Collection of Paint in, 
 JOHN MARTIN > 
 
 At E. CURTIS STUDIO 
 March 17th to 24th, 1915 
 
 At HOTEL ST. FRANCIS 
 BALLROOM 
 
 March 25th and 26th, 1915 
 SAN FRANCISCO 
 
LIBRARY 
 M. KNOEDLER,& CO. 
 556-8 FIFTH AVE. 
 
 AGC. NEW YORK 
 
a orp cr 
 
 Ob As 
 
 Valuable Gallery of ames 
 
 Exclusively the Property of, 
 and Sold by Order of 
 
 JOHN MARTIN, Esq. 
 
 Because of the Impending Subdivision and Sale of His 
 Ross Valley Estate. 
 
 The Pictures to be Removed to the 
 
 Colonial Ball Room, Hotel St. Francis, 
 
 TO BE EXHIBITED ON 
 
 Thursday, March 25, Day and Evening 
 
 AND SOLD BY PUBLIC AUCTION ON 
 
 Friday, March 26, Afternoon and Evening 
 
 A week’s exhibition, prior to the exhibition in the Hotel, 
 will be held at the Curtis Studio, 314 Sutter 
 Street, near Grant Avenue. 
 
 These Works were bought in Europe and America, and 
 represent important examples of their respective schools. 
 
 The sale will be conducted by 
 E. CURTIS, Auctioneer. 
 
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No. 47 
 
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CATALOGUE 
 
 1. C. CHAPEL JUDSON— 
 
 (California Contemporary ) 
 
 MOUNT TAMALPAIS 
 
 Tn one of its characteristic moods, and a good picture. 
 
 2. F. SCHLESINGER— 
 
 FEEDING RABBITS 
 
 A pleasing picture in which the drawing is good and the en- 
 semble attractive. 
 
 3. J. CARABAIN— 
 
 CASTLE ON THE MOSELLE 
 
 The quaint atmosphere of antiquity pervades the whole pic- 
 ture. It is rich, quiet, and good to look upon. 
 
 4. OTTO WIX— 
 
 TAMALPAIS 
 
 The contour of:old Tamalpais is that seen from the southerly 
 side, and the middle and foreground show the season 
 to be late winter, or spring, when nature’s garb is fresh- 
 est—a very pleasing number. 
 
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 GRAND CANAL, VENICE 
 
 An excellent representation, showing the Brown Palace in all 
 
 its attractiveness. 
 
 6. J. VAN DER LINDE 
 OUTWARD BOUND 
 
 This is by one of Amsterdam’s leading artists, and his work 
 is eagerly sought for by the best Fifth Avenue dealers 
 of New York. 
 
 This picture is in his best vein and shows the master. 
 The Zuyder Zee atmosphere, the Dutch boats 
 ture rings true. 
 
 every fea- 
 
 AMADEE JOULLIN— 
 
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 (Contemporary ) 
 JARDINIERE JACQUEMINOT ROSES 
 
 Painted from the choicest specimen models. 
 
 8. FIRMIN GIRARD— 
 
 (1838; Medalist; Poncin-Ain.) 
 
 THE WEDDING TOUR 
 
 A pleasure walk of the bride and groom through the country 
 —attracting the attention, not only of the peasants, but 
 Dainty and charming, 
 
 also that of the geese 
 
paca omen me ee I I oa 
 
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 9. J. DESVARREAUX LARPENTEUR— 
 (Paris) 
 THE SHEPHERD 
 It is not winter, but the dying day, puts a nip in the air, and 
 the shepherd has donned his heavy coat and stands in 
 thoughtful mood with his charges about him. A _ re- 
 poseful picture. 
 
 10. H. A. WILLERBOURG— 
 
 TREES 
 A Hollander of marked ability. This is a lttle picture, but 
 it is an exceedingly good one. The largest tree in the 
 picture is exceptionally well painted. 
 
 11. A. SCHROEDER— 
 (Munich; Medalist) 
 
 THE OFT TOLD STORY 
 Which is sometimes truth, and sometimes a ‘‘story,’’ but 
 here is the lover, breathing his vows into the ears of a 
 willing listener. The drawing is perfection and the pic- 
 ture a pleasing one. 
 
 12. WILLIAM KEITH— 
 (California—1839-1911) 
 
 A BROADSIDE OF TAMALPAIS 
 
 The erim old sentinel is looking his best, and at his base 
 a rancher is seen with his team, ready to depart. The 
 oaks are painted as Keith only could paint the scrubby 
 oak of the mountains. It is a California masterpiece 
 by a California master. 
 
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13. 
 
 C. H. DESHAYES— 
 FOREST OF FONTAINBLEU 
 
 This artist is esteemed in France as a great Paysagiste, and 
 
 this fine work, in his best style, evidences it. All the 
 
 world loves a picture that soothes, and one cannot look 
 upon this without feeling the influence creep upon him. 
 
 14. AMADEE JOULLIN— 
 JARDINIERE LA FRANCE ROSES 
 
 Painted with all the conscientiousness of an artist seeking to 
 please, not only a patron, but a friend. 
 
 /GO 15. J. COOMANS— 
 1816- 
 THE DANCING GIRL 
 
 A very engaging little picture. The little body of the dancer 
 is the quintessence of grace. 
 
 16. CHRIS JORGENSEN— 
 
 (California Contemporary) 
 HAPPY ISLES 
 
 The life in the water as it dashes among the rocks suggests 
 
 Fritz Thaulow. Placid water is comparatively easy to 
 paint, but not water that is turbulent from propulsion 
 down a precipitous creek. 
 
No. 28 THE BILLET DOUX F. Andreotti 
 
BERGE ah ee TREE: SS eae. lee 
 
 17. WALTER WATSON— 
 
 (Contemporary ) 
 CATTLE IN HIGHLANDS 
 
 His father, a great artist, has transmitted to him his mar- 
 velous talent for painting the cattle and the country of 
 Bonnie Scotland, and truth to nature is written all over 
 this charming picture. 
 
 18. J. C. THOM— 
 THE LAST LOAD 
 The winter tang is in the atmosphere, and the vim in the 
 admirably drawn horses as they buckle to their task at 
 the end of the day makes this a great picture. Vigor is 
 in every part of it. 
 
 19. G. LAUFF— 
 (Paris—Contemporary ) 
 STILL LIFE 
 An important and a strong composition. The oranges. re- 
 flected in the metal surface of the polished jug is a very 
 
 pleasing detail and the whole picture shows adherence 
 to academic rule. 
 
 20. AUGUSTE BONHEUR— 
 (1824-1884) 
 CATTLE IN THE HIGHLANDS 
 The name of this great artist and that of his great sister must 
 ever be associated with the painting of cattle. Their 
 work has long been the standard. This is a fine example 
 in which not only the cattle, but the landscape, is grand. 
 
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 91. LEON HUBER— 
 
 (Paris Contemporary ) 
 PECHE IMPROVISEE 
 
 It requires a master touch to infuse life and action into ani- 
 mals painted upon canvas. Here the eagerness of every 
 eat-robber is wonderfully depicted. The captive fish, 
 curved in his struggle, the transparency of the aquarium, 
 the kitten too young to play a part in so bold a robbery. 
 There is a myriad of detail and a world of technique in 
 this picture. 
 
 22. EK. LOYAL FIELD— 
 (New York—Died 1915) 
 AUTUMN 
 This is a theme treated by many artists, but by few as happily 
 
 as Mr. Field has in this charming bit. There are parts 
 of it that recall the work of Diaz. 
 
 23. CHARLES ROLLO PETERS— 
 SANTA INEZ MISSION BY MOONLIGHT 
 
 A gem, not only its architectural feature, but the soft Cali- 
 fornia moonlight suffusing the whole. This great artist 
 
 was inspired when he produced this, one of his best. 
 
No. 40 A DUTCH INTERIOR Bernard de Hoog 
 
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 Ft 2s, kK DESVARREUX (Ho) — 
 
 (Paris—Contemporary ) 
 EN ROUTE 
 
 The Emperor Napoleon I is in the uniform of the ‘*Chassewrs 
 of the Guard,’’ on a horse, near the Emperor, is an aid-de- 
 camp. The carriage or ‘‘Berline Imperiale’’ was ordered 
 by the Empress Marie Louise and was made in Brussels. 
 The interior was plated by order of the Empress. It was 
 captured at Waterloo by the English and Germans and 
 is now in the Tussand Museum, in London. The horses 
 were known as ‘‘pastiers’’ and were led by postilions in 
 charge of a ‘‘Chef d’Equipage.”’ 
 The great soldier is giving orders to an attendant gen- 
 eral. Every detail is true to life, and makes this a pic- 
 ture of intense interest. 
 
 NG EAE, Bae 
 
 (California Contemporary ) 
 MARINE 
 
 A semi quiescent sea, finely painted. 
 
 /40Q 26. RIDGWAY KNIGHT— 
 AT THE LAKE 
 
 This great American is the peer of any Huropean that ever 
 painted the south of France. He lived with nature there, 
 until he conquered her moods, and learned the innermost 
 lives of the peasants who till her soil. 
 
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7. FREDERICK W. KOST— 
 
 (New York—Contemporary) 
 
 LANDSCAPE 
 
 This is a picture of strength. A bayou is bordered by a marsh, 
 midway a clump of trees grows close to the bank, a catboat 
 is moored to the shore. The sameness of color in the 
 marsh is broken by the darkness of the trees and the 
 contrast of color makes a very fine picture—somewhat 
 like his Metropolitan Museum example. 
 
 28. BF. ANDREOTTI— 
 THE BILLET DOUX 
 
 Perfect drawing. The vivacity of the reader, the faithful 
 rendition of the details, make this a most attractive piece. 
 
 29. ADOLF EBERLE— 
 
 MATERNAL SOLICITUDE 
 
 This is a scene ina Tyrolean stable. A housewife is exhibit- 
 ing a newly arrived litter of dachshunde, while the mother 
 of the little ones is tense with the fear that harm may 
 come to her offspring. 
 
 30. RAFAEL CORREA— 
 RED COW 
 
 And such a cow. Perfect in drawing, and in an attitude that 
 is most difficult to paint. This artist is highly esteemed 
 in Milan and his exhibition picture was purchased by 
 Baron Koupp. 
 
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OF Peeps ik SK % he RS BRS IS, * rags <a a See ” agentes TEE - 
 
 31. E. DABAT-PONSON (H. C.) 
 
 AMIE MELD) TXOXD IL; 
 
 No Freneh artist enjoys greater popularity in California than 
 Dabat-Ponson. He painis the south of France, its cattle, 
 its peasants, and its sunny meadows, and he paints them 
 with the happy touch of the master. He contributes to 
 the salon every year, and enjoys the great distinction of 
 Hors Concours. 
 
 ) y, S 32. ALFRED DE BREANSKI— 
 LOCH CATHERINE 
 Here is rugged Scotland portrayed to the hfe. The russets, 
 the heather color, everything is perfect. 
 ry 33. AMADEE JOULLIN— 
 
 (San Franciseo—Contemporary ) 
 
 VEGA CANAL, MEXICO 
 The work of this stirling artist, and teacher, is well thought 
 of by his myriad friends in San Francisco, and reflects 
 pleasure from the walls of many homes. 
 
 3 EVEN NG SUNS S 
 SHEEP IN THE FOLD 
 
 This artist is one of Antwerp’s greatest; and this picture Is a 
 good example of his art. 
 
30. 
 
 FELICE CASTAGNARO— 
 
 (Venice Contemporary ) 
 
 ON THE QUAY 
 
 This was his exhibition picture in Venice in 1906, and is not 
 only a strong composition, but its execution displays the 
 qualities of the master. The types are real, the drawing 
 is faultless, the story it tells is admirably told. 
 
 36. JEAN LUIS DE MARNE— 
 (1754-1829 ) 
 
 LANDSCAPE 
 
 A magnifying glass is necessary to a thorough appreciation 
 of this marvelous little picture. The sky, the atmos- 
 phere, the detail, just simply beggar description. It has 
 been painted with the care of a Gerhard Douw. It is a 
 gray day, a windmill is the largest object visible, there 
 is a diminutive cow and a man in the foreground, but 
 the influence of the overcast day is over all. To eall it 
 simply a gem is not to do it justice. 
 
 37. THEO. WEBER— 
 
 WARPING IN 
 
 A strong tide and an angry sea at Bologne Sur Mer make it 
 
 difficult to bring the trawler to her moorings. A line has 
 : It isa 
 picture full of life, full of activity and a piece of absorb- 
 ing interest. 
 
 been cast to the pier and she is ‘‘warping in.’’ 
 
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 38. V. REGININI— 
 
 (Florence—Contemporary ) 
 
 THE FLOWERS OF SERRA 
 
 A sort of modern ‘‘Three Graces,’’ or ‘‘Three Little Maids 
 From School,’’ but the most beautiful of Italian types and 
 most beautifully painted. Note the masterful way in 
 which this great artist paints rich fabrics. 
 
 39. CHRIS JORGENSEN— 
 
 (San Francisco Contemporary ) 
 
 A FISHING BOAT 
 
 This marine, an exhibition picture, is perhaps as strong a 
 piece of work as ever came from the brush of this ster- 
 ling artist. The sky-line of Venice in the distance, with 
 the Campanile towering above all, is fine. 
 
 40. BERNARD DE HOOG— 
 
 (Holland—Contemporary ) 
 
 A DUTCH INTERIOR 
 
 This is one of the greatest names in The Netherlands. His 
 works hang in all of the important museums of Europe. 
 He has few peers in the portrayal of Dutch life. The 
 strength of this fine picture must make itself felt to him 
 who studies it. 
 
41. W. T. RICHARDS— 
 
 (1833-1905—Medalist) 
 
 THE NEWPORT COAST 
 
 This famous painter’s work occupies a place of honor in the 
 Coreoran Gallery. This work shows the tonality and the 
 technique of the artist. 
 
 42. THAD WELCH— 
 
 (California—Contemporary ) 
 
 TAMALPAIS CANON 
 
 It is in Welch’s best vein and while most of his pictures por- 
 tray barren hills, seen at distances, this is a near view, 
 bringing the canyon and the verdure and sunlight on the 
 hills nearer the spectator. Welch’s great talent as a 
 painter is recognized by all. He is an undoubted master. 
 
 43, ADRIAEN BROUWER— 
 (1606-1638) 
 
 XVII CENTURY DUTCH INTERIOR 
 
 This interesting old picture is on a panel of bog oak, and the 
 pigments are as fresh and distinct as tho’ it had been 
 painted yesterday. There is a discussion between men 
 seated at a table; the housewife has retired to a cup- 
 board to get sweets for some children, while a dog waits 
 patiently by. It is a gem of the olden time. 
 
No. 51 AUTUMN IN CALIFORNIA Wm. Keith 
 
44. BR. ERNST (H. C.)— 
 
 MUSICIANS OF THE GRAND VIZIER 
 
 A masterpiece, and from the salon of 1905. Note the drawing 
 of these Orientals in their various poses, as they strive 
 to do their best, in contradiction to the languid figure 
 of the Grand Vizier, whose ‘‘savage soul’’ is being 
 charmed. The deft painting of the rug with its pile 
 ruffled in places. The technique of a finished artist 
 everywhere. 
 
 45. AUGUSTE FREDERIC ALBRECHT SCHENCK— 
 (1828-1901—Medalist) 
 
 SHHEP IN BLIZZARD 
 
 One cannot look at this fine picture without seeming to feel 
 that the air has suddenly become colder. The swirling 
 wind, the action in both sheep and shepherd as they 
 seek protection is superbly portrayed. 
 
 46. EDOUARDO FORTI— 
 
 (Rome 
 
 Contemporary ) 
 
 THE. CEREMONIAL OF SACRIFICE 
 
 This is a superb work depicting an old Roman custom. It 
 must necessarily be a large canvas to tell the story in 
 all its interesting details. Every costume is historical 
 and the environment is as it was at the period in which 
 the scene is laid. It is a majestic picture, and to the 
 student of Roman history, one of compelling interest. 
 An epitome of the whole story is on the brass plate fast- 
 ened to its most beautiful and appropriate mounting. 
 
PE a ea Sera ok ae 
 
 47. FRANZ DE BUEL— 
 
 AMIE UGS LPOXOIL, 
 
 Note the way in which these cattle stand out in the canvas. 
 Very superb quality. 
 
 48. G. MORLAND— 
 (1763-1804) 
 
 THE CARRIER’S STABLE 
 
 As long as there ig an England, will this great artist’s work 
 be loved and revered. The life and action that he could 
 put into the farm house of his day has made his name 
 immortal. This is a valuable number in this offering and 
 a chance for a collector. 
 
 49. MAX SHULTZ— 
 ECARTE 
 
 A powerful composition with drawing faultless, with the room 
 architecturally correct and the theme worked out to per- 
 fection. The cardinal confident, as he holds the winning 
 ecard, and his adversary loth to yield, tho’ feeling that 
 he is beaten. 
 
 50. AUGUSTE ._BONHEUR— 
 (1824-1884) 
 
 WOODLAND AND CATTLE 
 
 Beautifully painted and equal to the work of his illustrious 
 sister Rosa, who, with himself, were the leading pupils 
 of their father, who was a most famous teacher of the 
 art of painting. 
 
51. WILLIAM KEITH— 
 (California—1839-1911) 
 
 AUTUMN IN CALIFORNIA 
 
 This is in Keith’s best vein, and painted at a time in his 
 career, 1902, when it is conceded that he gave to the 
 world his best work. The Inness influence is strongly 
 apparent in this example. Inness and Keith were both of 
 Seotch extraction. They worked together as boys at en- 
 eraving, and they painted together as men, when Inness 
 came to California. The difficulty of getting good Keith 
 pictures is constantly increasing. 
 
 52. FRANCOIS MAURY— 
 
 (Paris Contemporary ) 
 
 FONTAINBLEU 
 
 A most powerful work that commands at once the attention 
 of the connoisseur. It is an interior landscape, an open- 
 ing in the forest; a pool in the middle ground; a deep 
 vista, thro’ which comes light from a distant bit of bright 
 sky, making a grand and imposing ensemble. 
 
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