat, leaning on his staff, with a black dog beside him. Signed at the left. : Height, 42 inches ; width, 36 inches. From the Muran Collection; H. H. Erichmann, Leyden. From the Madame Gijsbarti Hoctenyiji Collection, Leyden, 1872. From the Count Demidoff Collection. nature, and was ever on the lookout ian accidental combinations aa 7 forms, which give to his landscapes an unquestionable distinction. x @ His temperament directed him to tranquil, sunny scenes, hazy with | Bi, atmosphere or basking in quiet sunshine. He was Rae man, delighting in the texture as well as the form of o jects, and — skilled in giving animation and vigor to the figures of animals that ‘ho introduces. Of all the older masters of Holland, none has rendered Ks more convincingly the tranquil beauty of the Dutch countryside, | its a placid waters and rich pastures, or the happy one and going ott its a ae people. Cad. JACOB VAN RUYSDAEL 59—A Wooded Landscape + * e é « On a road approaching a wooded, rocky ascent, a falconer, with hawks perched on the square frame suspended from his shoulders, and with two greyhounds at his heels, is following a cavalier. The latter, riding a gray horse and carrying a falcon on his wrist, has turned aside along the road which skirts the foot of the rocks, and disappears at a corner, overspread with two delicate green trees, to the right of which, in the distance, is a glimpse of level country beneath a greenish- blue sky, streaked with creamy clouds. On the left of the picture the road narrows into a steep path, which winds up round the bowlders and trees and vanishes in a thicket of foliage. Two men and a dog are mounting this, and on a ledge above them is a well, at which a woman is drawing water, while a man gives his ass a drink. A little higher up is a small cottage among the trees. Signed at the right, with the monogram J. R. Height, 39 inches; length, 50 inches. Ruysdael’s imagination was kindled by the romantic scenery of Everdingen, a region abounding in rocks, torrents, and luxuriant dark foliage, the wild grandeur of which is contrasted with the delicacy of the gray-green sky. His pictures of this neighborhood have a bigness of composition, a rich sobriety of color, and an earnest strain of poetry. He ranks with Hobbema among the greatest of the Dutch landscap- ists of the seventeenth century; and Fromentin, artist and critic, writes of him in his “‘ Maitres d’Autrefois”’: “ Of all the Dutch painters, Ruys- dael is he who most nobly resembles his own country. There is in his work a largeness, a sadness, a placidity a little gloomy, a charm monotonous and tranquil.” 3400, - ms a % -~ ~ = . Lee TITIAN (TIZIANO VECELLI) 14.0, - 4 oe * t 60—Portrait of Philip II. of Spain : VAs / f (A replica of the celebrated portrait in the Museum at Naples.) The figure is shown full length, three-quarters face, inclined to the left of the picture. The short, brown hair, growing V-wise from the forehead, is brushed back; the eyebrows are delicately arched over full-lidded eyes; the nose is long and delicate; the upper lip, short and feathered with soft, yellow hair, which also grows thinly over the cheek and is cut to a point below the full, red lips. The costume con- sists of an olive-brown velvet doublet, with full sleeves of dull gold and green stripes, tapering to the wrists over an under garment of white satin, decorated with vertical rows of gold lace and gold em- broidered leaves, below which are slashed trunks of the same material, meeting, a little above the knee, white silk stockings, that terminate in strapped shoes of soft, white leather. The left hand, holding a pair of fawn-colored gloves, rests upon the hilt of a rapier, while the right, drawn up nearer to the waist, closes over the handle of a poniard. (Philip IT., the son of the Emperor Charles and Isabella of Portugal, was born in 1527. He married Mary, Queen of England, in 1554, and died in 1598.) Height, 75 inches; width, 43% inches. From the Blenheim Palace, Duke of Marlborough’s Collection. From Martin H. Colneghi, London. g?. erin his portraits Titian represents humanity in its noblest and most beautiful form, giving to his subjects, as the Italians say, grandezza, a conscious and yet perfectly natural and acceptable superiority. So great, also; was his power of intellect, that he fathoms the personality of his subjects and reveals them as individual men and women with their own separateness of distinction. The rendering of flesh was ever one of his great achievements. He gave the lustre of the skin— its warmth, its pearliness and light, and revelled, also, in the gorgeous- ness,of fabric-arid texture that belonged to the costumes of the day. And, with all his strength and ardor, his method is controlled. He does not seek to exploit his own achievement, but to render his mag- nificent conception of the personality unified, complete, and true. Sid - MY; Ler BARTOLOME ESTEBAN MURILLO [xe 61—The Immaculate Conception _ : Poised in an atmosphere of luminous gold, a circlet of twelve stars above her head, the Virgin rests her feet upon a sphere, around which are clouds supporting angel children. Her head is slightly bowed, the eyes look upwards, and her hands are brought together at the finger tips and upraised in a gesture of adoration. The golden-brown hair, falling in waves upon the shoulders, is separated over the right arm into two streams, one of which floats behind, while the other lies upon the breast. Her white robe, fitting the body and cut circular below the neck, has loose, straight sleeves, and hangs in long, clinging folds. From her left arm depends a deep-green drapery of silk, one end of which floats downwards across the skirt, while the other, pass- ing behind the body, reappears on the left in a volume of rich folds. Peering from between these two masses of drapery is a little angel; two more heads appear in the clouds below the sphere, and on the right are three more angels, one of which, poised in the air, holds up a scroll with the inscription: ““ NON PRO TE SED PRO OMNIBUS HAEC LEX CONSTITUTA EST 19.” The subject is a variation on Murillo’s favorite theme, examples of which are in the Gallery of the Louvre, and at Seville, Cadiz, and Madrid. Height, 985% inches ; width, 703/ inches. From the Count Altamira Collection. From the Coesvelt Collection, 1840, and engraved by Joubert in 1835. | (29, 13 — te A a Exhibited at the British Institute, 1863, and at Burlington House, 1871. Described in Curtis’s “ Velasquez and Murillo,” page 132, No 7. From the collection of Mrs. George Perkins, London, 1887. From the collection of Sir Lewis Jarvis, London, 1890. Praised by Passavant in his “ Tour of a German Artist,” Vol. L, page 186. Murillo’s sympathies were with the people. First he paints the humble folk themselves, and later embodies in his pictures their re- ligious beliefs. His Madonnas have a haunting sense of modesty and gentle self-distrust very near to the gospel story in their simple, inno- cent surrender to the Miracle of Miracles. Sensitively refined in draw- ing, with a tender severity of color that moves by its purity and luminousness, he reaches an-elevation of religious feeling that is not so much a fervor of adoration as an almost plaintive ecstasy. His daughter took the veil eight years before his death, and something of her yearning her father seems to have caught and put into his Madonnas. AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEER. SS Ya "an Led 3 Y \ i t ay : ~ P OS ry \ . en’ 4 .% ! é oe enh f * ; wi is 3) r oh » 1 BF | > Va 1. > =» i ¥ oa ’. jaw T 2 i ~ Se SS Se ea eee Ob i oo Oe $c eo ee bee aoe arden soo peer e Tore ee le See essS oh Sostetststatetsts sistststetetssess poe eee rirpspre abet bees reese reat . ele | whee he t bi ch + i = i} Drees aeatst iis tetiasesriiseisseeresitssee cerns eae e setae se a he 9 AS OOS Oe hem Se Lapaclene psec Stee bee > ees ; S2ses3 EPS ete S rere etee steel eetitee ete ates Speststacsersstetetsestsrscisstssseesesteestscies $3 imei +5. . eoereasbe ; aseessts iepaterisiss trpepeiress4 reser ee esses resrer eres esta terey presse retsssr, pips iigteares berees hy reesei eeijistatstee: Sates sgepitststetetststetsissetetsgesetate pepe sr ibedeeeep ses eoes eres Patsisties it td ‘eis et eielereiete Shehe r re ete sheists reise tes sisted Peete Teer nel Cb ph ‘* reece I— PSO 9 IOP SES Ee Peaearet et etx eee teen! ~ ae tsaaey a54— ayestees Fe eea teres Teitteies tse: errs Tod bt bo ot ekatad eae ee Fpeterrseyy pies rer ersi-re shores r= een ee eee Bsa 0 28 tb aba sige fe sas sete estes oi hoe £8 Se abe debedoebacke ee <> petitetat stato tetesssecetstessieseee ok rerprrres ts ; SB po eb bbb BS Oe Pep ehag eters eas S or reepebiisethssssies pes keke Ren ep ee ee eee ae ee ee Pe es pe ee ee heres rh Cetera eee et eS eae. riety een kerpreeeepeeeeeps Cee ate be ee pag yp re aa tae Sees abe pb t es po ~ pera e reas sy pees erent eee be ene eererscscrepeststreatsesesisestsei ss ays agg Sten triatecbeheat ayes aperr teers paced ayer ears! oe z patecara te ta essseiitsessssqestetsestsasisessissestseserteezias +2 Piepipisi shat see hieyessteteseiteesieg sey i = 95 BO fin FA 8 Spares trtgritgtetatsartszs® press bith eee. ty 3 tik er eiees paimaates : emis *- pibsiseeesszs Seeersteesce eee ae : > . Be we ep ete heen mike be ae = ey ieee pare pers s rapes ns beepieg ysis eiees ne a SN AED few Ge rset ht at htewee. bees be epee ee pasts: sities > resttts 5. Passereeeee eset ease! eet + : Sales ye yp et aees Sieseces aioe .o5 aE eoes se sis tepeiae ; Seta = peptiiseesai he rr eres: Esty tet eietete -* pepe st rt rte ore = ih ereyreanterat ey esi535% Serrrrste eistere a aL tee cepry eevee rp nr pete: bes + Ehsaan ; piesa, oad os 3 pase eee blips eey Se ee a ee wire re Sey = = 4-6 eke Ess oe Spe eS eee 4 .= 4 Ler pape h~ be ee a peespet rp sere A hte Al yy Sy ee == —f- > ps Sacad at adet anes eles ws. bee Pe a ee eee : ; r o—! Sees fo: Sega Sapir ap rs seis reaseret . e i : e552 - Vata p eee sre =o =! sae theese eeaee Sa Step etapa epweet eh rtas Sates et reat et ees $5 Sprpetase opiate isis iss FERS x Sy Fedebsess potas ae reageiie sy Shh ba a pene hehe ears =" = - r —pbanh~a ~- b testi an he eure Ser thyt, ss sgetiegtisstitatstpreressestasseed Sasarsears Basics pre tisstass: Fabs cep ysenys pert opus spegetatespractceteseeisesersttoegeetes ae — ss soe apststsiassss fesse, Beeaerersasneterenesentteretecete pasrpesrseteserrees eis! oesysstsayeretiies erase teiiirers Sees eal eae np eran eee typ et at eet at ee aiad i2; lye rete ‘3 =e Sra soot rare. Steen. Sos sh oe a eeare : <= Bettye ete eee eo eT ee eee ee alee : hy Se beet rere eee Sopreeeserieie: + W8— 98 AP OO ress Be beress bibs de bebe bcp sees rp wits ee we Fe eRe a eet eee eR aE EE ee eee ears le Lae oer Teen Reet eee isesseespaesetes ; ae dee eae. Sere teeters : ~e * Be yihsy seta see ak reek ese =e. = 9595152325 eS vee eRe See e =. * - errrsry wes jtitassses Seieiepepeietseyiiseiesesaiages ey Sapo ween s “s . rod =4 ‘aot =| sirtases een te eet epee aes Sthewtei wean. = . i pr atiteteciees pit See Na pier sare pepiseiiteresatir spree = Lsee . <6 iste eos s—s rs C Teles : ? peSeteretitetatisastileterelisicatetesisetee att re Spratt eee yas Berit; S5sss ae -ooe- yates pare are sy + pmeee esate le es oe ar a ew Lt ap Br are . oe ee oa pases seth ease bye reel ee gecassieteere etre eter yt weep pale eertoe ria EAs bes ost sp eR ERE ee Re LS ee © oS tSs78: oe re et ae ead DISTRESS ee Sb et bt ee eee $325 eo Eee ala a 3 Tae. peppy te PSIse esterase etd Leones ae ee at eee 6 aie a ey ek at otee ks wer 22; ee eee lea eeesee =a ~ +999 22 Sehprisperi sh errr errr die eye se ee a ae tbat tet weet ees aes. esi tose reecteteters vA a 6 a 49 ow as thee See ee eee Seiki e ewe aye ase eS ER SEES. On nen tee Ree ete SUES ES eS eM eS eT eee ee ete EEN AS OS ERD GF EY LT e Se a ee Seer PLE eae eee ee er se oP or se TSSEID IS eset Pee SESE ETE Ee ee Te Ee eee TET ee Le eT Pe SEP EE ESSE e TEE EE Speier bse tags Se et oie eT SSR T IS Sa eee eb ee ks ee Ree ashen Gere a Re Let eee ease eee Bee = eae ewe ergs. “F Sapte * es eee ye wht epas Penep eerie srs si wee ey wl epe seep typ eern eee i ee ae epee es $5252 T: 2587 Syetee seen. rrreepopesktss bei ey ry reise ress. ps Tip aree Sate eae ase be kewshsipei nian e end be yee = voter ene ate ee seistseiieeliese et rset ess} bey poae Beas by ee ee ssa si ea a ee eeebe ease deen! rier prerees sss oo Po epepeiapalepesat ep ety yey ypaprsepeeyy plese Soiled eet wleeen re Spiraea eye re Sa we yere4 Seat Fos 5 6 8 8 8- 4 aw! ree 2 hire. wipate peta eee os Sie asa sar ep ecepe thy ete peswe et brat et eee ep yt epee gent ee ny oat eet stat beeen es betes oe ere See etseeeeee Lrexeeses peta is ese ypa epee ys pete iatyeyt ate teiae he gp acet apedetatetatrs strsate Seah ima bend ee et tse res rs fi eas mek tbe ae ee ye eens Saisie bore 4 = DES STe oe rgd te a Sra aes eT ae ee esa ph petra esses ipeteteres 4 eets type ee sea e ene fee eta alate peat eee $5 RL ESE eres Sen wae eR eh ee ep ete Ee Tey “eo neha td a bead bs Ob ia be babe b—bebs Steere be te tebe he eet seep te bbb bate bese ee eee kth ee ee et et et eye eer ee Ne ep py eee ee ere. Cae ree ee HE TD oe weirs Sees Bk erresstess sp ier ete “+ rete p eters less sath ie ie esate eieer sey 724 sites fps Ee eee estate ts itesssee = s ei ease fe hee tie ee ee Cafe thine seas tei eias Speers ets o eS asters pease ls taser eer yeas ee asad eee et ep ta ee Se Cee et eb. eee ee ep pane ee ee es et a et et ee eae Setae rie * ray apa perre wer lorie hel iesey pee es ese ates ; fosstrriii sea oer = 255 sot * Papi Sth ES SESS EEE SSS SEE wore ksh ibiav beeps ere 33253 5 2 25252 a . ete e Tepe pel ee ete ewe anes ey wl etek ee pee Sai eS eae tte ys at et stele tet ee ibe eee ee ey cee ee epe bis + 25 2s2, o « are ront reas tieae borne see bles pteet ries Weare eee el stl es eee eet bees ba eee st wee eee eet Tasks Te et . “a Biers kee per ep epee e saad ae eert apr esate ee = peta ete ae Ca ates et ey yet be ee ee eee > . BeErerp ere agisteiieseiise diet eed eae eee eS ae pis osesns = —e Lepr er ees es el reke Sel ate eery repeees. aos yee fas rticess + . paLesetetas eiatee ee wie eer Sit tregheyealieh ee et ee eases ™ pal : sclprpe hte et teepiietists faye ayite pep aes -* : Sar yeti eee bas Rabat bs yet ee ses pete estas: (o> 85e58s 4 aeyesetrsretriteer erase topopathiniiiesctgtetesarets tefegsiey Syirtrgisrietitetstest +54 73 oat et- . Be a ete Perel ets s es ial tes eleletecsce. <* a3 : Piast es ete sews ee tee eae eer ‘ ay EES ee Sb eet pee bee ee ee ee ee ee ee +6 Sesser ses a eerie es ats Ea Se ee a Le ee tb en leo ore eur $3 = sereesye eee ist yi bere bois ave eesske rt erste eens rere ey. ei trtes ats 523 te o> ee ee kl ee eee 25. re SpabeteSe Ba tobrb stadt oleae toedeaeeeoebe eee 2 oT sss Sew ep hae a -% reves So 2>: ARTS See ee STEEDS eh ee BEET ET EONS OED SOOT ES eee L ED Tew SOT SELES e CNT Se E ep PAS eee ee e-s 9 FST HO pad ree PSLRESESSSSSLLS SEDI PCT Ol eb esse eee te ata. as. Se ee Gloss ape a ed re tae eas ir} werrinstesyeriser ye asrret ee rer ese aaee PEL et ee bese seaese lesb ~~ 23 rests: =a we 25s, Sc sss emer ap eta geass SSeS a sae = + papape pes bebe eek ey ete ea ly sees 5254 Sey thoes ae teeeles eee ease - 58 °323 Pies bse set ecrsrerprpecsenietwissopepe Letet Fase Sheree ate top etutepetet ete} bt aa rt biatatrl bib as 33 96 6 8 8 8 OB 6 8h 98 a OO 8 Od 8 — 4h — a A eb es oo 6 — te 8 = + #- 64 a Om a