Satara a ielatta side TENTACLES See Se Lara le aiereiay: i eats ets Het Tiletehetaty Te tatere st rears sts) ’ eiatslyt Fiket trey of; . taeda t) ‘ ? + . tetiter: *] ese ee "3 F : : fever ity x ; : ’ iy Y “ at if : Saree yg 8 ¢ test, r ; ay : ; i ‘c f stat ; ¢ iy x ; i 08542 ae Hes aestete pope Vee Prete. Seta tty LSapeebeneee Rate elites a ear eae en So ine increta 3-H = gts neat sat, ——— i se me “ Sires oY ad =e eae . via 7g man te “whom na se cir- | 5a yet even in) “as De ance an aes / ay, ereace De aaa i ; | ahat ae did woaity ie E: dmirable ‘manner, is | ts nae old besiue | the dispersal of some. ¢ Blakeslee’s career @ period in. the can taste. There ven nm our amateurs were a Ee and the world th turned to ool, and later to the I: more recent. ‘years, - have B been some curious doin : ‘mark et. At the outset. of - |moyement the Dutch scho , ‘Pated, and some agin | ‘i brought to this. , | Moreover, wheth | -. ih late Henry G. | ¢ tea ‘\fastly to high e# etic Rot oteies: |Pheir successors were not invariably {so well instructed. Too many of them % gave themselves up, not to a Berns ay ohat.to a.fashion. | ie Ps | dealer, | With © | procession | | through | his gal | fine, some of them not so fine. ‘But he, | |was all the time strengthening his own } | taste, pel Pal long run he became a the flair of the collector. | | Visiting I is place one day not lo }fore his death, with the expectation of | | | seeing some English pictures, the first | thing we encountered was a lovely can-_ 'vas by Meoretto da Brescia, now we | ' believe, in the collection of Mr. “Neon | 'G, Johnson, in Philadelphia. The epl: | ‘sode was characteristic. Mr. Blakeslee \had learned to deal, as a matter of | course, in that kind of thing. | The Italian paintings in the present | exhibition make an extraordinary | p. It is true, as Dr. Siren notes, in nis — 1] an of the cata. | logue, that none of the mos | masters. of , athe Renaissance a ng be- the OREO aeETEE —— who we € in England. One or two German paint-) _ |ings of some value appear, portraits by _ | Granach and Sigmund Holbein, but the’) important works from the Northern |sehools are either Dutch or Flemish. | More than conspicuous here is the | great “Adoration of the Magi,” by. | Rubens. He painted the subject many) \times, but there is no sign in this of anything perfunctory | about his brush. | It is one of his major performances, | monumental in composition,. regal in ithe splendor of its color and stamped | everywhere with the easy amplitude of ihis masculine style. Paintings that lwould ordinarily assert themselves, |pointedly enough somehow shrivel be- | side this heroic canvas. Nevertheless, |there is good reason to go on amongst ithe Ne works, amongst the in-. lteriors by Metsu and: Van Musscher, | the rtraits by Cuyp, Sandrart, Jans- ie olished journeymen. TERE particular in= res to be cited, the spacious e (No. "to by Johapnes an Kes- sens and” pleat ae from ise to hea ie of C ne . y brilliant, " Frangois 820 e3 Wen hs ‘Smitt be eee ie een ei Sree The Natives eh bys 2 Maestro _ ‘Tom- } masgso; Philip Berolz Pheer eee an | Madonna, C wand, Sts ohn, pa oe te | Domenico Puligo; Bernet, reas a Virgin, Child, and St, “Kat erine, ye Francesco Vanni} Mrz Snead. 8 5k .7 278 Portrait of a Lady of the Cornaro hati ily, by Mranemas Dr. Paul Mersch..... 800 a SOLD FOR 880 s a j with ‘Cat, me J Central Ltalian Schools. 7 ‘ y i \llen io ak bie aire H ” | Madonna and Child, school of Cosimo | __ ; “Madonna, Child and St. John . Ta; We VaR yale gees ee 378 The Scie Seen j Pri at Snes Re eanct nr fee ats Pariratt ha Gane Brings. Highest rice Madonna and-Saints. panel, by Giovanni ~ by Cornelis Jan Opening of Blakeslee Sale oes ea 5 oly Family an ‘ ; BN Roe . . menico pee art S85 Re te 575 Fre | The Annunciation, panel a ies m- ¢ the “py Coswin on ai atrico: S. S. Carvalho......,... 300 ey, OF ee rich Galleries...... | \ | Madonna and Saints, panel, Fra Mar- Portrait of a La ee achin ; 82 PICTURES FOR $47,335 tino Angeli; John E, McIlheney....... 525 * Sandrart; Al Madonna and Child, by Soe Man- ‘Portrait of a C gE les Dia ni; Holland Galleries......: Ae eT 1 |” Cuyp: Bernet, Madonna Aas Pace Ve panel, “Giovanni en Man with a Pen at ; E | Boceatis; EB Matis i Aa Cb pin eral a emp cker: Francis Metropolitan *Art Museum Pays Pees lot pee eet Umbrian school; 8 | Lea with Rutt a Res Albert HATCH Eee ar abe vee tinone | Saints, Vitale da Bologna; | eroe paca by si | : bare Swale Pare igietaiietety Gi viii Se oo 320 || ilan chool. \.St.. Mary Magdalena. pane ovanni Lo AEB en LM oaths ta | ‘Spagna; Holland Galleries...,........1,000 | | North Italian Schools. Toe, of a Lady, b Madonna and Child, panel; Boccaccio ree A tg eee The opening sale of the pictures of, “'Boceaccine: John Dy Crimmins......5. 950. wrekp- eee i the Blakeslee Galleries, sold by order) ea eee ah ere? Ser aan | Marguerite Be d solo; Herber I Gig cab asia sea peak Ac pa Nap kapeegey 2 Nero : er the administrators of the estate of Madonna and = Child, panel, by Andrea i } Michiel J. oy he 1 Th J. Blakeslee, was held Solario: “Bernet; agenk su hee a views 700 Bopuanieys: ve a » aie aS ¢ : Portrait of a Lady, by Bartolommeo a: . tosh are b | last night under the auspices of the Veneto; Mrs. HW. D, Esterbrook. 250 ne se a ' American Art Association at the Plaza’ Pe aes Child; panel; Bernardino 175 Musgual ne : | Hotel, 82 pictures bringing $47,335. The Metta cea cia te Ginbidnie ae Lucy Harington, Gon ni 7 j i fealty Santa Croce: Bernet, agent...... : | catalogue was arranged’ in chronological eee ee ee echaan ie Sale ae rie con order not as is usual with the least im-| Mazzola, (Bedoli:) S. S, Carvalho..... 275 this evening, : portant pictures of the sale at the head | Vi nn gue Child, by Francesco pine ne bavi rey oP rene i SeHe : VK pe Ute g hs Maines Niven ie: POM rear No eae es) d so - of the list and the Italian primatives, ae Petniy ad St iRarherine “panel | Dutch, Spanish and: Roman _ pictures Ng Mai BS ant cl hbeolehg Galleries.: 350 Were the first to go under the hammer. b. John. an a Bs Soh Die Fan Many of the pictures sold for very much ous ee es Motecoolian viarech at! fess, than had been paid for them py SOU so ia See ae ane es CE nua au E NS 900 | ther last owner, a few for a fourth or i Portrait of a Uady, by Antonio Badile; | fifth of his buying price. : | fe Berbet. gents ie cuce eyes at aud. aioe _." Madonna, Cau, and St. John,’ by ‘The Resurrection of Lazarus, by Ersdi ; Domenics Pulig 30, a pupil of del Sarto, I di Bonifazio: Mrs. J, H. Fry.ws.0...5. 150 brought the hignest price of the evening | Historical Scene, by Battista Zelotti: 2 | 80ing to Bernet, agent, for $3,050, This Albert FE. Smith Na nae eis 2h 450 Was a picture lor wuich Mr. Blakeslee | | Madonna one Sen pense y irolamo ree paid So; we. The picture, “x, panel, No: 9) | da Treviso; S. s i : ee Ra eac ee on the catalogue, shows a youthful Ma- Late Italian Schools. -donna in «pink, blue, and yellow drap- (eis with brown headdress, holding the nfant, who is playing with a ball hand- 4 ; & ane ed him by St. John, whose staif and red Domenico Tiepolo, Albert H. Smith.... 475 cloak are on the table near him. et eer ete Hee 125 Bryson Burroughs, of the Metropol-| behead eh iphs ype geo) aeons et Aneel RCA I Sono t gee a ‘lan Art Musuem, made a purchase for a ark eeaunea Seige: Dane, De Tatts 100 the Muséum, paying $900 for No, 32: on : The Holy Family Appearing to St. An- pthe Catalogue, a panel, “St. John and: St, ‘thony, by Giovanni’ Battista Pittoni; Laughing: Girl, by Giovanni Battista.” Pia szettas en Wa Shieldsiwinccones oes ves) Portrait of an Old Man. by Giovanni cae Lawrence,’ by Bernardino Buttlinone, | Mrs,.James M. Johnston (235.2000 204, 325 | ‘of the Milanese School. Chis shows two |View of the Grand.Canal, by Michele | full length figures standing, St. John Marieschi; C. F. Williamson A PO 450 - ote r ea ee. Ay Hivangelist: in green dress and sear- The Seine behest Ry. ag Giordano, 156 | F aie ¢ ve t| et cloak holding a gold’ chalice i (called. Fa-Presto);T.-Prentis ....3.0. ‘ i right hand ae an Ahechibea hook ie ‘Mary at the. Tomb. of Christ, by Fran- | Portrait o a aly aud o (the left. St. Lawrence, in elaborately céseo Solimena; Ty Prentis: conics... 50 Canalletto'’s ReneS oeee ofa Grand Opera, House. in ~ Venice, by Canalletto:- BB; AST Fe Pe glen ata nce ae Mantra VaR up SOR NERES CDriL gaat ot aa GOES 625) Louis XIV.’" Sold to Edward Bran.) deis——-$64, 650 ei A Malad fog embroidered white and brown. robes, adorned with precious stones, ‘holds in | the right hand a palm branch, and in ‘Susannah .and the EJders, ascribed. to : ok’ ; the left a gridiron, This was the Wing | Titian: Freneis: Ro WeIshiy ee. dee cee es 1,000 net ; Of wh ges piece, Portrait: said to be ch Sri a dN Alia- + * br \ The Concert.” one of the Dutch ‘pic- mira, by ee inelli bert B, | Stas fer: the: the . | tures, by Michiel van Musscher, went to ANCA a a a yea rites a Bee sécond eine of j Joseph ‘Breck, formerly of the Metro- politan Art Museum of New York, and how of the Minneapolis Museum, for ‘Sale of the Blakeslee pictures by the} American Art Association at the Pitss | Spanish ‘and Roman Schools. The Little Shepherd Murillo; Albert. EE. is Binithe: ch cua eas dan cok is Sa 1,025 ‘Hotel brought $64,650, ix e600, for the latter institution. This rtrait of a Lady, by Claudio Coclla; §. | picture, 54 by 57, No. 81 in the cata- Ta aacratho BD Aiton ok omen ne 275 to date of $111,985. The Rut ‘ “ang ieee three figures in’a spacious Queen Mariana of Spain, by Velasquez: Adoration of the Magi,’ ha a sady amusing herself with a Al beet EO Srnitin sie t icsin heen att -1,050 orin a la ic ee ae small dog, and a mona elaborate dress Edward VI., panel, by Federigo Zucearo: hanes: brou t Rien, ates | | playing a.’cello, while a maid brings a Mrs, MTCCOrVACE Sila tes ee 56 | dish of) oranges to place on the table, upon which the woman: is resting one! arm, Following is a. list of the pictures, _ artists, purchasers, and prices: Madonna and Two Adoring Angels, panel, by the master of the San | Miniato ‘altarpiece: Philip bhatt hogl cs AR $700 | Portrait of a Lady of Quality, by Bron- ZAROS SPAN CES ROW O@ISH: . cage ces oie 1,400 | Portrait of a fuady, panel;>. Tuscan . master; Mrs. McCormack oe ai Bea ily. Geol 800) Virgin and. Child,“by Jacob del Sellajo: PO OREN ALLO. Faviahiiey ph oe come wee 4235 | ' Angel Musicians, (pair. small pictures, ) by Giacomo Pacchiarotto: S. S. Ca'r- : ore REO Ge are Se ay Same ERR) 2, Re 750 | Madonna and Child, panel, by Parri | ” Spinelli: John S. Me Theney . Mahe wste lve tie 479) King Charlies IiT. oF Spain, by Goya; W. FE POUT ES ie WOE ettaa ad ene er meeRC ER nite” - af caro: Albert F. Plaut AONE A we ak \Lady Burghley, panel, by Federiga Zuc- PALO sis Ih SPONGC Timi a osc pre cw eta Portrait of a Young Lady, by Juan B. del’ Mazo Mart nevi O, Kautinann Ae ata The | infanta Isabella Bugenia Clara, Gevermess of the Netheriands, by Juan Pantoja. de la Cruz; 0, Stratton Fe satay Portrait of a Spanish Princess, by Juan B. del Mazo Martinez: . Lanthier, , Anne of Austria, Wife of Philip: Lf, of Spain, . by Alonzo Sanchez Coello; Charles SPI S20 2 Dates PA A Sse ‘sale, going to Bernet, agent, for $13,000, This is the most important’ Rubens ever | sold in the country, ath Au er | Thomas BE, , Kirby, in putth picture. Two others previc by | the association brought more as ‘$00,- 000 and the other, a small ‘Rubins of the Yerkes sale, more than $20,000. > - | “Tt was said at first last evening, that the Rubens would probably re- (main in this country and Jater hat it | ‘would undoubtedly be returned to land. It is thought that it is likely to ‘€0 eventually to Asher Wertheimer: of | SEY aa GA CUA ee a. cacy g MARR eat a ke pen — eee onion) 9 me 4 of the back, . ee awl iA ese Aig age, and many } i & hiteee — Johor Brings $1 2,000 fg Appraised at AP, 0CO. RAEBURN PORTRAIT, $11, 000 | 7 Romney, Mees Uppleby,’ $10,300, an Alma Tadema $9,200, and ar Orchardson $6,900. at the Plaza Hotel, and the returns for Delish St seee ae Pourbus; ‘Ed- ene ois de | $262,235, Joshua Bev noth s “* Annabella, Blake, as Ves bac ecage a om ar) e¢ Rigaud, Sea- EEE Te Labilie-des- se aee which Mr, B00, Blakeslee himself paid $42,-~ There was full as much interest | $4, 200. The latter picture went to Capt. J. R. ide Lamar, It was an unusual picture, \less pleasing than many ‘by the artist, The Sculpture. Gallery,’ a large urn ‘in the centre of the studio which’ is ‘being exhibited to a gathering of people lin Alma Tadeniaesque” attitudes. Ifor ‘this picture Mr. Blakeslee paid $18,630. 'The last Alma Tadema. sold at public lemiah oe ee ee re ‘ek, Bernet, Agent | (Bigrew ‘chia, rnard van Orley, A | ae erges Bitcepeth: . Agent ales anes > = 5 ish Lady, ‘Justus land ee a 350 r ‘aby j 4 Rubens, Yerkes collection, which brought $22,500. | The second highest price of the eve- ning, 811,000, was given by Albert WB. 1 al tae es Fe cat ‘The ” Musician, John Opie, by : # a ee iy, by y Francis Cotes; Lj nthe Geld aee 650. ‘Smith for Raeburn’s ‘Mrs. Cathcart,” a re i M, D.. by Sir Joshua one? the seated figure of a woman in a low- nt jew Martyn, by" Sir oy ‘cut white satin gown wrapped in a ;mantel of black. ve ahr i est aia fig, by | “Benjamin One of the most REM cheese sca zunhinsines aus 525 Pence Kaen ae Mpc china a= 2 the portraits broveht third highs ce Py Pelee HOR: 576 est price of the evening, $10,300, going Porat - me ‘Artist, ‘Sir Joshua Rey- | (to the Harich Gareries. This. was the nolds; Bern: ey ae oy ee, « gr, large portrait by Roniney, 49 ‘by | oy . gama Pan Bart., Sir Joshua. j linehes, ‘Mrs. Uppleny," the charming si R, Le Thampson....):....- 3910 figure of an elderly woinan, with a. de- “Daphnis ane Chloe, Voge Romney; lightful face, comfortably seated with Dr, Paul Mersh....-+.++-..00-sse--- "225 ‘folded hands. She wears a slate-colorea t of the Duchess of Marlborough, , ; ieeris Cotes; W. B. Williams.....-./, 350 e Countess of Galloway, Sir Thoma @ trattorce.:....-. 225 rae eae 4 a. Children, George gown, a Small black lace shawl or scarf, land am elaborate headdress or bonnet. ' She is seated in a red chair, there are heavy, draperies above her, and at one 200 side a window opens upon a broad open Harlow; RK, L, James... fee x expanse! Kor this picture Mr. Blakes- i i of Mes. Jones. Francis < © hes 400 pice paid yt Be _ cans a ier Ronen a chard ctress, J bse sh }also bought aeburn’s “Mrs, Stewart opt Rebbe i L. paepes ey Pied . 878:| | Richardson,’? “which sold for . $35,100. Portrait af @ lady, Thomas Pihriiips, | |The purchase price of this was $28,000. Seaman, Agent .-.----++ss seyret 825) | A picture’ which attracted much at- Psyche’ Wedding, “Burne-Jones, Min- | tention while it was on exhibition at . neapolis Museum ,....-++. ++ vn 9 Qe LOO | the American Art Galleries, preceding Admiral Bridport, spe bolo “Willan | 1 |e sale, was the very interesting one Beechey, 0, Berne Wren trnes 800) | by Sir William @, Orchardson, . ‘* The |The Karl of Portland, Whit, apa Dobson 1 Mersh.. (825 ivan Maria LAvtener ss i ce tees 450 Around tables in the Bae of a hollow square are a number of guests, young men in the pictur- esqué costumes of the period of James 1]., -Whe sare toasting their host—-the Young Duke.”’ Seate Fetches There was brisk bidding at the third | | and closing sale of the Blakeslee pict- | | ures by the American Art Association | | the seventy-three which went under the | hammer last evening were $150,125, mak- | ing a grand total for the 237 pictures of | |, £he highest price of the evening was 4 $12,000, which was brought for. Sir. Lady } ‘ Juno,” a picture appraised | pat $30,000 within the last year and for] in the Alma Tadema, which’ brought isaleé was a@ much smaller one in the’ pleasing pictures. Kirby said las eee py i one, to be sold here at public ae r | The Minneapolis Musetim was. 8 again ) purchaser last evening, buying th ori; a sketch “‘ Death on the Pale H by Benjamin West for the finished pié- ture in the Pennsylvania Academy. It went last evening for $775. Following is a full list of the even-. ne s fas of. pictures with prices; — — ‘English Schools. Portrait 0 oe a Boy, py John Opie; Garnet, agen rarer ae i acate, 'o oty Hee ene Pewee Po ee The Soudvess: of, Hissex, by Sir Thomas Lawrence; Cv) Williamson... Fate NTO yar of * Girl, by Sir Thomas Lawrences, iliams 1) a ee zap fe. yk gine pape: STS: lady Hamilton. a “Miranda,” by ons rge: ' Romuey; Benjamin Allen: ...;...0.... 175 Portrait of Lady. Campbell, vy oF ohn Hoppners Arnolds yo ve ea £4 44,200 ‘Portrait of a Lady with Red. ‘Hat. Dy ae George Henry Harlow; George Dennis, 875 { 'The Duchess of Cleveland. by Sir Peter . Ps Leky yi Si oS Oarvalnosey osc. 04 | Hampstead Heath, by John Constable: TELE OMAP SON Acs wee ee ak ak ok RE yt: hots to Sehqol, by John Opie; SS. a pos OREO COMI erecta or tae ase ieee vis) | Group of Two Children, by George Henry H ' Harlow; C. F, Williamson. ....-.....4 | Miss Theophila Palmer, by Sir, Joshua Reynolds; Seaman, agent balers Weare’ t Ae f / Portrait of Pegs Wotfington, by ‘William fo EL OREN $5 ike hd MON Pe Ces wan 5 6 | Sir Thomas Buekler Lethbridge. “by” Sir Thomas Lawrence; H. Fredericks... .,, Mrs. Musters as ** Hebe, EDDY. oud Joshua Reynolds; A. Pradericks0 ci eked. see 8, 600 Countess. of Strafford, by Sir "Joshua Reynolds; BE, K. Gleasoneers 4,26 k Charlotte, Lady Strange, by Sir Thomas Lawrence; fe Fredericks Sahl sar oa aMetely Countess of Strafford, by Tilly PE es Seaman, agent Co ee i ee | Mrs, Fortescue. by Sir Joshua Reynolds: BOG We S hile Ok See ve ada te 600 Mrs. Catheart, by Sir Henry Raeburn; Reve: Ve Setthe 0 arco eae i Lord Huntingdon, by George Romney; FAURE OORTIORS Osten e Syd ei Weed Shae “‘A. Visit to the: Nursery ;’ ‘Benjamin’ ‘Allen. SR ai et deter one ORR ADEN ae a 176 Daniel -Mytens, “Portralt ofa Gari; 6 Fred j BE! OW. Seat Mh ayes suse hs he et 600 Coswin yan der. Weyden, ‘Spamily wok, the Virgin, Wbrieh Gallery, oo. aoe See 725 Jacob A. Backer, icy with Pen in Hand;’’ Francis R: Welsh SEES Ricy SEERA: . 1,025 M. J. Van ‘Miereveld, “Dady with Ruff;’’ ‘a ECOLIOC LOM Gone ccrate Mote ions ek a ae vnale 650 Ferdinand. Bol, ‘‘Lady and Two Children:’” Plenty: LAU hier .2 eck vey eas SOs awe . 800 Nicolas ‘Maes, “Portrait of BDAY 32 Oe oe WS ONE ELORC Sars tesiecats svete ts ie une wien pane NA atpntuteS 675 Nicolas ~Maes, Pamily "Group;"’ Erich Galleries 22000. e. es Sis ate tla Sis vietom eee 525 M: J,~Van- Miereveld, ‘‘Marguerite Van Rromkort:’’ WE, Brarts ropa y OB SG tia Ree a We 625 Salomon de Koninck, ‘‘Sophonisba;’’ a ‘ool- ria boy gay AEs a USS gS URROa ABD MEA cay Saree 600 Paulus Moreelse, “Tmey Harrington:’"” a col- MOT ANT Ch ste voca tote) SURI OE ST URS ab later unelerenons 5 550 Among {the pictures. which will fe sold PRL VBELOIZHEIM ET 6 iiso.oe5 s/s oe weiss cl ernke’s $700 Bronzino, ‘Portrait of'a Lady of Quality;"’ MOL ATICISS By SVVC LINE © ticradale See misress Biereale ¢dcoce ate 1,400 Giacomo. Pacchiarotto,. ‘‘Angel Musicians’’ (DAA TA COTECTGE SN clean ce aleatou tives cals 750 Master of the Oriental Sash, “Madonna, Child and St. John;’’ Albert B, Smith... 825 eMuesiro Tommaso, “The Nativity ;’’ Philip Berolzheimer ......20.- 625 Broenzino, “‘Portrait of a Lady of “the “Oor- naro Farmily;’’ Paul Merseh.i. oi. se eee 800 Giacomo Francia, ‘‘Madonna and Child with Stodohn 372 WG. SOharles cs) eit. es beetle 575 Domenico” Alfani, ‘‘Holy Family sand St. | Johns” a collectore.. oly. cb veraatewisale 575 Fra. Martino Angell (?), °{‘Madonna:, and ' Saints;’' J. D, Mellheney ea RON Sie Maret a gists — B25 Giovanni Boceatis, ‘‘Madouna and Angels; oh? PROOLIC SDA ia hkg 4's OH 6 Mean ene MN SLC ea 500 Giovanni Jo Spagna, “‘St.: Mary Naudaiene:’ Folland ‘Gallery. a cee opie wee ya OBC SE ae 1,000 Boceacio Boccaccino, ‘“Madonna and Child:’’ OD AP SOUP TAIT Y 55 kia ln ers ecemiamuntaatste ce foes 950 Andrea .-Solario, “‘‘Madonaa and’ Child;’’ Otto Beraet; GRAN Sy ei vi iy thlete estechsiace 700 | Bartolommeo Veneto, “Portrait of a Lady;’’ Mrs..H. 8. Bstabtook LEE a ee ee! 700 Antonio Badile, > ‘Portrait. of a Lady:'? MLD OTHOt 7 ARON s Seeatoaice so icse ci ws eed 4h 625) Girolamo da Treviso, ‘‘Madonna and Child;'’ | Be To SERA ERD 5 2 sta ls, ftety ae WIS ek a sal nckido cose 800 Canaletto, ‘‘Grand Opera House, Venice;’’ E. Ridley 625 ee oO a i a i ae with | the oe ee to-night will be Rubens’ “The Adoration es, Ne a AUBENG $1.00; LIMESHEE SILE ENEHES 60 “Adoration of the | Which [te r Paid $22, 300, i. 9a . Bee NEW OWNER arr Haale TAKE IT ABROAD Minneapolis. Museum Buys Burne- Jones for $2,100 That Cost Mr. Blakeslee $6,500. “Adoration of the Magi,’’ by Peter Paull Rubens, for which the late Theron J. Blakeslee, art dealer, paid to. the Wert- heimer Galleries, of Londen, $22 last night was soldat auction by,;Fhomas oH. Kirby, of the American Art Galleries, at the Plaza Hotel, for $13,000;. at the second session of the dispersal’ of the Blakeslee eolléction.. The. buyer's: name was not made public, but according to Otto Bernet, | who acted as his agent, the picture. will be taken abroad. 3 MMinneanelin is ; by its director, Joseph Breck, ; $2,100 Sir Edward Burne-J @écoration, ‘“Psyche’s W. ture, regarded as one of hi was bought by Mr, Blakesle peeCulioch, sale in Londo » The Rubens, which — Miatoey” from the time and, and which the ex almost entirely by Ru ures in the background sistants; is énormous i féet high and ten fale a Rubens sold a Rubens was sold Association for $50,000. Van Dyck F SSA: Lady of the CC catalogued as a Van collector représented $5,100. ‘Portrait of Louis XIV,” by Largil Fdward Brandus for. $7,500 gh ca tete ated more, woh Tee artis logued, the | title; thé price, are as ( Vigte Je Brun ‘Gi Benjamin Allen ... Fraticois ‘Pourbius Targilliére, “ Pelet;’’ Betijamin A’ Pierre Mignard, FAMES eee Se gy Louis T'ocque, “Madame 4 C.F. Williams? . S Antoine Vestier, i @harles A, Platt. Rete Le ont naguek aes “aphiithie. bad P. “Sevenson) ... Jess. Rie le Brun, “Madame: VE Bernét, agent . Ren 5 Largilliere, “Due de_ Pent ie Bernet, agent. 205203 Francois Guerin, u Garcon endormi;’? Otte oc Hyacinthe Rigaud, ‘Due 4’ Ai . randligt ae ee ee Carle Van Loo, “Portrait iGeorge Fy, Rand, . tine nee eae Carle Van. Loo, «Comtesse de Bea: ag mW, Lonis APS aady ? Charles 8: beisgel Bal : Francis Pourbus, ‘Anne of Aa ward Brandus, «0.5 fsei0, Jean Francois de Tere Tady;’’ O. Strattan: Adelaide Guiard, WW, Wi, Sesiman, agents #5 as +s Hyacinthe Rigaud, “Madame: “Binnad;" Cherleég A. Platt. z Hyacinthe Rigaud, Seaman; ASeHts oo eae Adelaide Guiard; CRE eh eee 8 ak he Oe a Ble eae ee Take ee tN ase ** Po roe SRN RO Reng © 00 1e)'8 Oca Be ee! Wie me phe eee oe Bernard Van Orley, James. D, Brown oe eal biter es ae ene ew Peter Paw Rubens, ‘Head of Brincess ie! if abéeth;"’ Otto Bernet, Glenys get Tustus Suttermans, “Portrait of a ‘Spadien Lady; Holland Galleries. so. 7.2.5.0" ; Jobn Opie, "The Yotng Musician; Wi. B. Pah PORE Hout Bera a reay Caplin faces Re Lapeer Le tae (8 a Francis Cotes. ‘Portrait 6f a Lady ARDC UT YDB ING sks See 5 eee aka LP Nero Sir Joshua Reynolds, ‘John Armstrong: Ry Holland Galleries PP Re hw Me ih ee SE Tat he eh ei piie dee e Sir Thomas Lawrence, ‘Francis Mountjo¢ Martyn:’? A: Kramer SRM PR aS AB alah a Slade a Benjamin West, “Mrs, West and Oty Re l., Samos tied Bel Mate a ae ee ey a hh eee Pe ele pth ee ee COR oP aS Ayer Bye 808 oh 9 a py ws ten emie aere ia gl talon as ‘Portrait of the Ar- Ott ib the Barnet: agent Sir Joshua Reynolds, ) as a PSE en Sse, RP wr Pee as! > wig) Sine Si es b “Sir Robert Palkj? R. mA ys 3 rade in Red; or W. * ea ei city” R cay 505 875 2 . $ ce Aah Ss ane et aT ee tee is Kerr. ee ee ee oe eg Se ee 2 ee, oe ee eo TS. Uppleby, bs ou which ps aid $15,000, went to the Ehrich) : s $10,300. Raeburn’s “Lord: eee heh cost $7,500, was bought by. fr Wradinions. for $3,400. Romney's “Mrs.) Drake,’ for which Mr. Blakeslee paid Col-. vag $18,500, went to Dr, Paul Marsch for, f) o " Fora Raeburn, $11,000. } One of the finest pictures in the collec-' tion, Raeburn’s ‘Mrs. Catheart,’’ for: Mes, pia “the | ortrait os a Man;” Vive Ationensian® 2 which Mr. Blakeslee paid Count Trotti an, agent...... $29,000, went to Albert E. Smith — for. 11,000, and Reynolds’ ‘Miss Theophila Palmer,” for which the dealer paid Agnew, of London, $25,000, was sold to a collector re resented by W. W. Seamon for $6,100. .Hopper’s ‘Portrait of Lady’ Yampbell,”” which cost $12,000, went to Mr. Arnold for $4,200. Hoppner’s ‘Countess of ldford” was acquired by H. Fredericks) for $9,500. Other pictures. which aold for $300 andl nore, ‘with the artist’s name, the: a the buyer and the price, ate:— oe 1,025 n to-night the fmpor- old English ab marion ee John Opie, ‘‘Portrait of a Boy;'’ Otto Ber- het, Mpential gio 2k 5. 6S PMN elt pares $350 ‘Sir Thomas Lawrence, “The Countess of Y Wossex;’? C. Po Williamson. 6.0. ..40..5.5 1,075 Sir ‘Thomas Lawrence, ‘‘Head of a "Girl; ane Cysuliy WIAINBOR oo eo sk ty ee ke 575 John Hoppner, “Portrait. of Lady Camp- Be 62? Wim AM ee is 4,200 'George Henry Harlow, “Portrait of a Lady : ' with Red Hat;’? Geonge Dennis.......... 875 Sit. Peter Lely, ‘°The Duchess of Cleve- MAINE so 1H) “COULOCHOR is 58 Sl an his 400 John Constable, “Hampstead Heath; A R. fh Tae OAPROIRES fay pocre Niwa tec aol ek ye aloe ie? THO John Opie, ‘‘Going to Schodl:’? a collector. T50 George Henry Harlow, “Group of Two Chil- dren; ??.:0,-¥". Williamson... Lg hh BRR 25 William Hogarth,’ ‘‘Portrait of Peg Wof- TIGELON I oN Sas ne eens 950. Sir Thomas Lawrence, ‘‘Sir Thomas Buckler Lethbridge, Bart;’’ H. Fredericks Secs sk 600, Sir Joshua Reynolds, ‘““Mrs, Musters as : Hebe;? H. Fredericks. , os eB, 800 Sir Joshua Reynolds, “Countess ‘of Strat. LOPE OLA LOA SOR ed aia web's nie 700 ‘Sir Thomas Lawrence, “Charlotte, Lady bee | Strange;’” H. Hyredericks... 2.665.000. 601 2,400 Tilly Kettle, ‘Countess of Strafford;’’. W. iC Segment Meena aii olbie ae +a. 425) Bir Joshua Reynolds, Mrs. Fortesc 2! bag We Mbiadd eC. eae ij = 1,600 George Romney, ‘‘Lord Huntingdon ; sn ‘i. oY BPOURLIORS itis her SRR TS Peta oe ak ore 2,300 (Sir Joshua i eau hae “The Countess of abe A = Anerum;’’ WY Si Iel a Bite 6 ice oka 2. With a total of: $262, 235 for the 237 paint- eRichard hide ‘Rome and tke Cam- disper: = pagha; F 5 UO CR etc Caner etn MR Latte a ‘ 1,500) ings sold, sal of the Theron J. “John Constable, ‘The Old Mil; ©. F. te pete came to an end ifs Pi WMiilanmam ical ater co. a8 2,500 : “Francis Cotes, “Portrait of the Hon. Ohar- | - lotte Johnston :’ Ge MS ELOWAL eas 6b ess 1,025 Sir Thomas Lawrence, UME He Je Blamire ; e007 Be @ COMBOUOD Maca eciu CME ed daw v es eleN 1,000 nob Hoppner, “The Critnenes of Guild- eM ih nf antdebes = yige ip = 0 0 =) it eI ty erat 9,500) John Opie, ‘Girl with Cat;’? C.F. Will- ES RESTON Sia lacs ave aa iplc ow cone BER Ree rot ere ata dig dead 900 ‘Sir Thomas Lawrence, ‘“‘Miss Hare;’’ B bat AMOI fea tttai nes cera ir ieee ke ORE) hy 950 Henry R. Morland, ‘‘Portrait of a Lady;” SB) COLO CTO 2 5 bl ibaa Wipe einen y Hoek dar a0 iJohn Opie, “Mr, Richardson;*’ Mrs, J. H. RI ew Ab street RE Tras ee Si re eee g 300 Allan Ramsay, ‘‘Portrait of a Lady;’’ Ry BF. IS PMMOE CR aie puta ie Cale a Manly Diss s'rigitie eratwipis 425 +e ¥ o? Bes ‘Bald $8500, was sold to Knoed. "HE CM, ME Hes WEE 8 . for $12,000. The enormous por- came pougones (period of), ‘‘Country ie Ts BS WeNSOW vols ieee else eide nt es 825 Sir Thomas Lawrence of Kem- Francis Cotes, “Miss Mary Dashwood;"’ i _ the character of Rolla, so large Charles A, ee aL yar so 1,250 at only. e special gallery can accommo ("Hits Bepehen, “Laat Harvie Ver > it, went to E, W, Shields for $875. eerie Reba i “Major Peirson;’’ H. “da “Wea Yr ts aye PO CACDEID ac talern cua ee Megtaaty: aie ta’iprbup a, lo aamts 7 ardson’'s The Young Duke, for Richard Cosway, ‘Lady Boynton © and which Mr, Blakeslee paid $28,000 at the Ohild;’* Bhrich, Galleries... .....55..-44/: 2,000 Misperaal of the McCulloch collection im | S't, Jogims Reynolds, | Miss Bitty Bischers” 550 A SES, : foe pte Aw ren ie a Pe atal ecw Waka wid e's wie. Piss sondon in 1913, was bought by Knoedler & (Francis Cotes, ‘Portrait of Mrs. Olive;’’ At. Co., for $6,900. | HB. Stome........+ Fatt teenth netted ayes apie R. De Lainar bought tor, |Peeey Mere te Musca. 27 $9,200 Alma-Tadema’s ‘‘The Sculpture Gal- Sir Peter Lely; ‘‘Miss Elizabeth Liddell ;’ lery,” for which Mr. Blakeslee paid at the! Gdobee WAGs odode 055.0 bay u dye 600 McCulloch sale $13,650. Sir Thomas Law-! ae Thomas Lawrence, ‘‘Lady Melville;”” arquis of “Hertford,” for which | . Otto Bernetyawent i... ees eee ee ees 5,100 : iiavelag no watts “Tne” Canal Boat: George T. Rand... 0.0.0... es Dye vas OT Sir Martin Archer Shee, “Mrs, Peer as. ““Cowslip; AALS « hav DOE Ragigereeeep Pin wsaee sey Sir Peter Lely, ‘“‘Frances, Lady Digby.” Watch alertess ccs. LG a reae de eee cae 624 John bas cag Copley, ‘‘The Fortune Tel- | ler ;?? Veh: Galleries (i Va8 as ran curt cy 400 Frances Cotes, ‘‘Girl with a Harp;’’ Charles : $55 ARPA cat chs Gs teeta erate It wine rote ara 300. ‘George Frederick watts, “Lady and Two Children;’’ EF, j Sir Joshua | eae dre oh he ‘*Harl Gow- er Gherapy of Stafford) ;’’ Otto ‘Bernet, ‘ sa GROW Sa es pitt ne nin Caso whack teste nae as Sir Godfrey Kneller, ‘‘Portrait of William { TRE) a Olleobon yo 4 dt 50 ee Vk ote Be Shr Godfrey Kneller, ‘Sophia, Wife . of i George I. ;’’ Otto Bernet, agent. . ays to) | Sir a Ale Wilkie, “King William. 1¥.; oF WwW. / W. Seaman, agent.........e.cs00 25.5 e 654) Sir ‘David Wilkie, “Queen Adelnides ( B COLEGLON Sys Hoenn 8 Cerne os 60¢ Martin Crégan, *‘Mrs. Hawkins and Chil- | Fa Rad <3 Wen EGA. ‘289 eT LES on MMe Rr [50 Sir Thomas Lawrence, ‘‘Lady Shaw: 7 PbBbAt WN EL OOH uk cl act Cr aaeee ala ai 1,400 ‘William Dobson, ‘‘Sir Charles and Lady | Luecas;’? Otto: Bernet, A ROT ae ome Cee 450 Sir William Beechey, ‘‘The Stanley Chil- | dten;’? “Henry: Lanthier 26.3 oS SiC Sin David Wilkie, ‘‘Christopher Columbus:’’ in the’ Convent ‘of La Rabida; Mere AELISEUIA" Ait aed whe che aie wel a Giilan an eee ee 1,025 There are still more than five hundred ‘paintings to be sold, few of them, how- rev er, of the importance of those already dispersed. ‘These, it is thought, will be offered at auction next season. The deb ‘of the Blakeslee estate are nearly $600.000. aA rin ESO - oP % 2 mem pe te Ri APR 20 1915 ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK Be eeaINNING THURSDAY, APRIL 15th, 1915 AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE HIGHLY VALUABLE PAINTINGS FROM THE BLAKESLEE GALLERIES Pompe SOLD Al“UNRESTRICTED: PUBLIC SALE IN THE GRAND BALLROOM OF IU GU ES PARA FA vee" De O74 BM i be BET WAVENUES oSthret Os 590th4, STREET, NEW YORK ON WEDNESDAY, THURSDAY AND FRIDAY EVENINGS APRIL 21st, 22nd and 23rd BEGINNING -PROMPELY GAT 8.15 O'CLOCK ILLUSTRATED CATALOGUE ORFTHE EXTENSIVE COLLECTION OF HIGHLY VALUABLE PAINTINGS BY THE GREAT MASTERS OF THE EARLY ENGLISH, FRENCH, FLEMISH DUTCH, ITALIAN AND SPANISH SCHOOLS FROM THE WIDELY KNOWN BEAKESLEE GALLERIES OF WHICH, ON APPLICATION OF THE COLUMBIA TRUST COMPANY AND MRS. THERON J. BLAKESLEE, ADMINISTRATORS OF THE LATE THERON J. BLAKESLEE, SURROGATE COHALAN HAS ORDERED A PUBLIC SALE TO BE MADE IN THE GRAND BALLROOM OF THE PEAZAY HOTEL FIFTH AVENUE, 58th TO 59th STREET ON THE EVENINGS HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANT, MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK ite) te. aps ao ea ¥ te ey, a Ye : My cectes eee if a and nt on ¥ cn Re a pice Pere: ae oe ‘ me J e's ag : ie - ss he yEnCs toms i 2 A) it 4 - Bay es “hei wy AG ra a) % ~~ 7 . v 7 4 ae aa _ - ni Tie < “i a 5 Aid Ve ~ 7“ ‘ 8 et ey. e 1 * hme ¥ 3 3 = Bae < Fs fa. ~ = ¥ Sp ~ “ G % 7 ce “+ i u of co \ ie ” Roa Ds ike . d 4 , y - b ae THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS _ ALL DETAILS OF ILLUSTRATION _ TEXT AND TYPOGRAPHY ie “ { Pd CONDITIONS OF SALE 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale injuriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such purchaser, and the deficiency (if any) arising from such re-sale shall be a charge against such purchaser. : 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. ; Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P.M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. , Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold ‘as is” and without recourse. The Association exercises great care to catalogue every lot cor-— rectly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. SPECIAL NOTICE. Buying or bidding by the Association for responsible parties on orders transmitted to it by mail, telegraph or telephone, will be faith- fully attended to without charge or commission. Any purchase so made will be subject to the above Conditions of Sale, which cannot in any manner be modified. The Association, however, in the event of making a purchase of a lot consisting of one or more books for a pur- chaser who has not, through himself or his agent, been present at the exhibition or sale, will permit such lot to be returned within ten days from the date of sale, and the purchase money will be returned, if the lot in any material manner differs from its catalogue description. Orders for execution by the Association should be written and given with such plainness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit should be sent or reference sub- mitted. Shipping directions should also be given. Priced copies of the catalogue of any sale, or any session thereof, will be furnished by the Association at a reasonable charge. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. ITALIAN PICTURES ATTRIBUTIONS AND CRITICAL NOTES BY DR. OSVALD SIREN, STOCKHOLM DESCRIPTIONS BY MR. WILLIAM ROBERTS, LONDON THE ITALIAN PICTURES IN THE BLAKESLEE COLLECTION INTRODUCTORY NOTES BY DR. OSVALD SIREN, STOCKHOLM Amon the sixty-two Italian picturesin the Blakeslee Collection which I had the opportunity of seeing last Spring in New York, is none by any of the most famous masters of the Renaissance, but several by minor painters which are of great interest both to collectors and to students of Italian art. I hope that the following notes may serve to point out the special historic value of a few of them when they are placed in their proper schools, and, wherever possible, under individual names. Most of them had quite arbitrary attribu- tions, if they had any names at all. I need hardly state that in attributing the pictures to definite artists it has been my endeavor to go as far as possible. But this is only possible at all when the painting shows a marked original character. There are, alas, some other pictures which have gone through so many vicissitudes, in the shape of repeated cleanings and restorations, that they have lost most of what they once may have possessed in the way of genuine style and char- acter. In such cases the expert’s work becomes almost futile, and it must be left to the intelligent beholder to use his own discrimination. As the Catalogue contains short statements about every artist or school to which the pictures are attributed, and, where necessary, a few remarks about the quality of the pictures, I can here limit myself to shortly touch upon some of the more important paintings, giving additional reasons for their identification. The earliest period of Italian Renaissance Art (if we reckon its be- ginning from Giotto), the Trecento, is represented in the collection by one picture only, but it is of considerable historic interest. It bears the name of Cimabue, an honor bestowed even upon many less important and less early Trecento-paintings, though it is evident that the picture has nothing to do with the Tuscan School at all. It has been done by Bologna’s leading Trecento-master, Vitale, usually nicknamed “Vitale delle Madonne.” In an article in Rassegna d’ Arte, Feb., 1910, Dr. T. Gerevich gives documentary dates to the life of Vitale. The painter was born during the first decade of the fourteenth century and died between 1360 and 1870. Vitale’s artistic style is known to us mainly through three Madonnas in his native city; one in the Pinacoteca, one in the church of San Salvatore and one in the Palazzo Davia-Bargellini; the one in the Vatican Gallery in Rome being sadly repainted. ‘The first named is signed and dated 1820. But there can be little doubt that the date has been altered at some later epoch; the style of he painting proves that the master did not work in the second decade but towards the midst of the century. This is also confirmed by the date on the Madonna in the Palazzo Davia-Bargellini, which is 13845, and by another Madonna, published by D’Agincourt (pl. CX XVII), with the same date. The Blakeslee picture is possibly still younger; it stands in the closest relation to the “Madonna della Vittoria,” now in San Salvatore, but formerly in San Giovanni at Monte, outside Bologna. 'The composi- tion is practically the same in both, and the Madonna’s elongated type of face with the long nose and the large almond-shaped eyes show scarcely any variation. The two boys are also very closely related, the one in the Blakeslee picture being perhaps a little more solemn in his performance of the ritual blessing while sucking at the mother’s breast. ‘Two monumental Saints and some small figures on the pediments add to the decorative effect of the picture which has only been infringed by cutting off a piece at the bottom. Two other pictures in the collection reveal still the Trecento tradition, though they are painted three or four decades after the close of the four- teenth century. Both represent the Madonna seated in a low position, on a cushion or on a bed of clouds, with the one leg bent under her and the other knee raised so as to offer a suitable support for the child. ‘This ele- ment of composition is a favorite one among the late Gothic painters in Italy, because it offers a fine opportunity for rich display of undulating mantle-folds and sweeping contours. The Virgin and the Child are united in a group which harmonizes perfectly with the ogival arch of the enclosing tabernacle. The figures are more pattern of design than representations of human beings; the principal aim of the artist being not representation, but pure decorative beauty. The first of the Madonnas in the Blakeslee Collection is of Florentine origin; it is painted by the very attractive master I characterized some twelve years ago in my book on Lorenzo Monaco as “il Maestro del Bam- bino Vispo,” but who later on has been identified by me as Parri Spinelli. The picture belongs to a comparatively early period in his career, when he still worked under the predominating influence of Lorenzo Monaco, the probable date of it being about 1415-20. The other Madonna-picture is not at all Florentine, though it seems to be showing a general resemblance to the first one in regard to its composi- tion; it is by a painter of the Marches. The school becomes evident in the Virgin’s heavy, flat type and in the exquisite ornamentation of her precious white dress. But the individual master is in this case not so easily found. There are many unknown painters among the March-men of the early fif- teenth century. The leading master of that school was, at the beginning of the Quattrocento, Lorenzo da San Severino; but he is, as a whole, more primitive and rustic than the painter of this winning Madonna-picture. We must look around among Lorenzo’s immediate followers to find its master, but these smaller men of the Marches are as yet too little studied to make an affirmative attribution safe. The most marked individuality known among them is fra Matino Angeli. His signed and dated (1442) altarpiece at Monte Vidon Combatte affords apparently affinities of style to the Blakes- lee Madonna, particularly in the drawing of the Virgin’s mantle and of the boy; he might possibly have painted the Little Madonna some years earlier. The Florentine Quattrocento is represented by six or seven pictures, among which are some problems worth a more thorough discussion than we in this short introduction can bestow; we must limit it to the most necessary remarks on the anonymous masters. 2 “The Master of the San Miniato Altar piece” is the name given by Mr. Berenson to a follower of Pesellino and Fra Filippo, whose principal work is a Madonna between four saints at San Miniato al Tedesco. Besides this large painting, he has done several small Madonnas of rather unequal qual- ity; we have seen recently two of his Madonnas in the market. And here in the Blakeslee Collection is the third. ‘This picture comes very close to the one acquired by the Minneapolis Museum (formerly belonging to Lady Theodora Guest). Both are to be counted among his better works, where a sensible echo of the Fra Filippo-Pesellino tradition still is to be felt. The master is a dependent man, who occasionally charms us, when nothing bet- ter is at hand, but who probably in his life-time had not the name of any- thing more than a humble artisan; still, he worked during the golden epoch of Florentine art. Much higher in quality and a little later in time stands the anonymous master whom we have given the temporary name: “Master of the Oriental Sash.” 'The name needs hardly any explanation. It has been chosen be- cause most of the artist’s Madonnas wear an Oriental sash, used either as a belt or as a bandage to support the child; it may be added, the master has a general predilection for embroidered and richly ornamented material. This is all confirmed by the picture in the Blakeslee Collection repre- senting the Holy Virgin, nursing the Child, attended by St. John. ‘The boy wears an embroidered frock and he sits on the Oriental sash which is tied around the mother’s neck. The group is placed under a marble arch inlaid with colored slabs and cut at the top. The preservation of the picture is, as anyone can see, not the best; it has been rubbed off a good deal. But it is perfectly characteristic of this anonymous master, who, as we follow him through his various works, appears to be one of the most charming (though not one of the strongest) among Florentine Quattrocentists. As his artis- tic personality never yet has been defined, we will use this occasion to say a few words about his development and his principal works. We find them in several museums ascribed to various masters: | Florence, Uffizi Gallery, Nr. 1278"'% “Scuola del Andrea del Verroc- » chio” Altarpiece representing the Madonna on a throne of multicolored marble with arched top; on the sides stand St. Zenobius and St. John the Baptist; kneeling in the foreground are St. Francis and St. Nicholas. In the very laconic catalogue of the Uffizi Gallery (English edit., 1904) this picture is accompanied by the following note: “It is one of the finest speci- mens of Florentine art and lay hidden and forgotten till 1881 in the store- rooms of the Royal Uffizi Gallery. Having then been discovered and exam- ined by the members of the royal commission of art, it was pronounced a painting by Verrocchio.” ‘The royal commission seems later to have arrived at another result, because nowadays the picture is more safely ascribed to the school of Verrocchio. Florence. Uffizi; from Sta Maria Nuova, Nr. 23: Madonna. and three angels. ‘This picture is officially ascribed to “Fra Filippo Lippi(?)” and by Mr. Berenson to “Amica di Sandro.” (“Florentine Painters,” 3d edit., p. 100.) Florence. Prof. Luigi Grassi: Madonna standing under an arch suck- ling the Child, who is supported by the Oriental sash, tied round the mother’s neck. ‘This Madonna is the exact counterpart of the one in the Blakeslee Collection, the only difference being that the picture is larger and better preserved, and that St. John is replaced by a vase of flowers. Englewood, N. J. Mr. D. F. Platt: Madonna holding the Child on a cushion while he is kicking with his feet and blessing with his hand. A very interesting, probably early picture, close to the Madonna in Paris and Munich (see below). London. National Gallery, Nr. 589, “School of Lippi’: The Virgin seated under an arch, an angel presenting the infant Christ to her. ‘The composition is inspired by Botticelli’s Chigi Madonna, now belonging to Mrs. Gardner in Boston. There is another version of the same Madonna, with two angels, in the museum at Naples. It is probably a somewhat later work by our master, though less obvious. Milan. Museo Poldi-Peszoli, Nr. 156, attributed in the catalogue of 1911 to Botticelli: Madonna; child standing on her knee, an angel is present- ing a vase with flowers. Picture showing influence of Cosimo Rosselli, be- sides Verrocchio and Botticelli. Munich. Julius Boehler: Madonna caressing the Child, who is sup- ported by two angels. Closely related to Mr. Platt’s Madonna. | Paris. Louvre, Nr. 1845, “Ecole de Fra Filippo Lippi’: Madonna seated on a cushion on the ground offering a pomegranate to the boy. Ador- ing angels with flowers forma niche behind her. One of the master’s best pictures. Paris. M. Henri Heugel: Virgin and the little St. John adormg the child. The Virgin’s mantle is lined with beautiful brocade stuff; rocky land- scape, very attractive. Ascribed by Mr. Berenson to Botticini (“Florentine Painters,” 3d edit., p. 121), and in Sedelmeyer’s Catalogue, 1902, to Filip- pino Lippi. No doubt the list of this anonymous master’s works could easily be en- larged, but those mentioned afford enough material for a just appreciation of his artistic ability; the attributions quoted above may serve to throw some light on the general uncertainty about his derivation and his position in the Florentine School. . Kvidently, the painter is to be reckoned among Verrocchio’s pupils, al- though he might have begun his artistic career already with some older mas- ter, like Cosimo Rosselli. Verrocchio’s severe, somewhat harsh style is pre- dominant in the large Uffizi altarpiece. But the master’s own temperament seems to have brought him in closer contact with Botticelli’s art; several of his smaller Madonnas (for instance, Platt’s and Boehler’s) show interesting affiliations with Botticelli’s early works. Possibly—and this is the most nat- ural assumption—he was an assistant first with Verrocchio and then with Botticelli. Thus he came also in contact with Botticini. And, indeed, this is the master with whom he is most easily confounded. Their lines of evolu- tion run at least in the beginning paralel; they step out of Verrocchio’s work- shop about the same time, and they are both second-rate men often engaged in multiplying known compositional forms and figures. Botticini is perhaps the stronger draughtsman, but he is also harder and dryer than the “Master of the Oriental Sash.” He lacks the tone of dream and yearning which is characteristic of so many of the anonymous master’s Madonnas, connecting them with Botticelli’s blessed Virgins. | Anyone who will take the trouble to examine the pictures enumerated above will easily recognize the identityof the painter and his most pronounced morphological characteristics. The Madonnas have all the same type; a short triangular face with a broad forehead and pointed chin; the hands are feeble in comparison with those of Verrocchio, Botticelli or even Botticini; the drawing of the boneless fingers being particularly deficient. The bam- bino is rather clumsy, with an excessively large round head. But, in spite of that, his liveliness is very marked, especially when he is not entirely en- grossed in the appeasing of his appetite. His playfulness in connection with the heavy, contracted limbs give him sometimes almost likeness with a bear’s cub. | The master is a poorer landscape painter than most of his contempora- ries; when he occasionally gives some nature view in the background it is hard and schematic, he evidently prefers to fill the background with some architec- tural motive. ‘The incrusted marble arch reappears, as we have seen in sev- eral of the pictures, entirely or partly, enframing the Madonna group. Another painter of the Botticelli school is represented in the Blakeslee Collection by a Madonna-tondo of more common character. He is consider- ably later than the Master of the Oriental Sash and individually less marked, thus reflecting the Botticellian art more directly, and at a later, more decadent period. We learn from him more about Botticelli’s mannerisms and exaggerations than about his charm and expressiveness. The same stylistic group is completed by Jacopo de Sellajo’s Madonna formerly ascribed to Botticini, but marked by the characteristic mannerism of Sellajo at his latest period. Still later in date and further developed in style are two tondos, the one of the school of Lorenzo di Credi and the other of the school of Piero di Co- simo, both representing the Nativity. The first is painted by a well-known ar- tistic personality whose name, however, has not yet been found. Morelli used to call him “Tommaso,” identifying him with a certain Tommaso di Stefano, mentioned by Vasari among Credi’s pupils; but if Vasari is right about the master’s age (born 1494), this identification is hardly convincing. The style of this individual is, however, easily recognizable in a number of pictures in the Uffizi, Pitti, and Borghese Galleries and in several private collections, most of them representing the Holy Virgin kneeling in adoration before the puffy child, sometimes accompanied by an angel, as we see her in the Blakes- lee tondo. A drawing which probably has been used for one of “'Tomma- so’s” kneeling Madonnas is to be found in the National Museum in Stock- holm. ‘The type of the Virgin and the treatment of the mantle folds are ex- actly the same as in the Blakeslee picture. None of the very popular Sienese Quattrocento painters meet us in the Blakeslee Collection, but there are two characteristic specimens of Sienese Cinquecento art; we refer to the playing angels by Pacchiarotto and to a Madonna by Girolamo da Pacchia. The angels, which were honored by the name of Melozzo da Forli, are evidently cut out from some larger altar- piece like the Ascension of Christ in the Siena Academy. We find there their exact counterparts in the singing and playing angels, floating around the Saviour, who ascends the clouds in a dancing movement. ‘These joyous beings seem to be a humorous mixture of seraphs and satyrisques. A particularly fine Madonna by Domenico Puligo should be pointed out among Ilorentine Cinquecento pictures. It is not often that we find this master represented by a work of so solid and homogeneous a character. And, indeed, it is no less pleasure in the study of art than in life to find one’s expectations surpassed by reality. Another good Tuscan picture, from the end of the century, is Francesco Vanni’s large representation of the Madonna with St. Katherine of Siena. It is true that it shows a certain superficiality of handling and looseness of form. But the light, transparent colors endow it with an effervescent beauty, recalling French Rococo paintings. Turning from the Tuscan painters to the Central Italians, we may ob- serve a connecting link in a Madonna formerly ascribed to a Florentine pu- pul of Benozzo Gozzoli, but evidently by the Umbrian Boccati da Camerino, who also felt some influence from Benozzo, although his main education was that of a March-man. He represents the Madonna, as usual, on a throne of elaborate architecture, surrounded by angels who do their utmost in playing and singing her praise. All the morphological details, the type of the Ma- donna and of the angels, their claw-like fingers, their whimsical movements, correspond exactly to the same details in Boccati’s Madonnas in the gallery at Perugia (No. 9). There is a touch of fresh naiveté in the whole rep- resentation which might reconcile us with much of the awkwardness and deficiency in the drawing of the figures, and it remains, in spite of restora- tions, a rather winsome provincial idyll. A picture of stronger individual character and intrinsic drawing is the Madonna by a companion of Lorenzo Costa. If we dare follow Venturi, the master might be Galasso Galassi, a name proposed by the learned writer for two panels in Budapest, by the same hand as our Madonna, representing music-making angels. (Cf. “Storia dell’ arte Italiana,” vol. VII, part III, p. 496.) These angels are officially attrib- uted to Francesco Cossa and by Mr. Berenson to Marco Zoppo (7). ‘To us it seems evident that they are by a companion of ‘Tura, though it is hard to tell whether he was Galasso or not, as we know of no signed work by this artist. The artistic personality is marked, anyhow, and he reveals himself in the most favorite way in the Blakeslee Madonna, a picture of refined and original character in good preservation. The central master of the Umbrian School, Pietro Perugino, is not rep- resented by any work of his own, but there is a Madonna in his style prob- ably executed by his follower Giannicola Manni. A comparison with Man- ni’s large altarpiece, the Madonna between St. Francis and St. Jacob, in the gallery at Perugia, offers ample reason for this attribution. A smaller octagonal picture representing the Virgin between the Two St. Johns shows the Peruginesque School tradition mixed with the current of the Francis School at Bologna. The blending of these two different cur- rents took place especially in the Romagna. ‘There can be little doubt that the present picture was executed in that region. Giovanni Battista Bertucci of Faenza is the nearest designation we can propose for the picture; it is somewhat finer and more graceful than Bertuc- ci’s large altarpiece in Faenza and in Berlin. But the style is the same, and the artist probably handled the smaller painting with greater care. The Milanese pictures’are not very numerous in the Blakeslee Collec- tion, but among them are two or three of particular interest. The first is an altarwing attributed to Butinone. ‘The picture has been discussed by Her- bert Cook in the Burlington Magazine (1904, p. 94), who reckons it as one of | the few known authentic works by this rare master of Trevigho. “It dated ap- parently from the era of the Treviglio altarpiece, 1. e., about 1485, with which comparison of detail should be carefully made. In particular the metallic luster of St. John’s face and the curious drawing of the bony fingers are S) characteristic of our painter.” Bernardino de’ Conti's Madonna is interest- ing because of the predominant influence from Leonardo’s art it exhibits. The landscape is in a cold greenish tone, and the Virgin’s type is Leonard- esque. Had it not been so much rubbed, it would take a prominent place in ~ the school of Leonardo. The best picture in this group, is however, Andrea Solario’s “Madonna dei fiori.” ‘The unusually attractive motive of the Virgin offering some flowers in her outstretched hand gives a pleasant feeling of Solario’s close affiliation with Venetian art. It is the same motive which has become famous through Titian’s “Flora” in the Uffizi. Is it possible that the painters have invented it independently, or have they borrowed it from a common source? Seolario can at least not have taken it from ‘Titian, because his Madonna picture is nearly twenty years earlier than 'Titian’s “Flora.” It stands in closest re- lation to the Holy Family with Saint Jerome in the Brera, dated 1495. Another outsider who, like Solario came under predominating Venetian influence was Boccaccio Boccaccino of Cremona. We are inclined to attrib- ute to him a little Madonna, formerly ascribed to Giacomo Francia. ‘The attribution is sustained by several details such as the Virgin’s left hand, the draping of her mantle, the delicate treatment of the landscape, and above all by the characteristic boy; he is the typical Boccaccino bambino, with a large head and precocious expression. The Virgin’s type is a little more Venetian than we are used to find in Boccaccio’s pictures. The other North Italian pictures in the Blakeslee Collection need scarcely be discussed; they are noted with deserving remarks in the Cata- logue. The most problematic among them is the Madonna catalogued un- der Girolamo dai Libri’s name. The attribution is about as hard to con- firm as to disprove, because so much of the picture’s original character has been lost in the restorer’s shop. But it possesses still an undeniable charm, and much can be said in favor of it being an original by Girolamo dai Libri. Anyhow, its Veronese origin is evident. The Bellini School, the central hearth of Venetian painting at the end of the Quattrocento, can be studied in several second-hand works. Pissolo is represented by a nice and soft Madonna and by a still more attractive bust of the Saviour, both in light and hazy colors; Girolamo da Treviso by a characteristic signed Madonna of unusual size, and Girolamo da Santa Croce by a very decorative Madonna being an imitation of the Bellinesque composition. | Palma Vecchio’s Holy Family isa well-known picture from the Butler sale, which always -will hold its place as an effective piece of decoration. The same is true in still higher degree of the large portrait representing a lady with her dog from the Farrer Collection. It is, indeed, a picture of very remarkable decorative quality; the silver brocade in the lady’s dress and the transparent white sleeves are painted with an admirable technique. The land- scape view is given in pastos colors almost in a Titianesque manner, but the handling of the face, the hands and the neck is more timid. It is evident at the first glance that the portrait stands in close relation to Paolo Veronese’s art, and this has also found expression in the traditional attribution to Paolo’s son Carlotto, but the individual master is perhaps not quite so evident. We know nothing by Carlotto of nearly as good and solid quality as this pic- ture. It is also earlier in date; the treatment of the landscape, as well as the manner in which the face is painted, is pre-Veronesque, and the costume is to be seen in Titian’s portrait of his daughter, Lavinia, in Dresden, about 1555. ‘The nearest analogies to this portrait we have been able to find are the two portraits in the Museum in Vienna (Nos. 395 and 297), now unani- mously given to Paolo Veronese’s teacher, Antonio Badile. They exhibit the same kind of solid, somewhat provincial translation of Titian’s art, the same timid handling of the flesh parts and gorgeous stuff painting as we have observed in the Blakeslee portrait. The attribution is also supported by a comparison with Badile’s large altarpiece in the museum at Verona, which is inspired by 'Titian’s Pesaro-Madonna and includes the same kind of silver brocade as we find in the lady’s dress. Badile was a poor inventor, with little or no imaginative gifts, but a good painter; he knew how to teach — Paolo the brushwork! | Several pictures by various Bolognese and Neapolitan painters illus- trate the tenebroso and academic schools of the seventeenth century; they should be appreciated from a historical point of view, whereas the small can- vases by Piazzetta, Pitton1 and Domenico 'Tiepolo may afford some esthetic enjoyment, revealing a touch of the last brilliant effervescence of painting in Italy. ——— AX _ TUSCAN SCHOOLS FIRST NIGHT’S SALE WEDNESDAY, APRIL 21, 1915 IN THE GRAND BALLROOM OF THE PLAZA FIFTH AVENUE, 58th to 59th STREET BEGINNING PROMPTLY AT 8.15 O’CLOCK NOTE: The attributions and critical notes of the Italian pictures are by Dr. Osvald Sirén of Stockholm, and the descriptions have been written by Mr. William Roberts of London. JY gg Height, 25 inches; width, 19 inches ~ No. 1: MASTER OF THE SAN MINIATO ALTARPIECE A Florentine painter of the school of Pesellino and Fra Filippo. His actual name is as yet unknown, but he is a distinct artistic personality, named after his principal achievement, the altarpiece in the right transept of San Domenico at San Miniato al Tedesco (Cf. Berenson, “Catalogue of the John G. John- son Collection,” Vol. I, p. 23). MADONNA AND TWO ADORING ANGELS (Thick Panel) iy kee. Ze) Vie Yu 2 erth ALn122_ — Height, 25 inches; width, 19 inches ] 4, g A SMALL three-quarter length of the Virgin, in scarlet dress, gold mantle lined with blue, and brownish head-dress, seated on a marble bench; the Infant in white, seated on her knee, His right hand upraised, the two first fingers extended; an angel in red dress and golden hair on either side with hands clasped. : From the Conte Galli-Tassi Collection, Florence. This picture is one of the anonymous Master’s most attractive creations. No. 2 ANGELO ALLORI (called BRONZINO) Florentine; 1502-1572. Pupil of Pontormo, imitator of Michelangelo. PORTRAIT OF A LADY OF QUALITY Po S, Aart A417 SMALL half-figure of a young lady with set features, shee to. font a looking slightly to left; rich crimson and black dress embroidered with white and gold, edged with white lace at neck and wrists, plastron elaborately em- broidered with pearls and gems, long heavy gold neck chain, held with left hand, yellow gauntleted gloves in right hand, jeweled rings on both hands; reddish-brown head-dress with white chiffon cap. Transferred from panel to canvas. No. 3 TUSCAN MASTER Latrer Part oF THE FIFTEENTH CENTURY PORTRAIT OF A LADY ds, des OR oe Height, 14 inches; width, 11 inches Heap and shoulders to front, looking to left, yellow low dress, cut square at neck and shoulders and with black lacets; golden hair, yellow and red patterned close fitting head-dress with blue border, and heart-shaped point over forehead; gold necklace of five rows; blue background. Inscribed on the parapet, Lavra PETRARCHR. Collections of P. Manfrin, Florence; and J. Edward Taylor, London, 1912, No. 20: 179 -%-0 AWS bei men This is one of the best copies done from the famous miniature portrait in a Codex now in the Laurentian Library in Florence, ascribed to Simone Mar- tini and said to represent Petrarch’s Laura. We have seen in private collec- tions other copies of the same miniature, but they are of less good quality. No. 4 JACOB DEL SELLAJO Florentine; 1442-1493. Pupil of Fra Filippo; a very versatile painter, imitat- ing Pesellino, Cosimo Rosselli and especially Botticelli. VIRGIN AND CHILD Height, 3114 inches; width, 17 inches aa | ie BEES ae - + =_) oe ts A HALF¥-LENGTH figure, standing to front, scarlet dress, blue-hooded “cloaks ~ golden hair, holding in right hand pomegranate on which the Infant’s right hand rests; he is in light bluish drapery and stands before her on a bright scarlet cushion which rests on ledge or parapet across the foreground; gray wall background, with conventional tree on either side, scarlet and gold cur- tains; arched top. Transferred from wood to canvas. In contemporary carved frame. No. 5 GIACOMO PACCHIAROTTO Sienese, 1475-1540. Pupil of Matteo di Giovanni, influenced by Fungai and Francesco di Giorgio. ANGEL MUSICIANS ( Pair) 17 Ses 70 Each: Height, 18 inches; length, 17 inghes ; OP RS nN (a) Three youthful angels walking to right ad Snolage up; in red and greenish dresses, playing violin and cymbal, the end one praying. (b) Three youthful angels to left in green, yellow and white dresses; the first two playing instruments. Two small pictures, transferred from wood to canvas, fragments of a large altarpiece. Vivid color scheme, in good condition. In carved Renais- sance frames. re aris Ne Nt A wea collet 4 na re = pe Pee la eee ee Oe eee ee ee ae Poot we soins cit fe ag be ear o i aie indice a (eo a. ae li. ea i siaciiinesae Bubba > sw * nh pie CIR me * 5 a areas eee ae ee mee? ae ee ae re ee ar . a ee es ai mo eS dl pnlatty <3 5 Saas a 4 oo ‘ 4 ASS ee a a at re ae aanaan * wh: Re ame sie | | 2 #9 No. 6 PARRI SPINELLI Florentine school; 1387-1453. Son and pupil of Spinello Aretino; influenced by Ghiberti and Lorenzo Monaco. A full account of Parri’s artistic develop- ment and his early works, which were formerly given to an anonymous mas- ter, “I] Maestro del Bambino Vispo,” is to be found in T'he Burlington Maga- zine, March and April, 1914. MADONNA AND CHILD (Panel—arched top) a i a Height, 34% inches; width, 18 inches pe ae At/, i Faw é y, { inane SMALL whole-length figure of the Virgin to/front seated on a cushion on floor covered with brilliant scarlet and gold carpet; red dress, blue gold-em- broidered cloak, loose white head-dress with long ends; the Infant in blue and scarlet, seated on his Mother’s knee, holding her head-dress in left hand, and sucking forefinger to right; two angels supporting a crown over the head of the Virgin; gold background. In contemporary carved gilt frame. Formerly in the Galli-Dunn Collection, Pogginbonsi. Exhibited at the Mostra dell’ Antica Arte Senese, Siena, 1904. Mentioned in “The Burlington Magazine,” p. 24, April, 1914. No. 7 MASTER OF THE ORIENTAL SASH Florentine; temporary name for an artistic personality formed in Verrocchio’s studio and influenced by Botticelli. A closer account of this interesting mas- ter is to be found in the introductory notes. MADONNA, CHILD AND ST. JOHN ri SET Height, 20 inches; width, 14 inches ‘ ” } ULL tA ® Sirvitl, SMALL half-figure of the Virgin standing under an archway to right, in red dress and blue cloak, head inclined to left, fair hair, dark head-dress, nurs- ing the Infant, who is supported by a red and black “sling” suspended from His Mother’s shoulders; the Child in gray patterned shirt at right; infant St. John in red cloak and grayish dress is carrying a cross and holding a scroll inscribed “Ecce” (Agnus Dei); green background. Transferred from wood to canvas and framed in a Quattrocento taber- nacle. » | de be eee, No. 8 MAESTRO TOMMASO ~ This is the name given by Morelli (“Die Gallerien Borghese und Doria-Panfili in Rom,” p. 115) to a follower of Lorenzo di Credi whose principal works, all representing the adoration of the Christ-child in tondo-form, are to be found in the Borghese Gallery, Rome, and in the Pitti Palace, Florence. THE NATIVITY (Panel) G 78 ae Height, 3314 inches; width, 88 anches | y : Vy bhgls Ae WHOLE-LENGTH figure of the Madonna in a landscape, fo left, kneeling in adoration before the nude Infant, who is reclining on 4 rug on thé floor; she is in scarlet low dress edged with white, white head-dress, blue cloak, fair hair; over the head of the Infant an angel is placing a floral wreath, and behind St. John is seen; to right St. Joseph in red and brown dress holding a staff; background an undulating landscape with hills. Tondo, in original carved frame. No. 9 DOMENICO PULIGO Florentine; 1475(?)-1527. Pupil of Andrea del Sarto, influenced by Ridolfo Ghirlandajo. MADONNA, CHILD AND ST. JOHN ( Panel ) ise Height, 32 inches; width, 25 inches 3 — (Y re (co Zn Pw 2 4p bka e FN cerns YoutHrut Madonna to right, directed to left, in pink, blue v4 yellow draperies with brown head-dress, supporting the Infant, who is bolding a blue and gold striped ball handed to him by St. John, whose staff and red cloak are on the table. A large and fine specimen of this interesting pupil of del Sarto. No. 10 FRANCESCO VANNI Sienese; 1565-1609. Pupil of Ar ERNE SSN Salimbeni, influenced by Andrea del Sarto and Barocci. VIRGIN AND CHILD AND ST. KATHERINE = Wee ee Canvas: Height, 384% inches; width, 28 in. dona Neary whole-length of the Virgin, seated to right, directed to eee scarlet dress with blue hood, white head-dress, brown hair; the slightly draped Infant seated on her lap and looking up to left; St. Katherine of Siena, with white nun’s veil, holding lily branch and kneeling in adoration to left, hands resting on book. The figures are probably cut out of a larger composition. An attractive painting, in light blue, green and white colors. No. 11 ANGELO ALLORI (called BRON ZINO) ForENTINE: 1502—1572 PORTRAIT OF A LADY OF THE CORNARO FAMILY : Height, 34 inches; width, 27 inches . eg — | Vale Y OES Ye 7 ret. HALrF-FiGurE, about thirty standing by a stone balcony; scarlet over-dress, ; white and gold patterned sleeves, white lace collar, pearl necklace and ear- rings; fair hair with pearl rope, bracelets of precious stones, right hand holding fan, left with cameo portrait of Luigi Cornaro. Transferred from panel to canvas. = From the J. E. Taylor Collection, London, 1912, No. 16: BYG - 1h - IY UY fis! say This portrait was evidently done in Bronzino’s studio, but only partly by the master himself. 7s | ; Bi Sie, ee tae ee Yi ke No. 12 SCHOOL OF COSIMO TURA Ferrarese master working about 1450, influenced by Tura and Francesco Cossa. Two angels by the same painter in the Museum at Budapest are ascribed to Cossa. MADONNA AND CHILD (Canvas) es —0é © Ve ee Height, 22 inches; width, 16% oe ie Ss SMALL half-figure of the Virgin, directed slightly to left, looking down at child; scarlet dress embroidered with gold bands, blue cloak, fair hair with pearl rope, white gauze head-dress; the Infant to left looking up towards His Mother. Both figures have a peculiar gold-spotted aureole. In a carved Renaissance tabernacle. From the Charles Butler (Warrenwood) Collection. A charming picture of pure and refined character. ] = “ pe a be = 2 — ea a Ed _ abe = os = ie sare — - — i ' No. 13 GIACOMO FRANCIA Bolognese, 1486-1557. Son and pupil of Francesco Francia. MADONNA AND CHILD WITH ST. JOHN ios ve Height, 234% inches; width, 18%4 inches | HAtr-FicureE of the Virgin to front, head inclined to left; red low dress, blue hooded cloak, thin white muslin head-dress; the Infant in red shirt seated on a blue cushion which rests on a ledge which extends across the center of the picture; to left St. John with cross; blue sky and undulating hills to right. Transferred from wood to canvas. Characteristic picture in good con- dition. Exhibited: New Gallery (Early Italian Art) London, 1893-4, No. 172; and Burlington Fine Arts Club, London, 1894, No.-28 From the collection of Charles Builer, 1911, No. 25: 410 - 0- 7 Veber ner No. 14 GIOVANNI BATTISTA BERTUCCI Born at Faenza; worked 1500-1516. Influenced by Perugino, Pinturicchio, Lorenzo Costa and Francia. MADONNA AND SAINTS (Panel) oo 7 SiS Octagonal, 291% ee! ) Ca Tut Madonna, seated to front, scarlet dress with gold edging, blue cloak, fair hair, brownish head-dress, her hand resting on a fruit; the Infant in shght gold drapery on her lap; on left St. John the Baptist, to right St. John the Evangelist, both in the attitude of prayer; green background. A graceful and well-preserved picture. No. 15 DOMENICO ALFANI Umbrian; 1480—after 1553. Pupil of Perugino, imitator of Raphael, later in- fluenced by Andrea del Sarto and Rosso Fiorentino. HOLY FAMILY AND ST. JOHN (Panel) Height, 26 inches; width 22) inches la ee i TY Are oe AN interior, three-quarter figure of the Virgin seated to front, scarlet dress with gold insertion and sleeves, a pearl ornament at her bosom, blue cloak over shoulders and lap; reading a book held in right hand, and with the left supporting the lightly clad Infant, who is seated on her lap and is receiv- ing a cross from St. John; the latter to left holding scroll inscribed “Ecce Agnus Dei’; to right St. Joseph in slate-colored dress and brown cloak, left hand upraised; landscape seen through window to left. In carved Renaissance frame. No. 16 COLA DELL’? AMA'TRICO School of the Marches; about 1480—after 1547; influenced by Vittoria Crivelli and other Marchegian painters, later by Raphael and Michelangelo. THE ANNUNCIATION (Panel—arched top) 3 Oe Height, 30 inches; width, 19% ON 1) £ Tue Virgin standing in a hall, in rich red dress and long blue cloak; the angel in gray and red is kneeling at her feet and is holding a lily branch in her left hand; the First Person of the Trinity is seen above in clouds, a dove descending; through an open window to left is seen a hilly landscape. In old Renaissance frame. i EO At MNES, Fi i i No. 17 FRA MARTINO ANGELI (?) School of the Marches. Fra Martino Angeli from Santa Vittoria was a fol- lower of Lorenzo da San Severino the elder; a signed picture by him dated 1448 is preserved in S. Biagio at Monte Vidon Combatte. MADONNA AND SAINTS (Panel—arched top) 5 oe as Cees Length, 30 inches; width, sey, QO () ff \ | ee ae AL). Ve WAXnnn4 SMALL whole-length figure of the Madonna Renn in white brocaded mantle ornamented with golden crowns, with long black hooded cloak, and holding the Infant at her left side; she is surrounded by four saints: St. Katherine of Siena, St. Katherine of Alexandria, St. Francis and a Bishop; gold ground. ‘The picture has its original Gothic tabernacle and is as a whole beautifully preserved. No. 18 GIANNICOLA MANNI Umbrian; active 1498-1544. Pupil of Perugino, influenced by Pinturicchio and Raphael. MADONNA AND CHILD Height, 30 inches; width, 25 inches fe ey a peg 8h. AY ae SMALL three-quarter figure, seated to front; deep red low dress edged with gold embroidery, blue cloak, brown hair; the nude Infant seated on her lap. His right hand raised; central background, broad strip of curtain (or back of chair), to left winding pathway to castellated buildings, to right seacoast with numerous towers. Transferred from wood to canvas. No. 19 GIOVANNI BOCCATIS Umbrian; active about 1433-1470. Born at Camerino, possibly a pupil of Lorenzo da San Severino the elder, but developed mainly under the influence of Piero dei Franceschi and Benozzo Gozzoli. MADONNA AND ANGELS cS. d- are (Panel—with circular top) Height, 36 inches; width, 23 inches W HOLE-LENGTH Madonna enthroned in a niche; gold-embroidered dress and blue-hooded cloak; the Infant, seated on her lap and holding her cloak with right hand, is looking down to right at three singing angels; to left are three other angel musicians. From the Conte Galli-Tassi Collection, Florence. An interesting picture showing the peculiar mixture of Florentine and Umbrian elements which is characteristic of Boccatis. eR nvieoonette — Ba Ra cating imal min “sects ea Nl } No. 20 UMBRIAN SCHOOL Enp or FIFTEENTH CENTURY ADORATION OF THE MAGI 3 7 Cae Height, 84% inches; length, 5014 inch 5 A , KA (6. een. A GRrouP of twelve figures; the Holy Family occupies the center of the picture in front of a cowshed. ‘The wise men, leaving their horses with attendants, are advancing from the left carrying presents; St. Joseph re- ceiving the offering of the foremost, who is prostrate before the Holy Family; the Virgin in blue dress holding the Infant; to right a piping shep- herd and a flock of sheep, an angel in the distance; conventional land- scape and trees to left. Transferred from wood to canvas. A predella picture. No. 21 VITALE DA BOLOGNA (called VITALE DELLE MADONNE) The earliest artistic personality in Bologna, active about 1330-1360; influ- enced from Giotto’s school in the Romagna and from Siena. MADONNA AND SAINTS ( Panel) S sT/ Aes Height, 34 wmches; length, 49 "be f ie AN altar-triptych. In the center, the Virgin in blue gold-embroidered hooded cloak and light white head-dress, head inclined to left, gold star on left shoulder; the Infant in red and gold drapery supported on His Mother’s right arm; scarlet and gold background. 'To left St. Peter, with keys and red book. ‘To right St. Regolius Papa, with long beard and miter, right hand upraised, left holding open volume in which is inscribed his name. On the three gables are represented the Annunciation, the Crucifixion and a kneeling Magdalen. In two niches formed by the gables are St. Francis receiving the stigmata and St. John the Baptist. This picture is an important specimen of this rare master, free from restorations, but cut at the bottom. No. 22 GIOVANNI LO SPAGNA Umbrian; active 1500-1529. Pupil of Perugino and Pinturicchio, influenced by Raphael. ST. MARY MAGDALENE (Panel) Vi nee Height, 52% inches; width, 21 inches ye j y y _— , uy y Va 5 : . ee 0 = VV AKALALY Me WHOLE-LENGTH figure standing in a landscape, to front; dark blue dress with yellow sleeves and embroidered with gold, scarlet. overdress and blue cloak, brown hair bound with greenish net, and head-dress which falls over her left shoulder; right hand holding small urn-shaped vessel, red covered volume in left; thin gold necklace, red shoes. In a Venetian tabernacle frame of about 1550. arte . a Pipes. 2 _ ITALIAN SCHOOLS No. 23 BOCCACCIO BOCCACCINO School of Cremona; 1467-1525(?). Studied under Alvise Vivarini in Venice; influenced by Foppa and other Milanese painters. MADONNA AND CHILD (Panel) Height, 15 inches; width, 12 anche ae @ SMALL half- figure of the Virgin, standing to f ont in a landscape and look- ing downwards; in scarlet robe, blue-hooded cl ‘ak over plain white head- dress falling over shoulders, her left hand resting on parapet on which the nude Infant is seated, and is Bee at spectator; background, undulating view with trees and river. A fine picture in good condition; it stands very close to Boccaccino’s little “Madonna” in Padua. ——snanragrenen tes ements tment Feel ne ee ae | “ ee ee OO Oe ye 2: > Pi ay I: Si EO NNR. “Eprom BNE BEF SO PAF Wnts " 4 Ae’ ee c fee oe ain er, kt Ae = = = eee Seay em 723 Ws See ah Go: ee ee en ea a a ore No. 24 FRANCESCO BISSOLO f Venetian School; active 1492-1554. Pupil and assistant of Giovanni Bellini. CHRIST IN A LANDSCAPE G, ” y es Height, 19 inches; ee. inches / )) ie prt” Karvy Ae Busr to front, red dress, shghtly open at neck, showing white vest, green cloak, long curly hair flowing over shoulders, background of field, clump of trees and cloudy sky. Transferred from panel to canvas. Light and harmonious colors: green, red and brown. No. 25 ANDREA SOLARIO Milanese; circa 1465—after 1515. Pupil of his brother Christofano; influ- enced by Antonello da Messina and Alvise Vivarini, finally by Leonardo. MADONNA AND CHILD (Panel) aioe tere Height, 19 inches; width, 15 yche : [PY (Oly (3 pee nl \ Sma. half-figure, seated, of the Virgin in richly embroidered corsage with black lacets, blue cloak, fair hair, large white head-dress with long ends; holding in right hand cherries and other fruit; the Infant, seated on her lap in thin gauze covering, wearing a necklace with gold cross suspended, holding in right hand a single rose and in left cherries; background, narrow panel of red cloth on a dark green wall. In carved Renaissance frame. A very attractive although rather late specimen of Andrea Solario’s solid art. No. 26 BARTOLOMMEO VENETO. Venetian School; active 1500-1530. Pupil of the Bellinis, influenced by Berga- mesque and Milanese painters. PORTRAIT OF A LADY ae Wie cee Height, 21 inches; eee me 6 v7 é e yj Y | ee ove OA BE ae HALF-FIGURE of a lady in green dress embroidered with gold, white chemi- sette, standing in front of a balcony on which is an open music-book, play- ing a lute; long wavy hair falling over shoulders. Transferred from wood to canvas. This is a replica or old copy of a picture by Bartolommeo Veneto; other versions are in the Ambrosiana Gallery in Milan, and in the collection of Mrs. Scott-Fitz in Boston. No. 27 BERNARDINO DE’ CONTI Milanese; 1450—after 1522. Pupil of Zenale, influenced by Leonardo and Boltraffio. : MADONNA AND CHILD (Panel) " om = Height, 23 inches; width, 17%4 inches . . en 8) Via alin l. SMALL half-figure of the Virgin in a rocky landscape; to front, red dress, blue gold-lined cloak fastened at neck with cabochon ruby, long wavy fair hair falling over shoulders; the Infant seated on her lap in blue and gold- edged dress; rocks to left, castellated buildings to right. Green tone. No. 28 GIROLAMO DA SANTA CROCE Bergamesque Venetian; about 1480-1556. Follower of Cima, Mansneti and Bellini. MADONNA AND CHILD L/ crn Canvas: Height, o7Y/, unches; LA it ones oa gc ‘a, g Ye (Gl | ry Cee Eee THREE-QUARTER figure of the Virgin, seated in a landscape, directed to/left; blue dress, white neckerchief and head-dress, scarlet-hooded cloak, with’ nar- row border of gold; nude Infant on her lap; trees to right, background, houses and stretch of blue-peaked hills. Transferred from panel to canvas. From the sale of the Chigi Gallery, Siena, 1857; and the Collection of Charles Butler (Warrenwood), No. 47 in the sale catalogue, where it is ascribed to Filippo Lippi: 73/—-S-0 Fifhnwur No. 29 GIROLAMO MAZZOLA (BEDOLI) School of Parma; 1500-1569. Developed under the influence of Correggio and Parmigianino. MARRIAGE OF ST. KATHERINE dt d. £ the ; A oor ds Canvas: Height, 22 inches; length, 27 inches AN interior with five figures. To left the Virgin seated, in red and white drapery and flowing blue cloak; the Infant in light drapery on her lap, looking up towards her and placing the ring on the finger of St. Katherine, who is on the right in brown and red dress, her left hand on a large wheel; through a doorway in the center two elders are seen; blue curtain to right. Transferred from panel to canvas. A characteristic specimen of the post-Correggiesque Parma School. No. 30 FRANCESCO BISSOLO VIRGIN AND CHILD 7S oe Canvas: Height, 27 inches; wedth, Seen a / feo SA CAS im NAO Tue Virgin, seated to front in a landscape, red dress, blue dloak, white long head-dress, hands folded as in prayer; the Infant slightly coveved asleep across His Mother’s lap, head resting on His right hand; to left a bird perched on a twig, church and hill in distance, to right building and figures. Although overcleaned the picture has still a soft charm. No. 31 PALMA VECCHIO Venetian School; 1480-1528. Pupil of Giovanni Bellini; influenced by Gior- gione and Lotto. HOLY FAMILY AND ST. KATHERINE ( Panel) 3 49 = Height, 26 inches; PANT co. g | Lhge Hatr-ricure of the Virgin, seated in the center under a green curtain canopy; red dress with white loose head-dress and blue cloak, holding the Infant in slight gold drapery; to left, St. Joseph in blue and yellow cloak; to right, St. Katherine in scarlet dress and green cloak, holding pen in right hand. From the Munro of Novar Sale, 1878, No. 70; and Charles Butler Collection, 1911, No. 100: 274- 9-f You wy, Described by Dr. Waagen, “Art Treasures of Great Britain,” II, 134. alt. No. 32 BERNARDINO BUTTINON E Milanese School; circa 1436—after 1507; developed under the influence of Vincenzo Foppa, working together with Bernardo Zenale. ST. JOHN AND ST. LAWRENCE ( Panel) 1s Height, 4714 inches; width, 19 inches A, 7 v7 g ¢ Wehr yl Ler Mean Two whole-length figures, standing, St. John the Evangelist, in green /) ‘dress and scarlet cloak, holding gold chalice in right hand and _ inscribed open book in left; St. Lawrence to left in white and brown robes elaborately embroidered with scroll designs and enriched with precious stones; holding in right hand a palm branch, and in left a gridiron; on floor in foreground two volumes on which is perched an eagle. From Dowdeswell and Dowdeswell. Reproduced in “The Burlington Maga- zme,’ 1904, Vol. IV, facing p. 938; mentioned in the “Allgemeines Leaicon der bildenden Kiinstler,” Vol. V, p. 30. A wing of a large altarpiece. No. 33 ANTONIO BADILE School of Verona; 1517-1560. Pupil of Carotto; influenced by 'Torbido, Brusasoreci and Paolo Veronese. PORTRAIT OF A LADY if a I aiger: Canvas: Height, 48 inches; width, A014 Wnches d OL”? VS wr Caer THREE-QUARTER length of stout middle-aged lady, standing slightly to/left, nearly full face; black low dress almost entirely covered with silver embroid- ery, the corsage with white and gold horizontal stripes, white sleevés with small gold spots, white chiffon over shoulders; pearl necklace and earrings, golden hair dressed flat and with pearl ornaments; gold bracelets, right hand resting on pet dog which is standing on red covered table, left hand on hip; distant landscape through portico to left, gray background. Exhibited: Burlington House, London, 1884, No. 157 (Frederick W. Farrer), when tt was “attributed to Paolo Veronese.” A beautiful and important picture of the leading master of the Verona school about the middle of the sixteenth century. It shows close affinity of style with Badile’s two portraits in Vienna. No. 34 ERSDI DI BONIFAZIO Pupils and assistants of Bonifazio di Pitati (1467-1553), carrying on his workshop even after his death. THE RESURRECTION OF LAZARUS ae. Canvas: Height, 52 inches; length, 36 inches ee eS Saad Group of nine figures, some of whichare only partly visible. Azarus being raised from the sepulchre, woman in bright yellow costume, knéeling. Portion cut out of a larger composition. No. 35 BATTISTA ZELOTTI School of Verona; about 1532-1592. Pupil of Badile; influenced by Paolo Veronese. HISTORICAL SCENE | rll Canvas: Height, 75 inches; length, 95 inches- > ? UL S7 , Coe ee A vicrorious military commander surrounded by five allegorical female figures in classical costumes. ‘The central figure, a middle-aged man with short beard, in armor, with pink cloak around neck and on left leg, a baton held by both hands; the figure on the left holding jar of golden coins; the others are apparently presenting a carved wood scroll-shaped tablet with inset of a miniature of a young woman; a laurel wreath is on the ground; pillar and wall background. A large decorative composition by this clever imitator of Paolo Veronese. No. 36 GIROLAMO DA TREVISO Venetian School; 1497-1544. Son and pupil of Pier-Maria Pennacchi; influ- enced by Giovanni Bellini. MADONNA AND CHILD (Panel) go d ote Height, 58 mches; width, d "o (> ae WuHotr-LeNctH of the Madonna, enthroned in a niche, to front; brown dress, richly embroidered with conventional design in red, white head-dress, blue and green cloak; nearly nude Infant seated on His Mother’s lap, hold- ing a fig in- left hand, right hand upraised. In Venetian tabernacle of the time. Signed on a table at foot of picture: Htmronymus Tarviso P. ——s a = %, and Eighteenth Centuries TALIAN SCHOOLS me passe) ts , . fj ts 4 d - ‘ The a a % . 4 + a . — re . No. 37 GIOVANNI BATTISTA PIAZZETTPA Venetian School; 1682-1745. Pupil of Molinari. LAUGHING GIRL W- Bust of a laughing girl in Dutch-like costume; greenish tone. / = ae Canvas: Height, 20 inches; width, 17 dy, No. 38 GIOVANNI DOMENICO TIEPOLO Venetian school; 1726—after 1770. Son and pupil of Giov. Batt. Tiepolo. PORTRAIT OF AN OLD MAN ab 5 ei Canvas: Height, 22 mches; width, 16 inches ) Heap and shoulders of an elderly man (probably a J ewish dignitary) in Oriental costume, brown-lined fur coat with high collar, reddish turban- like cap, red belt with cameos around chest; right hand holding belt. Eahibited at the “Mostra del Ritratto Italiano,” Florence, 1911, No. 101. (Prof. Emilio Constantini. ) No. 39 GIULIO CESARE PROCACCINI Bolognese School; 1548-1625. Son and pupil of Ercole Procaccini; influ- enced by Correggio. “SIBILLA PERSICA” Canvas: Height, 28 inches; width, 23-tmehes ie se : C7 (ee oy Heap and shoulders, life size, to front, head inclined to right; bluish low dress, long brown hair falling over her shoulders, blue and white head-dress; in left hand open volume inscribed on the edge “‘Sibilla Persica,” in right hand a pen which is being guided by an attendant angel leaning on her right shoulder. No. 40 LUCA CAMBIASO School of Genoa; 1527-1585. Son and pupil of Giovanni Cambiaso; influ- enced by Spanish art. | MADONNA AND ST, JOHN (Panel) Or liee im c= Height, 291% inches; length, 234% inches SMALL three-quarter length of the Virgin, seated to right, directed to left; dull red dress with yellow sleeves, blue cloak on lap, holding the Infant; St. John to right, ruins to left. No. 41 GIOVANNI BATTISTA PITTONI Venetian school; 1687-1767. Pupil of Francesco Pittoni; strongly influenced by G. B. Tiepolo. THE HOLY FAMILY APPEARING TO ST. ANTHONY Canvas: Height, 31 inches; width, 21 inches Wig GrovP of eight figures. St. Anthony o ua kneeling And holding staff, near a balcony; the Virgin, St. Josephwhd four youthful angels appearing in the clouds; the St. Esprit in the form of a dove to right. ~ ty Sa) pt kere G6 ma ~~ — A clever imitation of Tiepolo but technically inferior. No. 42 MICHELE MARIESCHI Venetian School, about 1700-1743. Pupil of and imitator of Canaletto. VIEW OF THE GRAND CANAL Canvas: Height, 27 inches; length, 46 inches, sgt as ‘i : V| Wa Le DIP LS A BROAD view of the Grand Canal, Venice, with numerous boats and the Rialto. A very ‘fine work of this clever Canaletto pupil. No. 43 LUCA GIORDANO (called FA-PRESTO) Neapolitan School; 1632-1705. Pupil of Ribera; influenced by Pietro da Cortona. THE HOLY FAMILY ¥ Canvas: Height, 374% inches; lengths, 40 wnches me ee lc To left three-quarter figure of the Madonna in red, blue and white draperies, her hands pressed to her bosom, gazing towards the lightly clad Infant on the right; His left arm encircling a wood cross; in the center St. Joseph in brown dress, holding staff. AAA No. 44 FRANCESCO SOLIMEN A Neapolitan School; 1657-1747. Influenced by Luca Giordano and the Car- raccl. MARY AT THE TOMB OF CHRIST sage Canvas: Height, 80 inches; ~, Ceo. GroupP of five figures. The dead Christ extends across the picture, on white and scarlet draperies; three women kneeling around the body and weeping, one pressing His left hand to her lips; to right a child-angel is pointing to the recumbent figure; on the ground to left, gold salver with emblems of the Crucifixion. Q . Xe No. 45 CANALETTO (ANTONIO CAN ALE) Iratian: 1697—1768 CANALETTO’S CONCEPTION OF A GRAND OPERA HOUSE IN VENICE Canvas: Height, 38 inches; length, 50 inches oN : nee ) ) / a | WA 2. Ss & A ‘ Aan Vite LAA A view of the Canal with the Rialto Bridge, the artist’s conception of a grand opera house on the right: a massive two-story building with balconies and a dormer roof; at the main entrance a crowd of brilliantly clad people are gath- ered under and around a temporary canopy, apparently indicative of the opening ceremony; the canal is alive with gondolas and other boats; blue sky with fleecy clouds. No. 46 TITIAN (Aseribed to) SUSANNAH AND THE ELDERS a Canvas: Height, 51 inches; length, 70 inches 1 lod LA AN open landscape, with a nude Venus directed to right, reclining on red drapery, occupying nearly whole of the foreground, and looking at the re- flection of her face in a small mirror which is held up by a dark-bearded elderly man in rich Oriental costume, and who is looking at her with a smil- ing expression; behind her a man in red dress and cap with gold-embroid- ered cloak is unfastening the band which had been placed over her eyes, her golden hair is plaited and a jeweled bracelet is on her right wrist; in the middle distance figures and sheep. Exhibited: Art Treasures, Manchester, 1857, No. 254; and Old Masters, Burlington House, 1871, No. 365. From the Earl of Dudley’s Collection, June 11, 1900, No. 31. No. 47 TIBERIO TINELLI (2) Venetian School; 1586-1688. Pupil of Contarini and Leandro Bassano, imitat- ing Van Dyck and the Spaniards. PORTRAIT SAID TO BE FRANCESCO DE ALTAMIRA Bester ont Canvas: Height, 84 inches; width, 5144 inches LeY b gheetne WHOLE-LENGTH, life size, early middle-aged, to front, black dress embroid- ered with gold, large white collar extending over shoulder, white cuffs; dark long hair, mustache and chin tuft; left hand holding hilt of sword, right hand holding black felt hat; coat-of-arms in top left-hand corner, red curtain to right. From the Marcelle von Nemes Collection, in the catalogue of which it is attributed to Carreno de Miranda. vee Soe eee ee | 4 LL a a JUTCH, FRENCH AND a Ee — ee, ‘ o INTRODUCTION THE pictures by artists of the Spanish, Dutch, French and Flemish schools, described in the following pages, constitute a very varied and interesting feature of the Blakeslee Collection. They have been gathered in many lands, but chiefly in England and France, and, with a few inevitable elimina- tions, would form an excellent nucleus for a private or public gallery. The average quality is high, and many have already figured in well-known col- lections, notably that of the late Charles Butler, a man of wide artistic sym- pathies and sound judgment. A good many have only their artistic quality and historical associations to recommend them, for they have passed from their previous owners by private contract into Mr. Blakeslee’s stock, either direct or through one of his many sources of acquisition, and nothing can be said as to their provenance. This section of Mr. Blakeslee’s pictures is dominated by the great gal- lery work by Rubens, “The Adoration of the Magi,” which came to light in recent years after all trace of it had been lost to students for over half a cen- tury. ‘This noble picture, with its Oriental magnificence, its brilliant color- ing and its wealth of carefully thought-out detail, is the most important work of its kind by the master in the new world; and all students will re-echo the wish that it may find a permanent home in a public gallery, or church, where it will remain for all time, a lasting memorial to one of the world’s greatest painters. The history of the picture is singularly clear from the time it was painted for the Church of St. Martin, Berg-Saint-Vinox (or Bergues, as it is now called), some five miles from Dunkirk. The church was rebuilt in the seventeenth century, and still contains a number of inter- esting paintings; doubtless it was its “noteworthy high-altar’” which this picture adorned until it was sold in 1766. The history of the picture is fully told in the “Report” of the late Mr. Max Rooses (reprinted in this catalogue), who made Rubens a life-study, and whose great book on the subject of the master and his works will remain for generations the standard authority. But if the picture had no history, its transcendent scheme, its wealth of imagination, its brilliant colormg and the care with which every detail is worked up into a harmonious whole would stamp it as the work of the master mind of Rubens. There are many interesting pic- tures of the Dutch and Flemish Schools, chiefly by the minor artists—‘the Little Masters” as they are sometimes called—men who just failed to attain the first rank. Special mention here can only be made of a few of the pic- tures, and two of the earliest in the alphabetical arrangement include the signed group by F’. Bol, which was once in the collection of a well-known London amateur; and a portrait of excellent quality by Jacob Gerritsz Cuyp, of a child, which recalls the group of three children by the same artist at Rotterdam, and also a child-picture in the J. Pierpont Morgan Collection which has so far baffled experts in their efforts to suggest the name of a likely painter. The history of the Van Dyck portrait of a lady of the Coningsby family cannot be traced further back than thirty years, its first recorded owner being Sir George D. Clerk, a member of an old and distinguished Scotch family; the portrait is of fine decorative quality. To the few examples of Johannes van Kessel in the United States the beautiful little landscape in this collection is a notable addition in which we can distinguish the influence of Jakob van Ruysdael. There are characteristic examples of Judith Leyster and N. Maes; by the latter there is a signed and dated portrait of a lady who does not seem to have got much joy out of her life—not an uncommon feature of Dutch seventeenth century portraits. The Metsu “Visit to the Nursery” is one of the many versions which the artist and his pupils must have been called upon to supply: the most beautiful example of all is the Rodolphe Kann picture, dated 1661, now in Mr. Pierpont Morgan’s Collection and on loan at the Metropolitan Museum. It is curious that the present version should have the much earlier date of 1641. The more interesting of the two by Miereveld is the portrait of Marguerite van Bromkort, with her coat-of- arms (or more probably that of her husband) and the date 1623; and close to this is a capital portrait of Miereveld’s pupil, Paulus Moreelse, of a famous patroness of the Elizabethan poets, Lucy Countess of Bedford. , ee There are many portraits of this lady, but this is later than any of the others, and represents her as apparently much older than she would have been in 1613. ‘This portrait has long passed as representing the “Sister of Sir Philip Sidney and wife of Sir James Harington,” but the two statements are contradictory, and neither can apply to this picture. By the younger Francis Pourbus we have a portrait of the Queen of Louis XIII, painted soon after she had taken up her residence in France. Another of the por- _trait painters whose work is uncommon in the auction room, Joachim von ‘Sandrart, is represented by a signed and dated example. A considerable amount of investigation has been devoted to fixing the exact identities of the Lord and Lady Burghley who appear under Zuccaro, but even so without conclusive success. The biographies given in the catalogue must be regarded as tentative. Judging from the dresses and other features, they are prob- ably portraits of the famous Lord Burghley’s grandson and his wife, in which case “Lady Burghley” would not be a correct title, for the husband did not become Lord Burghley until his father was advanced to the Karldom of Exeter in May 1605—or fourteen years after his wife’s death. At the date of the portrait, 1588, there was only one Lady Burghley, the wife of the famous Lord High ‘Treasurer, and she died aged sixty-three in 1589. This kind of confusion has often occurred in connection with family por- traits of which the identities have been left for posterity to establish. If the pictures by artists of the Spanish and French Schools do not in- clude any great masterpiece, there are nevertheless many excellent in qual- ity and of good provenance. 'The most important of the Spanish pictures is undoubtedly the Velasquez portrait of Mariana of Austria, a replica of the famous work at the Prado, Madrid. The French pictures are nearly all by artists of the eighteenth century, and, for the most part, of people who played a prominent part in the annals of France. The two great rival women portrait painters, Madame Labille Guiard and Madame Vigée Le Brun, are adequately represented; the former by one of the Princesse de Lamballe, a prime favorite of Marie Antoinette and one of the earliest victims of the French Revolution; and Madame Le Brun by the Comtesse de Verdun and a highly attractive portrait of Madame Vestris. The exact identity of the last named has not been made out. The Vestris family was a somewhat numerous one both in England and France, the most famous of the English branch being a granddaughter of Bartolozzi the engraver and successively the wife of Auguste Vestris the dancer and Charles James Mathews the actor. ‘This lady, who was born in 1797 and who lived till 1856, was only seven years old in 1804, when this portrait was painted, so it can- not represent her. It probably represents her first husband’s mother. Five portraits and subject pictures are by N. de Largilliére, and the most im-. portant of these is the brilliant picture of a lady of the Court of Louis XIV. Among the French pictures catalogued under Carle van Loo will be found a companion pair which appear in Mr. Blakeslee’s stock as of the King and Queen of Austria. These titles, as students of European history will hardly need to be told, are manifestly inaccurate. It is not known whence the late owner obtained the pictures, presumably by private pur- chase and not at public sale. Nothing therefore is known of their provenance. They are obviously state portraits and probably represent Francis Duke of Lorraine (1708-1765), who was elected Emperor of Germany in 1745, and his wife Maria Theresa (1717-1780), daughter of Charles VI, and who was (queen of Hungary. Both portraits, which would therefore be correctly de- scribed as of the Emperor and Empress of Germany, are ascribed to Carle van Loo, who is not known to have painted these two historical personages. Their state painter was Martin van Mytens (1695-1770), who was of Dutch origin, but who lived for many years in Vienna, where he died. His portraits of the Emperor and Empress, painted circa 1742, have been fre- quently reproduced; there are two of the former and one of the latter in the Szepmuvészeti Muzeum at Budapest. It is permissible to suggest that our two portraits may have been copied by order of Marie Antoinette, their daughter, for some dignitary of the French Court. By Van Loo also we have a portrait of the Comtesse de Beaufort en Sultane: this lady was probably the “dame de qualité de Franche-Comté” referred to by Voltaire in his letter to the Due de Richelieu of July 20, 1771, and whose husband, “un des plus honnétes gentilshommes de la pro- vince,” was accused of having killed “un coquin de prétre.” By Rigaud there is a fine portrait of the Duc d’Antin, and another of the artist’s wife. Two other famous French artists are represented: Louis 'Tocqué by a lady playing a guitar, and J. F’. de Troy by one of a lady whose name is not known. Later in date, but overlapping the active period of each of the two last named, Antoine Vestier is represented by an pe good portrait of the Comtesse de la Garde. W. ROBERTS. LONDON. a3) No. 48 B. EK. MURILLO SpanisH: 1617—1682 THE LITTLE SHEPHERD \ on Oe Canvas: Height, 22 inches; ele Dies inches & Miccx of C / SMALL whole-length figure of a little Re re pee oa seated in a rocky landscape; plum-colored dress and blue cloak, holding in left hand a shepherd’s crook; in distance to left two angels are seen guarding a flock of sheep. No. 49 CLAUDIO COELLO SpanisH: 1621—1693 PORTRAIT OF A LADY maar eae Canvas: Height, 24 inches; width, 19 inches , KF F-oarn2tin- Heap and shoulders of a young Spanish lady, to front looking at spectator ; dark mantle elaborately embroidered with gold, cream-colored sleeves only slightly seen, elaborate white ruff delicately edged with pink; pearl necklace and earrings; dark hair with thin row of curls over forehead, aigrette of jewels and pearls over right ear, small jeweled ornament over left ear; dark background. M290 ; I5-74-0 b. BH ; Collections: Arthur Seymour, 18967 and Charles Butler, May 26, 1911, No. 165: 179- 1-0 Vehheiwmn No. 50 DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ SpANisH: 1599—1660 QUEEN MARIANA OF SPAIN — — + Canvas: Height, 27 inches; width, 20 inches hier G, Dell Daughter of Ferdinand III, Emperor of Austria; born in 1684; betrothed to Don Balthasar Carlos (eldest son of Philip IV), but he died suddenly in 1646, and she married in 1649 his father Philip IV, as his second wife; died in 1696. To front, black dress with broad silver stripes; face rouged, red hair arranged in ringlets which fall over one another regularly, each tied at the end with a red ribbon, the whole forming a broad mass; a long white feather (spotted | with red) falls over the hair on her left; scalloped white collar, rich gold chain with pendant. Collections: M. Cordova, a painter at Madrid; King Louis Philippe, May 7, 1853, No. 150; and Duc d@’Aumale. Curtis, “Velazquez,” No. 248b. A replica of the head and shoulders of the well-known portrait at the Prado, Madrid, painted 1658-60 and described by Curtis, No. 2386. No. 51 FEDERIGO ZUCCARO Roman: 1548—1609 EDWARD VI (Said to be) (Panel) Height, 29 inches; width, 21 inches 5ST 655 git, ’ ’ HA.r-Fricure of a thin, sharp-faced effeminate youth, standing to front and looking at spectator; black-patterned white dress with reddish waistband which apparently serves as swordholder; black neck-chain from which de- pends a jewel with pearls, broad turned-down lace collar; fair hair, white hat with pink lining, plume of feathers and pearl ornament; right hand holding white gloves, left hand on hip. No. 52 FRANCISCO JOSE DE GOYA Y LUCIENTES SpanisH: 1746—1828 KING CHARLES III OF SPAIN (1716-1788) Ye (mea et Canvas: Height, 29 inches; width, 24 inches Heap and shoulders of elderly man, directed slightly to “he eee left, in uniform of blue with gold facings, white waistcoat and neckerchief, red sash passing over right shoulder and star of an Order partly seen on breast; powdered wig; wart on left side of mouth; gold-headed staff in right hand. No. 53 CLAUDIO COELLO SPANISH: 1621—1693 AN AUSTRIAN PRINCESS ste Canvas: Height, 32 inches; width, 264 inches _ ~ag “— aw f Wee LANA K~e AA \ tae Haxr-vicure of stout middle-aged lady, to front; black dress with white sleeves, gray collar with broad edging of lace extending over shoulders, large red and black rosettes on corsage and left shoulder; pearl necklace and pendant; earrings of jet set in gold; dark matted hair with black head- dress, scarlet band, black feathers and precious stones; brownish back- ground. y, No. 54 FEDERIGO ZUCCARO ~ Roman: 1543—1609 LORD BURGHLEY ( Panel) f (2 —- Height, 43 inches; width, 33 inches OQ then William Cecil Lord Burghley, son of first Earl of OL by his first wife; born in 1566; succeeded his father as second Earl in February, 1622-8; died July 6, 1640; buried in Westminster Abbey. ‘THREE-QUARTER figure of middle-aged man, standing, directed slightly to left, looking at spectator; green dress embroidered with gold, white lace cuff and white broad collar, green cloak over left shoulder; golden hair, narrow pointed beard; right hand resting on table, left on hilt of sword. Formerly attributed to Sir Antonio Moro. xe wae alt AEE: okay, iS Leas shale ted No. 55 FEDERIGO ZUCCARO Roman: 1548—1609 LADY BURGHLEY (?) (Panel) a Die CE (aa Height, 35 inches; width, 28 y ay y : y CH. oF Fa Si ey a a _ 1 - = » , he TEAS is y ty 1 ss i Fo « , ‘ No. 60 JACOB WILLEMSZOON DELFF Dutcu: 1619—1661 MARIA JACOB VAN DE WOOT (Panel) Height, 19 inches; width, 4 8 CUO rrr ger Heap and shoulders of elderly thin-lipped woman, to front looking af spec- tator; black-patterned dress, large starched circular ruff; dark hair with close fitting slight black head dress. P75 A portion of the artist’s initials “W. D.” interlaced is seen on the left hand side. ‘The name of the personage is inscribed on the back of the panel but is now difficult to decipher. No. 61 WILLEM WISSING Dutcu: 1656—1687 PORTRAIT OF ENGLISH NOBLEMAN ae SMALL bust of a young man, directed slightly to left, looking at spectator, in armor with white linen collar, long golden hair falling on shoulders. (Panel) V Height, 121% inches; Bea inches - Collection: Henry Doetsch, June, 1895, No. 200: G-6-0 h. Sate No. 62 JAN VERSPRON CK Dutcu: 1597—1662 THE TOPER Ad ea Canvas: Height, 28 inches; idth, 23 inches (Sirsls Soa, Ha.r-ricure, facing right, of elderly man smiling /and leaning Jack in his chair; brown dress, black cloak over left shoulder, white cuff and white broad flat collar, large black felt hat, slight mustache and chin tuft, holding in right hand goblet nearly full of liquor; medallion in sash; green back- ground. The initials, “F. H.,” entwined on left, form the signature of Frans Hals, to whom the picture was formerly attributed. It-appears to be a variant of “The Toper” (a much smaller picture), described in C. Hofstede de Groot’s edition of Smith’s “Catalogue” infra Hats, Vol. III, No. 65. No. 63 GERARD PIETERSY VAN ZYL (Gherard van Leyden) Dutcu: 1606—1667 PORTRAIT OF A NUN ( Panel) 3 Le, = Height, 18 inches; width, 124% inches SMALL three-quarter length of middle-aged lady, standing to front, jin nun’s costume, black cloak with white cuffs and broad stiff white double collar, black cap with reflexed brims; fair hair; mauve curtain and distant land- scape background. No. 64 SIGMUND HOLBEIN German: 1465-70—1540 PORTRAIT OF A LADY ( Panel) SiG ee Height, 23 inches; width, 17 inches SMALL half-figure to front, black dress, red sleeves, white collar cut square over shoulders and edged with red, dark hair with white hood; gold waist chain, white cuffs; hands clasped, holding a pink; gray background. Inscribed at top to right: Afratis sum. 19. Collection: Camille Marcille, 1876 (as by H. Holbein). No. 65 JUDITH LEYSTER Dutcu: 1600—1660 YOUTH WITH CAT ; Canvas: Height, 244% inchesswidth, 23 inches 360 phi Bebe oe bd ~ YAN - A Hatr-ricure to front of red-faced pedsant boy in brown coat, green breeches and red hat with black feather, leaning/back and smiling, holding in right hand a piece of cake, and with the other fondling a small black kitten which is looking unconcernedly out of the picture; gray background. m— From an anonymous sale at Christie’s, June 20, 19138, No. 61. 440 - 4-0 vy Oe: Fd \ A wv 2 No. 66 \” LUCAS CRANACH A GERMAN: 1472—1553 THE JEWELERS DAUGHTER Height, 30 inches; width, 23 inches [1 aes | OG HALr-riGureE of a young woman about twenty-five, directed to right looking - at spectator; scarlet and gold embroidered low dress; carrying with both gloved hands a tray with open jewel case showing pearl necklace, pearl and jeweled belts, and antique cameo; close-fitting head-dress with white feathers, red cap perched jauntily on side of head; three rows of necklaces with pearls and jewels; blue curtain background. Canvas transferred from panel. Signed at top left hand corner with the artist’s crest: a fying dragon with a crown upon its head. No. 67 CORNELIS JANSSENS Dutcu: 1598—1664 PORTRAIT OF MAN WITH LACE COLLAR ( | Sie ' Canvas: Height, 29 inches; GZ 24 inches. iy : C ; Vor pe 2 Lae math Heap and shoulders of young man, to front, Joking spectator: Macken broidered dress over white vest (or shirt), elaborate lace collat/covering shoulders; masses of black hair falling over neck, slight mustache and chin tuft; gray background. Signed with initials and dated in lower left hand corner: C. J. Frecir 1635. From an anonymous sale at Christie’s, July 12, 1912, No. 16: JF- 16 - l Y. erfleeiuer No. 68 GABRIEL METSU Dutcu: 1615—1658 A VISIT TO THE NURSERY Canvas: Height, 30 inches; eee 31 inches Dar ee ee / Mid / Fei ML / J LANA WM, LAA AN interior with six figures. The mother seated to right, her face seen in profile, in white dress, red dressing jacket and white ¢ap, holding the infant in yellow swaddling clothes on her lap. Standing by her side, her husband, dressed in gray large puffed shirt-sleeves, long wig, large felt hat in his right hand, is welcoming the visitor, an elderly lady in blue and black velvet dress, black lace shawl, holding a fan and accompanied by a little dog. The visitor is followed by a servant woman carrying a chair in her left hand, and a little box in her right; in front of the fireplace and leaning her right arm over the cradle is the elderly nurse in black. A fireplace with a Renais- sance chimney-piece, over which hangs a large sea picture, occupies the center of the background; to right a blue and gold bedstead, table with Oriental cover, on which are a basin, ewer, etc.; the stone floor of black and white marble slabs, with red carpet. | Signed and dated over doorway to left: G. Mrrsu, 1646. 410-9 -0 6 Oe Collections: Madame de Falbe, May 19, 1900, No. 106¢ and Lesser Lesser, Z February 10, 1912, No. '75 (Hofstede de Groot, No. 110): 199-10 thin One of several versions of the picture described in Smith’s “*Catalogue,”’ No. 19; and by De Groot, No. 110, which version, however, is dated 1661. No. 69 DANIEL MY'TENS Dutcu: Diep 1656 PORTRAIT OF A GIRL Canvas: Height, 31 inches; width, 251 inches S09 & rad. Ler%p THREE-QUARTER figure of a little girl, about seven or eight, standing by a balcony, directed to right, looking at spectator; white satin low dress with jewel at center of bodice, jeweled bracelets; golden curly hair with pearl band, pearl necklace, both hands holding wreath of flowers; scarlet curtain and pillar to left, distant landscape to right. No. 70 : | a 7 COSWIN VAN DER WEYDEN Dutcu: 1465—1588 FAMILY OF THE VIRGIN 7 Diem Canvas: Height, 38 inches; width, 261% inches ba | | , Lhe INTERIOR with six figures. To right, St. Joseph a middle-aged bearded man in blue dress, ermine shoulder cape, scarlet hat and yellow boots, looking, with hands upraised, towards the youthful seated Virgin, who is in scarlet dress and gold-embroidered cap and is reading from a Book of Devotions. The four children carry the emblems of their future callings, the youthful Christ has his cross, the carpenter his saw, the architect his rule and the blacksmith his hammer; background gray wall with open window (over which are two carved trumpeteers and scalloped shell), show- ing houses and distant hills. Exhibited at Charleroi, 1911. ie gt ta hee 5 ag RD Cai Sg a meri vaya. gta > nS ta Rt = aes | an een aes ." ion eu a : ’ ay Me ~ o i = P . ri ‘ pi SF are a ey ee irs. ooh No. 71 JOACHIM VON SANDRART Dutcu: 1606—1688 PORTRAIT OF A LADY Gi IO Canvas: Height, 35 inches; BEY OG inchep ae HAtLr¥-FicureE, about thirty, directed to left and looking at spectator: ana black low dress with red bodice, short sleeves with broad white cuffs; three- row pearl bracelet on left arm, which is raised, the hand holding pearl and jeweled pendant at breast, broad white crossover, two-row pearl necklace; long golden hair falling over shoulders, small scarlet pearl-trimmed cap at back of head. Signed and dated, to left in black letters, J. SanvRartT, F. 1648. / fone y . Collection: Charles Butler, May 26, 1911, No. 212: FH - 74- Wy kh, Von fe mer No: 72 JACOB GERRITSZ CUYP - Durcn: 1575—1649 PORTRAIT OF A CHILD Canvas: Height, 36 inches; width, 28 inches avium Ut Sma.u whole-length figure of six or seven, standing to front in thé pen, looking at spectator; dark red dress, black bodice, white apron, broad white collar fastened with yellow bow; fair close-fitting white cap edged with lace and gold-embroidered band, red coral bracelets; right hand holding posy of flowers; straw basket suspended from left arm; background castellated buildings, partly in ruins, and gray cloudy sky. _ From an anonymous collection at Christie’s, June 7, 1912, No. 90? 107 - 14-0 A. Jotiu i . Li VIRn SS ; ~ j ( Hy - 4 - ate ge < y baa ey AN ¢ rep AAG 4 fe J / / « 2 £ boty, ES: Rea fry te No. 73 JACOB A. BACKER Durcu: 1608-9—1651 MAN WITH PEN IN HAND y i; Ci oat ae Canvas: Height, 351 inches; width, 29 inches LY Vy HAtLF-FIGURE of middle-aged man (apparently a Jewish rabbi) seated at a red-covered desk, to front, looking seriously to left as if solving a mental problem; dark dress and fur overcoat, gold neck-chain; brownish beard, black cap, right arm resting on open book on desk holding pen in hand, left hand clenched on lap, ring on last finger; gray background. Painted under the influence of Rembrandt. No. 74 MICHIEL J. VAN MIEREVELD Dutcu: 1567—1641 LADY WITH RUFF ( Panel) A Chr is ae Height, 39 inches; ok el, eee mo THREE-QUARTER length of a good-looking young Dutchwoman anne quality, standing, directed to left, looking at spectator; dark greenish patterned dress embroidered with gold, white reflexed cuffs, large circular starched ruff, white linen and lace head-dress; dark hair; a ring on the penultimate finger of each hand, the right resting on arm of chair; to left table with gilt-edged Bible with silver clasps; greenish background. Dated in gold letters at top right-hand corner: Airatis 80, 1631. From an anonymous sale at Christie’s, July 5, 1902, No. 128, where it is ascribed to N. Elias: YY. F-f / ~ a ~ \\r No. 75 FERDINAND BOL ~ . Dutcu: 1611—1681 LADY AND TWO CHILDREN ‘ Canvas: Height, 41 inches; width, 32 wecehes. a ) 9 9 3 \ é UE ae oe | Reeve | THREE-QUARTER figure of young woman under thirty, seated, directed to left, looking at spectator; green dress cut square and embroidered with gold, white insertion at elbow and white cuffs, left hand on lap; fair hair, black and gold head-dress with long streamers; younger child in green and gold- embroidered dress, white cap and collar, seated on its mother’s lap, holding a basket of grapes in one hand and offering with the other a bunch to its mother; the elder child in gold dress and red cap standing by its mother’s side and holding ribbons; gray background. Signed and dated im gold letters in lower right hand corner (the: F. B. intertwined), F. Box, 1655. From an anonymous sale at Christie’s, June 20, 1918, No. 111: Nf -p- " 4 Topher’ ly t | OO eer thee a we eee 2 et Ot er Dad “ae acre 5) , he ied et leuase ae te No. 76 ‘ | JOHANNES VAN KESSEL Durcu: 1648—1698 LANDSCAPE ey Canvas: Height, 33 inches; length, AG inches a Ke — & 2 : 2 4, / , LY A {X y 4 4 f My 1-| AAA a A BroaD stretch of rich summer irregular landscape, the center of the pic- ture occupied by low-lying lands through which passes a canal or lake with boats; in the foreground red-tiled cottages, a herd of cattle, and a cavalier passing towards a rustic bridge, and in the distance a cornfield with sheaves of corn; to right the undulating landscape ends in a deep sandy cliff. Collections R. Wynne Williams, February, 1868; and anonymous owner, April 25,1918, 24 97: 673 “—b-Q When. cae No. 77 NICOLAES MAES 3 Durcu: 1632—1693 PORTRAIT OF A LADY 74 : | Canvas: Height, 44 inches; width, 33 inches THREE-QUARTER length of middle-aged thin-faced lady, to front; low white satin dress, short sleeves, pearl pendant at center of corsage and on left sleeve; fair curly hair in ringlets falling on shoulders and with pearl orna- ment; pearl necklace and drop earrings; right arm resting on ledge of rock, left hand in tiny stream of water which falls from the rocks. Signed and dated on rock to left, N. Mazs, 1670. Purchased from Messrs. Sulley & Co., London. SEER ee No. 78 NICOLAES MAES Dutcu: 1632—1693 FAMILY GROUP oh a ae Canvas: Height, 36 inches; ee, inches & y 4 THREE small whole-length figures on a balcony. The middle-aged full- faced husband, in blue dress, yellow cloak, white large cuffs and long wig, standing to right; left arm leaning on sculptured flower vase and _ holding baton in hand. The wife, a young woman, seated to left in white low dress with pearl and jewel pendant at center of corsage, red cloak across shoul- ders and on lap, the end held in right hand; dark curly hair with pearl rope, pearl earrings and necklace; left hand holding child’s right arm, on the hand of which a bird is perched; the child, in pink dress and red felt hat with white feathers, is by its mother’s side; red curtain, building and trees to left, distant landscape to right. ‘ No. 79 MICHIEL J. VAN MIEREVELD Dutcu: 1567—1641 MARGUERITE VAN BROMKORT (Panel) Height, 4814 inches; width, 334% inches (Lar Y). & THREE-QUARTER figure of a young lady of quality, directed to left and looking at spectator; dark gray dress with elaborately embroidered corsage which ends in a broad tongue-shape flap; long white lace cuffs, gold brace- lets, red and gold gloves held in right hand, on the index finger of which is a large ring; black hair with pearl and gold ornament, stiff high lace head- dress, broad white lace ruffle, long gold neck-chain of many rows, with center piece of ruby and emeralds; green background. With coat-of-arms, name of personage and date, 1623, at top left hand corner. a No. 80 SALOMON DE KONINCK Dutcu: 1609—1668 SOPHONISBA ip 9 gt Canvas: Height, 58 inches; length, 65 inches 3 INTERIOR with four figures. Sophonisba to left in white satin low dress and rich red and old gold cloak; fair hair with pearl rope; left hand holding handkerchief and looking apprehensively towards a dolphin-shaped golden urn, which is held up by a man in a demi-suit of armor, and of which an old woman is lifting the lid; beside her is a weeping servant woman; portico to right, dark green curtain to left. No. 81 MICHIEL VAN MUSSCHER | Drow: 164521705 i THE CONCERT 57 inches g i 5 ‘S = Canvas: Height, 54 inches; lengt B oe A spacious hall with three small whole-len es. The gentleman to right in black dress with white cuffs, tasseled neckerchief and long hair (or wig) is seated on a wood chair playing a violoncello; to left the lady in white low satin dress with ruby and other ornaments, and blue shawl, is encouraging a pet dog whose fore-paws are on her lap; in the center is a table with dessert and decanters of wine, and a serving maid holding a dish of oranges; gray and white slate floor; to right trees and house, pillar and dark curtain to left. | | Signed and dated on lower end of pillar to left, M. V. Mtsscuer, Pinxit A°. 1671. Illustrated and described in C. Sedelmeyer’s ““Second Hundred of Paintings by Old Masters,” in 1895, p. 28. a aor Se aad gee ee No. 82 PAULUS MOREELSE Dutcu: 1571—1688 LUCY HARINGTON, COUNTESS OF BEDFORD Se. Canvas: Height, 43 inches; width, en inches n Eldest daughter of John, first Lord Harington; married, in 1594, Edward, third Earl of Bedford; died May 31, 1627. The Countess was a great patron of poets, notably Dr. Downe, Ben Jonson, Drayton and Daniel, all of whom wrote verses in her praise. The Duke of Bedford owns her portrait by Hon- thorst, and two others by unknown artists. THREE-QUARTER length of elderly thin-faced lady standing to front and looking at spectator; black dress with elaborate garniture of large black beads, white cuffs and large white lace ruff, brown hair with small black cap, black earrings, locket with pearl pendant at breast; left arm resting on back of red chair, right hand holding fan; dark red curtain background. Dated in silver letters at top right hand corner, 16138. Collection: Charles Butler, May 26, 1911, No. 199- 440 -[- f A. Whee fie Vi ae oF oe eT” raaNg + s i s . i pita SP vets . c es cos A 3 , << i 2 iy ‘ dé "1 rT * 7 * yi F. q . 3 ’ a 2s ¥ ~ P's: - ? 1 ; @ i * st {) we : ‘ . hs bes a i P E 2 + ¢ i . r. . : "4 Be Es Ries | Pi — a - *” > - { eS ‘‘ " ‘ - ~ ‘ , — i a : B = ' 4 s e. 3 4 i . * : ' ' * \ “ ‘ 5 < ‘ ° a ' =a y M; = i = — ¥ e P - > y ott - 7 = - F . * f . © SECOND NIGHT'S SALE THURSDAY, APRIL= 22, dots IN THE GRAND BALLROOM OF THE PLAZA FIFTH AVENUE, 58th to 59th STREET BEGINNING PROMPTLY AT 8.15 O’CLOCK oa No. 83 2 MADEMOISELLE J. PHILIBERTE LEDOUX tm | 8 \ \ ) Vv FrencH: Latrt E1iGHTEENTH CENTURY AND UNTIL 1815 GIRL ASLEEP /f- min pbatears Canvas: Height, 18 inches; width, 1¥ inthes (3 | Ww Mes Nie OF Ad GREUZE-LIKE head of a young girl in white dress and blue sash, her head leaning to right on the edge of a blue sofa. Mademoiselle Ledoux was the “‘éléve chérie” of Greuze ; authentic examples of her work are exceptionally rare. She approached so nearly to her master that most of her pictures have long passed as by him. ee No. 84 MADEMOISELLE J. PHILIBERTE LEDOUX Frencu: Late E1cHTEENTH CENTURY AND UNTIL 1815 GIRL LISTENING pee 7) ve Canvas: Length, 18 inches; width, 14M inches | J ff wa VC. MVAMMHE_ ANOTHER Greuze-like picture of a young girl, to front, with her ear to the keyhole of a door; white dress, black satin shawl loosely tied across shoul- ders; right bosom uncovered; golden hair with rope of pearls. —_ S No. 85 MADAME VIGEE LE BRUN Frencu: 1755—1842 COMTESSE DE VERDUN a/50 '- : Probably Pulchérie Tranquille de Lannion, daughter the Gn de Lannion; married in February, 1766, Charles Armand Marquis de Pons en Saintonge, into whose branch the title of Verdun appears to have developed. ‘The Marquise de Pons appears in the list of ““Dames pour accompagner Madame” in the “Almanach Royal” of 1788, by which time apparently her husband had succeeded to the Marquisate. Canvas: Height, 25 inches; ie inches HaA.r-FicurE, under thirty, to front, looking at spectator; low white dress; red laced bodice and red shoulder straps; powdered hair, yellow straw hat with blue ribbons and posy of flowers. Vd Collection: Eugene Kraemer, Paris, May, 1913, No. 52 (with an illustration)? ocd) Ay Ut (ated 14.000 ) Ibo df. ie The Comtesse de Verdun sat to Madame Vigée i Brun several times,‘1 1776, 1779, and again (with her family) in 1780. No. 86 FRANCOIS BOUCHER FRENCH: 1703—1771 AMORINI 7 Vig Prete Canvas: Height, 24 inches; length, 28M inches ane Pur, eee a \ L ¢ KH- f) THREE amorini on clouds, one of whom is weaving a wr resth of 6wers around the miniature of a child; blue drapery; a jewel box, arrow’ case and two doves are among the accessories; Cupid to left holding an arrow. No. 87 a \ \ N. B. LEPICIE yi Frencu: 1735—1784 HEAD OF A YOUNG GIRL Canvas: Length, 24 inches; width, 18 inckes o ip AG Rau tlaex GREUZE-LIKE head of a young girl, to front, looking to left, blue striped white low dress; golden hair, white mob cap with blue ribbon. No. 88 NICOLAS DE LARGILLIERE Frencu: 1656—1746 VICOMTESSE DE NARBONNE-PELET Canvas: Height, 80 inches; width, 25 inches ila 63 HatLr-FicurE of a young lady, standing, looking at spectator; low blue dress edged with gold, white insertion and spray of red flowers at bosom, brown patterned rococo-shaped corsage with pearl pendant and row of black beads; scarlet flowing cloak fastened on left shoulder with pearl and jewel brooch; powdered hair bound with blue ribbon and with pearl ornament; trees in background to left and right. Fae No. 89 \ JEAN RAOUX Frencu: 1677—1734 PORTRAIT OF A LADY / ent Canvas: Height, 31 inches; width, 24 inches HALr-FIGurE of attractive looking lady, about twenty, seated, directed to left, looking to right, full face; brown low dress embroidered with gold and with white insertion at corsage, white starched ruff and cuffs; golden hair with black cap and blue and yellow feathers; hands resting on lap, the right holding a sealed letter. PIERRE MIGNARD Frencu: 1610—1695 LADY WITH A DOG Canvas: Height, 33 inches; width, 27 inches Sa Se LG HaA.r-LeNctH of a middle-aged lady, seated with King Charles spani her lap, by a clump of trees, to front, head turned slightly to left, looking at spectator; white low dress, short sleeves, red and gold patterned over- dress with pearl and jewel fasteners, blue shawl across shoulders, one end on lap; fair curly hair with pearl band, pear! drop earrings, pear! necklace, three pearl bracelets on each wrist, the right having also a black ribbon bracelet set with jewel; distant landscape to left. e No. 91 fe : y LOUIS TOCQUE FrencH: 1696—1772 MADAME DE LA MARTELIERE Canvas: Height, 39 imches; width, 31 inches ee co aa THREE-QUARTER figure, seated on a wood chair, to front, playing a guitar; bluish white low dress, with short lace-trimmed sleeves, elaborately garnished with various colored zmmortelle flower heads; powdered hair with pearls and flowers; gray-blue background with sculptured terra-cotta vase to left. Signed and dated in black letters at foot of vase: Tocauk, 1752. The name is probably an error for “de la Mazeliere.”’ CT) No. 92 ANTOINE VESTIER Frencu: 1740—1824 COMTESSE DE LA GARDE : om) ot Canvas: Height, 35 1 ee 28 WOpe HA.r-FicurE, about twenty-three, seated on red upholstered chair, to front, looking at spectator; green low dress with wide skirt, narrow long bodice, short sleeves with white frills, white fichu, bow of gray ribbon at center of corsage; powdered hair dressed high, a broad curl falling on each shoulder, bound with slate colored ribbon and ornamented with white feather and red rose; hands on lap, left holding two roses; gray background. ae CrP No. 93 NICOLAS DE LARGILLIERE Frencu: 1656—1746 AMPHITRITE AND ATTENDANTS ee Canvas: Height, 35 inches; length, 4944. incl ees g g % is / - ‘ ‘ 4, Ant Tue wife of Neptune in slight draperies of white, blue and red, riding on a Dolphin, with attendants including Cupid holding torch; to right on the rocks is a figure playing a flute. Collection: H. M. W. Oppenheim, London, June, 19138, Ni HA 131-3-0 4 Terfouwnr (Fractier yt ‘75) No. 94 MADAME VIGEE LE BRUN Frencu: 1755—1842 MADAME VESTRIS v4 ARES) ‘— Canvas: Height, 8514 inches; width, 28 inches © HaF-LENGTH, about twenty-five, walking in the open to left, looking/ to right; white bodice edged with gold, short sleeves, flowing blue robe “em- broidered with gold, the end held in left hand, right hand resting on left arm; red coral necklace, ruddy hair over forehead and flowing in the wind at back of neck, bound with red and golden ribbon; sunset background. Signed and dated in lower left hand corner: L. K. Vicker Lesrun, 1804, A LonpRreEs. | | Exhibited: Portraits de Femmes et d’Enfants, Paris, 1897. Described and illustrated in Sedelmeyer’s “Fourth Hundred Paintings by the Old Mas- ters,” 1897, No. 74. : 2 / M36: ALSX 4. Hen Collections: D. H. King, New York, 1905¢ and “A Gentleman,” London, May 15, 1908, #2 701; 157-0 -b i.4apGs / rs ee ne i > _ Y : = s ' i a: ry f they ieee La - - * ” _. 5 —. , é ‘ = i af Hie Ts . el ++) > a i ¢ 3 « No. 95 NICOLAS DE LARGILLIERE Frencu: 1656—1746 VERTUMNUS AND POMONA ae Canvas: Height, 37 inches; length, C Tage 7 i Piet ee ge Pomona in blue, white and yellow classical dr aper ies, seated On a b Aan aera gardening implements, pointing with the left hand to a group of fruit; on the right Vertumnus in the guise of an old woman, in red robe and green head covering, is directing the attention of Pomona to an elm entwined with a grape-bearing vine; to left conservatory, to right blue sky and hills. Collection: H. M. W. Oppenheim, London, June, 1918, N44 : 1381-$-f See ante N93. he Neteuimer. No. 96 NICOLAS DE LARGILLIERE Frencu: 1656—1746 ee Men ce: | | DUC DE PENTHIEVRE (gLte (3 ay, Canvas: Height, 351% inches; width, 29 inches Louis Joseph, Duc de Penthiévre and afterwards Duc de Vendome; born in . 1654; entered the French army and distinguished himself in many battles; died at Tinaroz, Valencia, June 15, 1712. HALF-LENGTH, about forty, standing, directed to right, head turned and looking at spectator; deep red patterned robes, white lace neckerchief ; long flowing curly wig; white lace cuffs; right hand extended, ring on last finger; red curtain to right. No. 97 FRANCOIS GUERIN Frencu: Diep 1791 FILLETTE JOUANT AVEC UN GARCON ENDORMI —~ovw a Canvas: Height, 39 inches; length, 58 inches. | Cv_CLr- Group of two figures in a landscape; the sleeping youth rediining on a golden-yellow cloak, in négligé dress of white shirt, yellow breeches and stock- ings; to left golden-haired girl in brown velvet low bodice with pink and white sleeves, bunch of forget-me-nots at center of corsage and band of flowers in her hair, holds in her left hand a wisp of grain with which she is tickling her fair companion; by his side a battledore and shuttlecock, which he has recently been playing. Signed and dated on trunk of tree to left: F. Guérin rec. Pryxir EN 1791” (last letter indistinct). An overdoor decorative painting by an artist whose works are now rarely met with; he was a popular painter of his time and was a member of the French Royal Academy of Painting, exhibiting at the Salon from 1761 to 1783. He painted many genre pictures, landscapes and portraits of famous men and women; the present example of his work is one of the most attractive of his fancy subjects which have come down to us. No. 98 HYACINTHE RIGAUD Frencu: 1659—17438 THE DUC DANTIN Canvas: Height, 38 inches: length, 47 inches 7 nee 7 sachde : (9 mar dre Louis Antoine de Pardaillan de Gondrin, son of the Marquise de Montespan; born in 1665; Lieutenant General of the King’s armies; died in 1786. HA.r-ricure of elderly man, to front, looking to right, in armor, blue and ermine cloak fastened with ruby and pearl brooch; right hand resting on staff or baton, left on hip; long gray wig; fort to right, landscape to left; background, blue sky and clouds. Painted about 1720. There is another portrait of the Duc d’Antin by Rigaud at Versailles, No. 2500. 70 hn > Oe No. 99 ( po) CARLE ANDRE VAN LOO. Frencu: 1705—1765 PORTRAIT OF A GIRL 7, Sans ef Canvas: Height, 431 inches; width, 33 mches SMALL whole length of a fair-haired child about three or four; white and blue low dress, right hand holding letter addressed “Au Roy,” left holding scarlet ribbon, one end of which is tied to the collar of a dog whose front paw is resting on gilt pink-upholstered chair, on which is child’s plumed blue hat; yellow and red curtains and paneled background. No. 100 CARLE ANDRE VAN LOO Frencu: 1705—1765 COMTESSE DE BEAUFORT AS SULTANA ie GJ Lactate MWh THREE-QUARTER length, about thirty, to front, looking at spectator, full/ face, black low dress with red and gold bands, embroidered shawl loosely tied around waist, the end over right arm; jeweled brooch at center of cor- sage, jeweled neck chain with pendant; powdered hair, white turban with red crown and feather aigrette; right hand holding black mask, left arm rest- ing on table; pillar to left, green curtain to right. Canvas: Height, 45 inches; width, 35 inches yi oo f ey, {2 So Collection: Duc de Praslin. No. 101 LOUIS JOSEPH WATTEAU (of Lille) Frencu: 1758—1813 PORTRAIT OF A LADY 3 Ceye) a Canvas: Height, 4614 inches; wadth, 36 inchés Neary whole length of middle-aged ne seated on red upholstered chair, directed to left, looking at spectator; old gold low dress with white gauf- fered fichu and white waistband; golden hair bound with white ribbon and pearl rope, gold earrings; right arm resting on table, holding two red roses in hand, left hand on lap holding greenish shawl; background gray curtain. Signed at right hand bottom corner: WatTTEAU (?DEL). From the Abeille Collection. No. 102 FRANCIS POURBUS Frencu: 1569—1622 ANNE OF AUSTRIA - Canvas: Height, 49 inches; width, B9 inches I otS *= Daughter of Philip III of Spain; born at Madrid, September 22, 1601; married Louis XIII of France by proxy at Burgos, October 18, 1615; Regent of France during the minority of her son, Louis XIV, 1643-61; died January 20, 1666. ‘THREE-QUARTER length, about twenty, standing to front in full robes, ermine cloak, green dress embroidered with golden fleurs-de-lis, white tripartite corsage studded with large pearls and precious stones, green sleeves with small white puffs and jewels; large white ruff, white lace cuffs, pearl brace- lets and earrings; fair hair with crown; right hand resting on cloak, of which a fold is held in the left; red curtain background. eas | No. 103 JEAN FRANCOIS DE TROY Frencu: 1679—1752 PORTRAIT OF A LADY Lh a5 -- Canvas: Height, 491% inches; length, 3914inches/) , THREE-QUARTER length, middle-aged, standing, directed to left and looking at spectator; blue low dress with short broad sleeves trimmed with lace, red cloak over right shoulder; curly hair; right hand pointing to right and holding flower; large sculptured flower vase on left, blue curtain. ee No. 104 ADELAIDE LABILLE-DES-VERTUS GUIARD Frencu: 1749—1803 PRINCESSE DE LAMBALLE Canvas: Height, 50 inches; width, 88 inches Marie Théreése Louise, daughter of the Prince de Carignan; born at Turin in ¢ “intimate friend of Marie Antoinette; died m/T792. o es. y Neary whole length, under thirty, to front, seated in green {rmchair; red low dress trimmed with brown fur, short sleeves edged with white lace, pearl bracelets, powdered hair, white head-dress, the ends loosely folded over bosom; right elbow on edge of chair, hand holding tortoise-shell fan; left hand on lap, index finger extended; green curtain and pillar back- ground, clouds to right. G September, 1749; married in 1767 Louis of Bourbon, Prince de Lamballe, the Ao = A different portrait of the Princess, by the same artist, is reproduced in the Gazette des Beaux Arts (1902), Vol. 27, p. 113. ©. No. 105 HYACINTHE RIGAUD Frencu: 1659—1743 MADAME RIGAUD Canvas: Height, 50 inches; width, 37144 inches bh rl ae Elisabeth de Gouix (or Goion), widow of Jean Lejuge of Paris; married in 1710, Hyacinthe Rigaud, Painter-in-ordinary to the King—the original mar- dh -—.Yiage contract appeared in a sale held in London on November 28, 1918; she died March 15, 17438, aged 75. Nerarty whole length, about thirty, standing, directed to left, looking at spectator; green low dress with white insertion, corsage embroidered with gold and the skirt with silver, short sleeves, blue cloak over right shoulder and arm; right hand extended, left holding end of cloak; black hair in curls with white ribbon; to left dark curtain, to right large sculptured flower vase; gray background with two pilasters. Described and illustrated in Sedelmeyer’s “Fifth Hundred of Paintings by Old Masters,” 1899, pp. 100-101. Rigaud painted several portraits of his wife before and after his mar- riage. A romantic story of his first portrait of her is told in L’ Artiste of March, 1870, pp. 275-6. | No. 106 HY ACINTHE RIGAUD Frencu: 1659—1743 LADY IN RED Canvas: Height, 54 ce we th, 40 eles THREE-QUARTER length, middle-age, standing to front; old-gold low dress with white lace insertion, short sleeves edged with white lace, blue and red asters at center of corsage; rich scarlet overdress with pearl ornament; pow- dered hair with pearl pin and spray of foliage; right hand extended, left holding fold of dress; to left pillar with pedestal carved with boys, goats, and vine-leaves, to right trees. Collection: H. M. W. Oppenheim, June 13, 1913, N ‘of p Ih gis 4j- 0 AVR pe urn, No. 107 ADELAIDE LABILLE-DES-VERTUS GUIARD | Frencu: 1749—1803 LADY AND CHILD Oma/| Canvas: Height, 56 inches; reidth, 44 mches WHOLE length of a young lady seated in Bail and blue upholstered chair, directed to left, looking at spectator; greenish shot silk low dress, double row of buttons at corsage, broad white collar, sleeves trimmed with white; pow- dered hair, light blue hat with blue ribbon; left arm resting on blue cushion; infant in white and red dress on lap, end of its pink sash held in mother’s left hand; to left sculptured urn and low table with tea things. No. 108 NICOLAS DE LARGILLIERE FRENCH: 1656—1746 PORTRAIT OF A LADY OF THE COURT OF LOUIS XIV Canvas: Height, 68 inches; width, 50 inches [7 Pe Cd aw (rate HREE-QUARTER length of a middle-aged lady at her toilet, to front; white gold-embroidered low dress with short lace-trimmed sleeves; dark hair with pearl and ribbon bands which she is fastening with both hands; rich blue shawl over shoulders; to left dressing-table with mirror; blue Chinese vase with flowers, Jewel case and pink drapery; to right carved wood red upholstered chair; pillar and red curtain background. al i R / f, Collection: Mrs. Lyne Stephens, June, 1911, No. 105° 4b XP = 1h ( ai x re a ce - we + We = ‘ < = e ' " : : “es ad ; ae 2 at i “ - : ae i ote * a . em: yy 3 a ; oe , a, z oP _ A . t al 5 42 4 ao, a a Pan, ‘ = pen = - *- a i | , S “ae © , 4 ‘ fo \ he * _ eo “f - tf F F ‘ 4 =) al E = 7 2 s a . = > ’ . za ri x if , 3 ~ \ ~ 3 Z ’ Sol, 3 . E * F a ‘ y e a is y > - g ‘ ' i \ * 4 - a . g ™ 2 5, 7 * . + ’ “2 - - No. 109 JACQUES LOUIS DAVID Frencu: 1748—1825 NAPOLEON BONAPARTE Ohberte 6 Goh a Canvas: Height, 591% inches; width, 431% inches W Ho te length seated on a rocky coast, directed to left, looking at specta- tor; in uniform, green coat with gold buttons and epaulettes, red cuffs and collar, red and green sash seen under coat, red rosette with eagle pendant and star of an order on breast; white waistcoat (with gold snuffbox in pocket) and breeches, top boots, gold handled sword by side; hands crossed on lap, left holding paper; gloves and hat on floor; to right eagle on rock above, nest of dead eagles and snake below, to left cottage with awning, and sea in dis- tance. This appears to be an unrecorded portrait of Napoleon; is probably by one of David’s pupils, and not done ad vivum. No. 110 NICOLAS LANCRE'T (School of) FETE CHAMPETRE q Ae Canvas: Length, 71 inches; OL hae & [/ Group of eighteen figures near the stone steps of the entrance to a richly wooded garden; the two central figures, a youth in fancy costume and a girl in plain gray dress, are dancing to the strains of a fife, guitar and tam- bourine; in the middle distance three seated figures are taking refreshments; to left a youth playing a violin and reading the music from a page held by a seated girl; to right, and near a carved fountain, are three figures in con- versation; other features in the composition are two dogs and bagpipes, the latter presumably the instrument of the youth dancing. 4 Collection: Lesser Lesser, February 10, 1912, No. 9: 14 8- 10- 0 hen’ / \ I a a a No. 111 CARLE ANDRE VAN LOO- Frencu: 1705—1765 EMPEROR OF GERMANY 3} 7Z Ma ee: Canvas: Height, 87 inches; width, 49 inches . aE WHOLE length, when young, standing to front, lela Gs “Tig rere robes; gold patterned coat and breeches, white stockings, black shoes with jeweled buckles and red heels; long flowing gold embroidered cloak, the folds of which fall over green and gold upholstered state chair; gray wig, white lace collar, the Order of the Golden Fleece suspended by red ribbon; to right carved gilt table with red drapery on which are scarlet and ermine cloak, crown and orb; gold staff or scepter held by right hand; overhead gold cur- tain to right with rope and tassels to left. This and the following are referred to at length in Mr. Roberts’s Introduction. No. 112 CARLE ANDRE VAN LOO Frencu: 1'705—1765 EMPRESS OF GERMANY | (The pendant of the preceding portrait) 77 oc Canvas: Height, 87 inches; width, 49 inches WHOLE length, about forty, to front, in state robes, gray satin low dress and short sleeves, elaborately decorated with pearls and precious stones, black gold-embroidered underskirt, scarlet and white cloak across shoulders; right hand holding gold double cross, left resting on stool; crown and orb on table to left, dark curtain background, alcove to left. ae 7 ; -— at Fs fob: sie yi ~ ~a ot + > - ss 0 y Te tis ia 2 No. 113 — NTHONY VAN DYCK |Freaasi: 1599—1641 | Height, 16 inches; width, 18 inches — 3 of ate eae ante directed to left, his right hand rest- ears to be his cross. Chalk drawing on canvas. No. 114 BERNARD VAN ORLEY Fremisu: 1490—1542 VIRGIN AND CHILD // 4 ~) oe Height, 17 inches; mec ug (3 | Tur Virgin, beneath a canopy of dark draperies, seated on a plain wood bench in front of a long table on which fruit is spread; blue dress, rich scar- let cloak across her shoulders and lap, white head-dress with long ends; the child seated on his mother’s lap, holding an apple in his right hand, a red- breasted bird perched on his left; in the distance to right a country scene with cottages, river and high peaked hills. Transferred from wood to canvas | | | | | | Collection: Charles Butler, May 26, 1911, No. 204¢ 144 - ij- i dN ofheimen va a | as oS SE ORG er Ee Ji 4 j Bn Be Bi oe Be, i sition sa sige cia AiR hie. lai Spm ae sine men ode RO coteecale” oe SRT oes ee shes NO Oe a> . al ee 3 : - *, - sd hte : 7 S ' ty oa. ’ r ) = —— ‘ < ree - F ‘ — m a* J A “i . a No. 115 SIR PETER PAUL RUBENS Friemisu: 1577—1640 HEAD OF PRINCESS ELIZABETH p Er Canvas: Height, 24 inches; width, 19 inches Y | ee f FO 5% oy 3 4 Uh blonrme Vann Bust of Princess in middle age, to front, blue and black low dress Cut square, with pearl pendant and band of pearls and precious stones, white large wedge-tipped ruff; fair hair with pearl band, drop pearl earrings; scarlet curtain background. No. 116 JUSTUS SUTTERMANS Friemisu: 1597—1681 LADY IN RED DRESS (Probably a member of the Medici family) EF IP Canvas: Height, 50 inches; width, 36 inches ‘ (ee, esis | 6 Lyre Neary whole length of a lady of quality about thirty, standing; directed slightly to left; looking at spectator; large sleeveless cloak elaborately em- broidered with gold; red dress embroidered with gold in perpendicular lines, corsage terminating in long tongue-shaped flap and similarly embroidered, creamy white sleeves with gold pattern, white lace cuffs, red bead bracelets, broad stiff lace collar edged with red and tied with red ribbon bow; red bead necklace, and long rope of same passing over shoulders, long gold necklace in which is entwined second finger of left hand; right hand resting on green covered table; brown hair with red ribbon and jeweled aigrette or comb. aS tere rwecree bab Ste et Lon Se Re Mitt + ae Sey ~ oe TR? Seen nes Soe vane kde eatery ee Seaiadndehelaehiemmaterer ecto HOHE enn aie, star ; ome rs eile hae ae Tee 2 OOO EEIR EE a Dubus: ¢ remedied taut Pe hh meen Tere ee itera ee oe ne Tia dn ee ‘bees sceuccen Oe a a ip POE CR wn yy wey dr . P ’ 2 « > ws - *, —_* ‘ ef ‘ : + ie) s > 4 et aD _ ; & F in lS ~ es 4 ot _?.. ' ‘> oo —~ ‘ . — 7 . n fz * . — a - + = ae e . a = 4 is > > 4 a ' en p, - * a ee - “A s? « = = 4 No. 117 JUSTUS SUTTERMANS Friemisu: 1597—1681 PORTRAIT OF A SPANISH LADY 3 sO oo Canvas: Height, 33 inches; Lees 26 inches Z | Jf a a> ao Ze A VS Har figure of a young woman standing to front, ellis at spectator; brown dress, white sleeves with small richly-worked cuffs, double-row gold neck chain and long necklace of black beads and gold; brown hair with red flower, gold and pear] earrings, elaborate white stiff collar; left hand with ring on last finger, holding open book; right hand, ring on penultimate fin- ger, holding handkerchief. Sold at Christie’s on June 14, 1852, No. 76, as a Velasquez: ‘““Head of a Spanish Princess in rich dress.” No. 118 SIR ANTHONY VAN DYCK Fremisu: 1599—1641 A LADY OF THE CONINGSBY FAMILY er TC diab Canvas: Height, 711% inches; width, 42 mches WHOLE-LENGTH portrait of lady under thirty, walking to left up the st steps of a balcony; pink low dress embroidered with gold, pink-and bluish bodice with pink bows, black lace shawl over head and shoulders and flowing at back, deep white lace cuffs; pearl and gold necklaces, pearl pendants suspended by colored ribbon from gold earrings; golden curly hair, pink head-dress with pearl border; gloved right hand resting on fruiting orange tree, left hand holding fan and fold of dress; trees to left. Exhibited: Edinburgh Loan Exhibition, 1883, No. 184 (Sir George D. Clerk). Collections: Sir George Clerk, Bart., 1896;|Charles Butler, 1911, No. 220: 1 b- b hi 14d; 199- 10-0 a Toke mer No. 119 SIR PETER PAUL RUBENS FLEMIsH: 1577—1640 THE ADORATION OF THE MAGI Canvas: Height, 961% inches; length, 120 inches LIAO0O = yess On the extreme left are observed the heads of the ass an towards the right the Virgin holds the Child on her knees. She has a grayish- white cloth over her head, she wears a red dress with white sleeves and blue drapery; her feet are bare. Beside her is St. Joseph draped in neutral tones. In front of the Virgin, the Wise Man with the white hair and beard who holds out to the Child a basin filled with pieces of gold. He wears a simple white alb, over which is thrown a pink chasuble with a golden stole. In the middle of the picture the black King with white cloth around his head, and over his body an ample red cloak lined with gold and yellow with golden fringes and dressed in red. The very long skirt of the red cloak is th supported at the end of the picture by a pretty page boy whose head and leg are alone seen. Behind the negro King is the third King bearing a gold — censer, dressed in a neutral tinted grayish cloak over a dark-blue dress, and having black hair and beard. Behind this last King a tall page and a negro whose head and neck alone are seen, two men on horseback, one wearing a red cap and the other a cloak. Finally coming down a slope, six men, four of whom are soldiers, one officer and a Court dignitary. (See illustration, second page following) AUTHENTICITY: The above descriptive particulars were drawn up by the late Mr. Max Rooses, the eminent authority on Rubens, and dated Ant- werp, December 7, 1912. Mr. Max Rooses also wrote: “The composition is by Rubens entirely, and so are the principal figures. The Virgin is entirely painted by the hand of Rubens, as well as the child Jesus, of a beautiful bright color, standing out clearly. St. Joseph of a moderately conspicuous color by the hand of Rubens. The hand of St. Joseph is much more touched up than the rest. The Wise Man with the white hair is entirely by the hand of Rubens. The painter has placed a clear note in the middle of the picture; the drawing of this figure is less careful. The Negro King is the dominating feature of the picture. The red cloak trimmed with yellow and with a white fur collar fills the entire picture with an enormous brilliant touch and is one of the most admirable pieces the master ever produced. The light on the lining flashes the red color with the dark shades standing off against a brilliant light color, one of the most beautiful pieces of coloring it is possible to see. They form a blaze of color calculated to eclipse the richest picture in tones, and they dominate this picture powerfully and happily. The little page who holds the skirt of the cloak adds a broadly painted note of color and beauty, without very successful drawing, but admirable as a feature of the whole. The figures in the background decline in value and liveliness. The black-haired King and the Courtier are pretty abundantly retouched by Rubens; the steers, vaguer in the background, are executed by a pupil. The heads of the ox and the ass and the column on the ground are retouched by Rubens, in order to bring them into harmony with the vibrating part of the picture. “Rubens has divided this picture into three grounds. ‘The foreground contains the Virgin, the Infant, the old man with the white hair, the Negro King and the little page, to which are added the heads of the oxen and the broken recumbent column. The second ground contains St. Joseph, the black- bearded Wise Man, the courtier, the tall page and the black servant. In the third ground are the seven figures in the background, and the latter itself. “The composition is facile and ample. The picture does not possess the exceptionally high value of his best productions, but it is authentic and would do credit to a high-class collection. To sum up, the picture is composed by Rubens; it is painted in his hand as regards the figures in the foreground, and by that of a pupil retouched by Rubens in the background figures.” (Translation. ) | HISTORY: This picture was painted for the principal Altar of the Church of St. Martin in Bergues, French Flanders. It was sold in 1766 by the church authorities to meet the expenses for the repair of the building, and was bought by the celebrated amateur, Randon de Boisset. On the sale of his Gallery in 1777, the upset price of 10,000 livres (francs) was not reached. At Lebrun’s sale in 1791 it was sold at 9,500 francs and at Robit’s sale in 1801 for 7,950 francs, when it was purchased for Cardinal Fesch. It remained in the Cardinal’s fine collection until after his death in 1839. This Gallery was dispersed at the Palais Ricci, Rome, during the spring of 1845, me ae and this Rubens is described at great length in the Expert George’s “Catalogue Raisonné,” No. 199 (pp. 222-226). It was acquired by Thibaut at 2,500 “écus romains” (13,750 francs) for a member of the family. (the Cardinal was Napoleon’s uncle), in which it appears to have remained until March 12, 18538, when it was sold at Christie’s as the property of Charles Lucien Bona- parte, Prince de Canino; it then realized £1,200, and was bought by Bentley, the well-known dealer. Since then it has been practically lost. The picture is fully described in Smith’s “Catalogue Raisonné,” Part 2, No. 119, where the size is not correctly given. It has been engraved by Nicolas Ryckman, with various differences in details, the engraver choosing an up- right form for his engraving and not that of the picture, which is oblong. VERSIONS OF THE SAME SUBJECT: Rubens painted this subject several times:—(1) In the Madrid Museum, done in 1610; (2) Brussels Mu- seum, done 1618-19, for the Capucin Fathers of Tournai; (3) Louvre, about 1627, for the Annunciades of Brussels; (4) Dublin Gallery, belonging to Lord Ardilaun, repetition of the preceding by a pupil; (5) an example done in 1621 for the Church of Ste. Gudule—this has disappeared; (6) Church of St. Jean, Maines; (7) the same, a sketch, the property of the Marquis of Bute, both painted in 1624; (8) Lyons Museum, a pupil’s work retouched by Rubens about 1619; (9) Antwerp Museum, 1624, done for the Church of the Abbey St. Michel at Antwerp; (10) The Hermitage, St. Petersburg, pupil’s work touched by the master; (11) the above described version for the Church of St. Martin, Bergues St. Winoc; (12) the Duke of Westminster’s version done for the Convent of the Dames Blanc at Louvain, of which there is a sketch in the Wallace Collection; and (18) the version done for the famous printer, Balthasar Morctus, at the New Palace, Potsdam. ‘LISH SCHOOLS ie f INTRODUCTION GENERALLY speaking, a picture dealer’s stock, when it comes to be sold by auction, presents a somewhat miscellaneous contingent of derelicts—pic- tures which for various reasons have not attracted collectors of very different tastes and buying capacities. ‘This is inevitable in the case of a dealer who caters for all classes of buyers. For the few who are satisfied with the pur- chase of an occasional masterpiece there are hundreds who are constantly on the lookout for inexpensive pictures of good decorative and artistic qual- ities. The late Mr. Blakeslee catered for all classes of buyers, and probably during his long business career had a larger number of clients than any other picture dealer on the American continent. A mere glance through this catalogue will more than demonstrate that 9? his stock, so far from being a mass of “derelicts,” is, in point of fact, of a very high order in quality and importance. There are not perhaps many superb masterpieces—for such are rare even in a well-weeded private collec- tion—but there are here pictures which will withstand every test of authen- ticity, and which possess every artistic claim to the right of entry into the best of collections. The collection is especially remarkable for its portraits by English artists, and these comprise works by men who rank as Sir Joshua Reynolds’s predecessors, by those who were his contemporaries, and by those who car- ried on the traditions of the great founder of what is now comprehensively known as the Early English School, in which Sir Joshua himself is repre- sented by at least one great picture and a number of others of smaller size. It cannot be doubted that many of these will in due course find permanent homes in one or other of the public galleries or private collections of which there are so many throughout the United States. Portrait painting in England from the time of Van Dyck to Reynolds is represented by five of the leading artists, ranging from Dobson, who died in 1646, to Highmore, who lived to 1780. By Dobson there are not only two copies after his great master, Van Dyck, but also an interesting group of two children and another of Sir Charles and Lady Lucas—the latter an ex- cellent picture which offers a somewhat difficult problem. It came from a well-known collection, and has apparently always been known as represent- ing the famous Royalist and his wife; but there is no evidence so far as can be found that he was ever married, and probably the lady in the picture is his devoted sister, Margaret Duchess of Newcastle, an accomplished lady of literary tastes whose agreeable countenance has been preserved to us in Die- penbeke’s portrait. The best of the Lely portraits is that of Frances Lady Digby, which must have been painted towards the end of his career; another good picture is the group of the Prince and Princess of Orange, at whose marriage the artist was presented to Charles I. No other version of the pic- ture is known. Among the works catalogued under Kneller, attention will be at once arrested by the fine whole length in state robes of a lady. This came from the very large collection of historical portraits formed by James Earl of Fife towards the end of the eighteenth century and which remained at Duff House, Banffshire, until 1907. It has always passed as a portrait of Sophia, wife of George I, and by some attributed to Kneller, whose companion por- trait of the king was also in the same collection. In the matter of family and other portraits tradition counts for much, and it is not always easy to prove that it is wrong. ‘There are, however, many reasons against accept- ing this as a portrait of the unhappy consort of George I, who did not suc- ceed to the throne of England until 1698, or four years after his divorce. It is probable that the portrait represents their daughter, Sophia Dorothea, _ who married Frederick William I, King of Prussia, and may have been painted by A. Pesne, a French artist who had a large practice as official portrait painter in Berlin and to whom the Queen undoubtedly sat. When the portrait was exhibited in London the critic of The Times (December 30th, 1890) pointed out that “this finely painted full length of a lady in Royal Robes, with the Crown of England by her side, was certainly painted long after 1726,” and suggested that it may be a posthumous por- trait commanded by George II as a memorial of his mother. And here for the present the matter must rest. By Jacob Housman, or Huysmans, a Dutch painter, who, as we know from Pepys, had a considerable vogue in London, there are two interesting portraits which help us to realize that many of his works now pass under the name of his more famous contemporary, Lely. Joseph Highmore, with his refined portrait of the celebrated actress, Mrs. Pritchard, and Hogarth, with an equally good portrait of another famous actress, Peg Woffington, help us to bridge the story of the art of portrait painting from Van Dyck to Reynolds. | The examples of Sir Joshua Reynolds are dominated by the magisterial ? portrait of Annabella Lady Blake as “Juno,” which was one of the sensa- tions of the Royal Academy of 1769, the one jarring note in the criticisms of the day being a protest against “transferring ladies of the eighteenth century into heathen goddesses.” 'The picture is well known through the superb mezzotint by John Dixon, which has been copied times out of number. Nearly all the Bunburys—and Lady Blake was a Miss Bunbury—with their wives, children and friends—sat to Sir Joshua, and this fine picture is only one of the many tokens of the friendship which existed between the artist and a distinguished family. Of other well-known people represented here who sat to Sir Joshua, special reference can only be made to the Countess of Ancrum, Dr. John Armstrong, a now entirely unread poet, Kitty Fischer, a lady more celebrated for her beauty than for her virtue, the artist’s niece, Miss “Offie’ Palmer, and the Countess of Strafford. Two exceedingly attractive among other examples of Romney’s art will be found in this collection: Mrs. Drake, a member of a once famous and wealthy Norwich family, and Mrs. Uppleby. Both were painted in Rom- ney 's best time and each is of first rate quality. The latter portrait of an old lady is a brilliant piece of characterization, and either of these two portraits would be an ornament to any collection. Most of the best known contempo- raries of Reynolds and Romney are represented by examples of varying excellence. Raeburn’s Lord Craig and Mrs. Stewart Richardson are well- known examples of the greatest portrait painter which Scotland has yet pro- duced. Although the pictures by Benjamin West are not of the first rank, they have special interest to Americans. Sir Thomas Lawrence and Sir William Beechey, and the many artists who may be grouped around them, are well represented, some by unrecorded examples. The best known of the Lawrences is the “noble portrait,” as Boaden calls it, of “Kemble as Rollo,” which for a century formed part of the Peel Collection at Drayton Manor, and which ought to find a permanent home in some theatrical club or in the foyer of one of the theaters in the States. The portrait of Lady Harriet Vernon, catalogued under Beechey, is so much in the manner of Reynolds and so unlike any other Beechey known to the present writer that it is difficult to accept the present attribution with- out reserve. It is curious to note that whilst we have in this picture a por- trait of the youngest daughter of Thomas Earl of Strafford, we have in Reynolds’s Countess of Strafford the wife of William Earl of Strafford, both painted 1755-58, when the artist of one was a child. There are several interesting examples of Early English artists whose work is often found under better-selling-—because better known—names. For instance, the group by Mason Chamberlin of Mr. and Mrs. Hopkins, and the canal picture by F. W. Watts, which long passed as a Constable. Sir Martin A. Shee and George F. Watts (the former was born in 1769 and the latter died in 1904 at the age of eighty-seven) furnish us with a continuity of over a century and a quarter, from Reynolds to our own day. By Shee we have a character portrait of Mrs. Kemble, and by Watts an exceedingly interesting group signed and dated 1837. This group is an im- portant “document” in the early artistic life of one of the greatest idealists of our time. In those early days, as his widow informs the present writer, Mr. Watts painted many portraits, but, so far, a search through his sketch- books has failed to identify the lady and her two children in this picture. Mrs. Watts also states that the size of the canvas on which he usually painted at the date of this picture was much smaller than this. Contemporary with both Shee and G. F. Watts, Sir David Wilkie is represented not only by two official portraits, but by a subject picture which very strongly appeals to American sentiment and is based upon a well-known passage in Wash- - ington Irving’s “Life” of Columbus. There are few pictures of the present, but they are all important, and, it may be added, all well known through frequent reproductions. We have a transcript of Ancient Rome in Alma-Tadema’s “Sculpture Gallery,” a scene of Jacobean England in Orchardson’s “Young Duke,” and what might well be a passage from the Mort d’Arthur or a verse from William Morris’s poems in Burne-Jones’s “Psyche’s Wedding.” My object in compiling this catalogue has been to describe the pic- tures under the names of the artists whom I believe to have painted them, irrespective of the names under which some of them have been purchased. In several instances it has not been possible to solve some of the problems which have arisen. But a fine picture remains a fine picture, to whomsoever it be attributed. ‘The practice which, for commercial reasons, has been so long in vogue, of fathering on Beechey and Harlow pictures below the standard of Hoppner and Lawrence, has caused a great amount of confusion, and even after the counterfeits have been separated from the genuine, other difficulties in the way of attribution arise. Many well-selected private collec- tions in the United States afford problems of this character, and some of these will not be settled until we possess a thoroughly comprehensive history of English art during the first fifty years of the last century. W. ROBERTS. Lonpon, November, 1914. Ble No. 120 A. W. DEVIS © 1763—1822 PORTRAIT OF A LADY Wee Canvas: Height, 2934 inches; width;18°/y inches / Eas ea SMALL whole length of a middle-aged lady, white dress with broad frilled ‘pleats round shoulders, blue bow at neck, black broad waistband with blue bow; right hand holding large black high-crowned felt hat trimmed with blue bands and white feathers; powdered curly hair, long gold earrings. From an anonymous sale at Christie's, May 18, 1899, No. 116." 16 8-0-¢ No. 121 JOHN OPIE, R.A. 1761—1807 THE YOUNG MUSICIAN | Canvas: Height, 28 inches; width, 28 »rches ; (7s Clty (Jur Og ite HA.r-FIGuRE of a peasant boy, standing, directed to left; green sl¢éveless waistcoat, white shirt open at neck, red breeches, black felt hat, dark long hair; playing on a red whistle which be is holdmg to his mouth with both hands; gray background. No 1228 FRANCIS COTES, RA. 1726—1770 , : Paty ~ PORTRAIT OF A LADY if an Canvas : Height, 28 inches; ; Heap and shoulders, to front, looking to right, three-quarte dress with lace insertion, pearl and ruby brooch at center cloak trimmed with ermine; dark hair dressed high, with whi which the end falls over left shoulder ; pearl necklace and earring ground. | ; e 4 i ae - reo! No. 123 ALFRED EDWARD CHALON, R.A. 1781—1860 MRS. FAIRLIE AND CHILD Y ~ ‘ oy Can ASO HS | Canvas: Height, 281% inches; width, 23144 inches Probably Louisa Fairlie (née Purves), wife of John Fairlie and niece of Lady Blessington; an authoress; died in 1843. THE mother, about thirty, seen to waist, seated in dull green covered chair, directed slightly to right, looking at spectator, full face; low white dress with jewel, bright scarlet jacket lined with white and fastened with red band at waist, black hair in curls, gold earrings and thin gold necklace; left arm around the child’s neck, ring on penultimate finger; golden-haired child in blue and white dress nestling close to her mother; dull gray background. Chalon exhibited a group of Mrs. Fairlie and her two children—an en- graved work—at the Royal Academy of 1834. The Mrs. Fairlie in the above picture is probably the same lady. No. 124 SIR JOSHUA REYNOLDS, P.R.A. oe JOHN ARMSTRONG, M.D. = y 7S — Canvas: Height, 29 inches; widthy 24 inches Poet, physician and essayist; born at Castleton, N. B., in 1709; studied medi- cine at Edinburgh; physician to Hospital for wounded soldiers, London, 1746; to the army in Germany, 1760; traveled in Italy with Fuseli, 1771; an intimate friend of John Wilkes and Sir Joshua Reynolds; died September 7, 1779. His most famous work is a didactic poem entitled “The Art of Preserving Health,” 1744. Hap and shoulders of elderly man, directed and looking to right with cyni- cal expression, dark-brown coat, buttoned up, with double row of gold but- tons; white stock, gray-bottomed wig. From the Harper Collection, New York, April 20, 1911, 7? Jf : OSH Ha lactte. Dr. Armstrong sat to Reynolds in 1755-6, and again in 1767. The en- graved picture in which the coat is unbuttoned belongs to Mr. Burdett-Coutts. aa a eA la No. 125 SIR THOMAS LAWRENCE, P. R.A. 1769—1830 | FRANCIS MOUNTJOY MARTYN cast Canvas: Height, 28 inches; Pe 24 inches ) Youngest son of Charles Fuller Martyn, of Calcutta; educated at Eton (1826) and ‘Trinity College, Oxford, where he matriculated October, 1827, aged 18; entered the 2nd Regt. of Life Guards, of which he became Colonel. Heap and shoulders of a young man, painted on entering his regiment; to front, looking to right; blue uniform with gold buttons and epaulettes, scarlet cloak across shoulders and held with left hand; brown curly hair; gray and blue background. : No. 126 Sor BENJAMIN WEST, P.R.A. 1738—1820 MRS. WEST AND CHILD Boo eet Canvas: Height, 25 inches; length, 80 inches aN | y AN interior, the central figure in which is a small ee figure 0 an oval-faced young lady of about twenty-five, seated on a red-dovered bench, in white dress, blue sash and white Oriental cap, sewing a yellow garment which rests on her lap; sleeping child in blue and white covered cot to left; in a doorway to right are seen elderly man and woman, tree and distant land- scape; grayish curtain background. Note: Probably intended to illustrate a Biblical scene, or one from a popular story, in which the artist has introduced his wife and child. 4 J No. 127 GEORGE ROMNEY S| 1802 LADY GRANTHAM | : i 7 Pee Canvas: Height, 29 inches; vy 24 C tom | VY Ltr 19.49 Mary Jemima, second daughter of sae a Earl of Hardwicke; born February 9, 1757; married August 17, 1780, Thomas, second Baron Gran- tham; died January 7, 18380. Hatr-ricure, middle age, directed to right, looking at spectator; blue low dress, corsage edged with white, brown overdress trimmed with fur; pow- dered hair dressed high with curl on neck, white head-dress; right hand ex- tended holding partly opened volume; blue curtain or cloak to left; dark background. Romney painted two portraits of Lady Grantham in 1780-1; the late Earl Cowper’s version is described in Ward and Robert’s “‘Romney,” p. 64, but the above is a later picture. Lady Grantham was also painted by Rey- nolds, Lawrence and Edridge. ee HX f ss 3 te oo c ee No. 128 Peal SIR JOSHUA REYNOLDS, P.R. A. Lys 1702 SIR WALTER BLACKETT, BART. 2 95 ‘> Canvas: Height, 291% inches; w oS. atthe wpches T/L ene OH Son of Sir Walter Calverley of Wallington; born in 708; assume aa name of Blackett in 1733; M.P. for Newcastle (to which place he was a oer, benefactor) in seven parliaments; died in 1777. HALF-FIGURE, age about sixty, to front, looking at spectator; dark-blue vel- vet coat and waistcoat edged with white; white stock; gray wig, dark back- ground. Sir Walter Blackett sat several times to Sir Joshua, in 1759, 1760, 1766 and 1777. One whole length is at the Infirmary, Newcastle-on-Tyne, and an- other belongs to Sir George Trevelyan. No. 129 TILLY KETTLE 1740—1786 PORTRAIT OF A LADY AST oe Canvas: Height, 28 inches; ste wches y fin ee, Ye Hatr length of middle-aged lady seated a reer TaN to Axpink patterned low dress with white insertion, short sleeves with broad white edging; dark hair dressed high with white and gold patterned head-dress; left arm resting on pedestal, hand against chin, wedding ring on penulti- mate finger, right arm on lap; sculptured wall and pillar background. Dated on pedestal to right: 1770. No. 130 SIR JOSHUA REYNOLDS, P.R.A. 1723—1792 PORTRAIT OF THE ARTIST Lf Scat Canvas: Height, 29 eg G Webs Portrait of himself as an elderly man with large spectacles; ha front; dark-green coat with brown collar, white stock, gray curly wig. One of several versions of the well-known portrait. No. 131 SIR JOSHUA REYNOLDS, P. R.A. 17238—1792 SIR ROBERT PALK, BART. aw Yes i ; ( Macs \S PALNAcCe# ‘ ( 2 Kr . 4 Vf LY A ey 8 J 4, Ral Canvas: Height, 291% inches; width, 24144 inches ( Born about 1718, educated at Wadham College, Oxford; married in 1761, | Anne, daughter of Arthur Vansittart; Governor of Madras, 1763, M.P. for ; Ashburton and Wareham, 1767, 1774-87; created a Baronet June 19, 1782; died April 29, 1798, aged 81. H{ALF-FIGURE in an oval, directed to right, head slightly turned, looking at spectator three-quarter face; red coat with gold buttons and embroidered with gold bands, white neckerchief, gray wig. Collection: C. A. G. Palk, of Halden Hall, Exeter, March 18, 1913, No. 102. 4 Reynolds painted two portraits of Sir Robert Palk, one in 1760 and the other in 1768; the above is the later of the two. Graves and Cronin’s “Reynolds,” 11., pp. 719-20. cf eee No. 132 GEORGE ROMNEY (Period of): Latrrer Haur or tHe Eicureentu CEntTury DAPHNIS AND CHLOE Canvas: Height, 39 inches; length inches Se hLn ( IOS Meret h_ A SYLVAN scene with two youthful figures seated near a clump of tall over- hanging trees. Chloe in pink and rose draperies, fair hair bound with blue ribbon, is holding in her left hand her quenouille or distaff. Daphnis, in blue and white draperies, is seated at her feet and is leaning against her, playing on his pipe; to right two sheep are seen, to left a winding road with figures and trees. From the Sedelmeyer sale, Paris, May, 1907, No. 153 (illustrated in the sale catalogue) - £ rs. A500 INO: 133 FRANCIS COTES, R.A. 1726—1770 PORTRAIT OF THE DUCHESS OF MARLBOROUGH (7?) ° “5 gal Canvas: Height, 30 inches; width, 24 imehes Hatr-ricure of a lady about twenty-five, standing to front, looking at/spec- tator; dark patterned dress cut square at neck, trimmed with laces short sleeves with elaborate lace edgings and pearl ornaments, bluish overmantle with lace; necklace of many rows; fair hair dressed flat with flowers in center ; left arm resting on pedestal (on which is an indecipherable signature), hand holding end of bodice; gray background. No. 134 SIR JOSHUA REYNOLDS, P-.R.A. 1725-179? FELINA | rs Canvas: Height, 80 inches; width, onch Neary whole-length figure of a little red-haired girl in white dress, crouch- ing on the ground by the side of a tree, holding a kitten in her arms. A version of the Earl of Normanton’s engraved picture. No. 135 SIR THOMAS LAWRENCE, P.R.A. (Period of) 7 1769—1830 . THE COUNTESS OF GALLOWAY f 3 oO Canvas: Height, 86 inches; width, 28 inches Jane, daughter of Henry, first Earl of Uxbridge; born September 1, 1774; married April 18, 1797, Admiral George Stewart, who succeeded his father as eighth Earl of Galloway in 1806; died June 30, 1842. HALr-FiGure#, about forty, seated to front, looking at spectator full face with smiling expression, head slightly inclined to left; dark-brown V-shaped low dress trimmed with blue and edged with white; brown curly hair, lace head- dress with long white satin streamers which fall over left shoulder and are held by right hand, left arm resting on blue-covered table, ring on penulti- mate finger; greenish background with brown curtain to right. Collection: Earl of Galloway. id | aa | | No. 136 RICHARD COSWAY, R.A. 1740—1821 PORTRAIT OF LADY WENTWORTH ie Canvas : Height, 42 inches; width, 33 inches THREE-QUARTER length, age about twenty-five, seated near a balcony on plain wood chair, directed to right and looking at spectator, low black dress trimmed with white lace, white bodice and fichu, large white apron; powdered curly hair with band of black ribbon, white feather aigrette, black earrings, long gold necklace with miniature of a gentleman set in pearls as pendant; short gold chain with gold watch at waist; extended fan held by both hands, volume on brown table to right; trees in distance to right. No. 137 JOHN DOWNMAN, A.R.A. | 1750—1824 PORTRAIT OF MRS. MAIR Canvas: Height, 44 inches; width, 34 imches a FES THREE-QUARTER length of a lady about thirty, seated i canoe open window, directed and looking to right; white low dress and loose fichu, brown- ish cloak across shoulders, powdered hair dressed high, bound with pear! ropes and green ribbon; both hands holding leaves of a volume which rests on table partly covered with green cloth, and on which also are seen a por- celain vase, scissors, etc.; background, red curtain and trees. Signed and dated in lower right hand corner: J. Downman Pryxt 17— (last two figures indistinct). No. 138 HENRY R. MORLAND Circa 1730—1797 | MRS. THORNTON, AN ARTIST C7. 2 JA g a aes Canvas: Height, 461% inches; width, 361% inches S THREE-QUARTER length, age about thirty, standing to front and looking at spectator; white low dress, short sleeves, pink bodice, white lace crossover, broad pink neck ribbon; fair hair dressed flat, white lace bonnet with pink ribbon bow at center; to left an easel on which is a picture of a landscape with river; right hand holding paint brush and resting on picture on easel, left hand holding palette, brushes and mahl-stick; gray background. i Tat Sas = sa, oe = : : - if i :. ‘ Se 4 4£ a . Us - 4 Lae Be 4 i= ‘ ~ agit) i a » 7 —— — _— — 5 No. 139 JOHN OPIE, R.A. ' 1761—1807 7 MUSIDORA a 3 Canvas: Height, 47 inches; width, 30 inches Like ES fnceer Neary whole-length figure of a young woman seated, directed to front and looking down; white loose robe, right arm and bosom bare, light-blue A \ q > as. ite? 7 al et * ight [Or a NE 1 cloak across left arm and lap; abundant brown hair bound with ribbon, 4 left hand holding red drapery. | No. 140 WILLIAM DOBSON 1610—1646 THE MISSES VENABLES & ; vf, Gros 0. a Canvas: Height, 411% inches; length, 4516 inches P. anpD M. VenasiEs. Whole-length figures of two fair-haired children about four or five, to front, in long white satin dresses trimmed with lace and yellow ribbons, each with a narrow gold neck chain and pendant; the younger child with lace bonnet and holding her sister’s hand; a pet dog is jumping up by the side of the elder. Formerly ascribed to Van Dyck, according to a paper pasted on the back of the picture. No. 141 Sik MARTIN ARCHER SHEE, P.R.A. 1769—1850 PORTRAIT OF A LADY ol SY oo Canvas: Height, 49 inches; width, 38 Paine THREE-QUARTER length, about twenty, walking in a landscape to left, lobking at spectator; white low dress with loosely fastened blue corsage, short sleeves, pearl necklace; brown curly hair, large white straw sun hat garnished with flowers and flowing blue ribbons; rustic basket filled with flowers on left arm; background, trees and distant hilly landscape to left. No. 142 GEORGE HENRY HARLOW 1787—1819 MRS. RICHARDSON AND CHILDREN oe Canvas: Height, 49 inches; width, 39 inche pat Ce Group of five figures, the mother, aged about thirty, and her four children all in white dresses, ranging from an infant of a year old upwards, the oldes seven or eight. Mrs. Richardson, seated looking at spectator and holding the two youngest children on her lap, is in blue low dress, short sleeves trimmed with lace, white frilled collar, ruby brooch, pearl necklace and small earrings; brown curly hair with pearl ornament, pearl bracelet on left | arm and rings on fingers of both hands. ‘The elder child by her side and | clasping the infant, the second child standing behind its mother; both are au- 4 burn-haired, and the three eldest wear coral necklaces; distant landscape with hills and flowering rose-trees to left, green patterned curtain overhead and to right. 6 6, No. 148 FRANCIS COTES, R.A. 1726—1770 PORTRAIT OF MRS. JONES (AFTERWARDS WALLEY) ae Canvas: Height, 49 inches; width, 39 inches a moa V) (F- kG Yathonr lr Maria Kenyon of Scarborough, married first, Robert Jones of Liverpool { by : -whom she had two children, Robert and Mary) ; and secondly, Joseph Walley. THREE-QUARTER length of a young lady, twenty-five to thirty, seated near a baleony, directed to left and looking at spectator; old-gold low dress with sleeves to elbows trimmed with white lace, white lace fichu with light- blue ribbons; powdered curly hair, white cap with broad band passing around throat; right arm on balcony, hand holding gold-mounted miniature with black ribbon suspender; to left on balcony rests a thin gray-covered vol- ume; pillar, blue curtain and sky background. This excellent portrait came from an anonymous sale at Christie’s, May 4, 1907, when it was catalogued as “Early English.” Its attribution to Cotes is not altogether convincing, as the style of dress would suggest the late 80’s of the eighteenth century, and some years after Cotes’s death. No. 144 JOSEPH HIGHMORE 1692—1780 MRS. PRITCHARD, THE ACTRESS Se fea ees Canvas: Height, 49 inches; width, 39 " 2 | Gs Nei v ye yp 2 veg t Hannah Vaughan, born in 1711, married a poor actor named Pritchard, ap- ( peared at the Haymarket Court in 1738, and at Drury Lane 1734-40; the greatest Lady Macbeth of her day and sustained many other leading charac- ters; died in 1768. NEARLY whole length, age about fifty, seated on a red high-backed settee, to front, looking at spectator; gray-patterned dress with short frilled sleeves, white low bodice with two yellow bands and pearl square buckles, yellow waistband from which depends chain with gold watch and ruby seal; gray hair, white cap, black lace scarf around head, the ends falling over bosom, pearl earrings; right elbow on arm of chair, hand resting against forehead, rings on last two fingers, left hand on lap holding partly a book, rings on first and second fingers. Exhibited: Guildhall, London, 1902, No. 56 (C. Butler). Collections and sale: W. Twopenny, 1874; and Charles Butler, May 26, 1911, No. 149: $F —10- 0. Yobaet nen, q On the back of the canvas is pasted a piece of paper with the following inscription: **Portrait of Mrs. Pritchard the actress by W. Hogarth, Bot of W. B. Tiffin in 1858. There is a portrait of her by Hogarth, head and shoul- ders only, exactly lke this at Lord Talbot de Malahide’s in Ireland.” The above is probably the portrait of Mrs. Pritchard sold i in the Campbell Sale at Christie’s in 1867 as by Hogarth: 57-4 I~ oO [03 _ 4% No. 145 SIR THOMAS LAWRENCE, P.R.A. (2) 1769—1830 MR. LAMBERT y, 7 cons ce Canvas: Height, 49 inches; wadth, 39 Be. Probably James Staunton, of Watervale, born March 5, 1789; J.P. | High Sheriff, 1813, and M.P. for Co. Galway from 1826 to 1833), Liberal Conservative “‘most conscientious in the discharge of every duty”; died July 1, 1867. THREE-QUARTER length figure of a middle-aged gentleman, standing, di- rected to left, looking at spectator; black frock coat, dark breeches, red plush waistcoat, white turned-down collar with black stock, long gold chain; dark hair, grayish side whiskers; right hand holding scroll inscribed “Public Ac- counts,” and resting on two volumes respectively labeled “Reports on Ire- land” and “Commons Vol. XIII,” on which rests red dispatch case; to right red armchair and old-gold curtain, to left stone pillar with distant view. This portrait, which came from Castle Lambert, in Ireland, was painted in the thirties of the last century, and is probably the work of an Irish portrait painter. It is too late for Lawrence. ) No. 146 THOMAS PHILLIPS, R.A. 1770—1845 as R, PO PORTRAIT OF A LADY x Canvas: Height, 49 inches; width, 39 inches THREE-QUARTER length of middle-aged lady, standing directed to front, — head turned and looking to right; blue velvet low dress cut square, short sleeves trimmed with old gold, blue cloak over shoulders and around arms, white lace corsage, old-gold waistband with large ruby in center, pearl neck- lace and drop pearl earrings; white turban head-dress with pearl rope, ruby and pearl bracelets and rings; scarlet tablecloth to right, brown background. No. 147 MASON CHAMBERLIN, R.A. Diep 1n 1787 PORTRAITS OF MR. AND MRS. HOPKINS ont7 ~ Canvas: Height, 40 inches; BE 50 ae Arr, Vr ards Benjamin Bond Hopkins, of Pain’s Hill, Surrey, son of Benjamin Bond of Leadenhall Street, London, a Turkey merchant (who inherited the estates of “Vulture” Hawkins and assumed that surname); married as his second wife, May 20, 1773, Mary, daughter of Captain Tomkins of Downing Street, Lon- don; died January 30, 1794, aged 48. Mrs. Hopkins, a literary lady who translated several parts of the Bible, separated from her husband about a year after their marriage, and died September 27, 1788. For a further account see Gentleman’s Magazine, February, 1794, pp. 183-4. Two half-length figures seated in a landscape facing each other. Mr. Hop- kins in blue coat and waistcoat embroidered with gold and with lace neck- erchief, lace cuffs, wig. Mrs. Hopkins in pink dress with short sleeves, lace fichu and pear! necklace, earrings and bracelets, playing a guitar, her husband holding a music book; spray of flowers at center of corsage; trees and shrubs in background. Collection: Mrs. Henshaw Russell, 1907. ¥ or : af) \ 12 AN | w No. 148 SIR EDWARD BURNE-JONES, A.R.A., D.C.L. 1833—1898 PSYCHE’S WEDDING | £ + , | — e rs) to Canvas: Height, 46 inches; length, 84 wnches 4 . ! A PROCESSION of nine blue-clad maidens and an old man pass across the foreground to the right, the girlish Psyche in gray in the center; the girls in front strew flowers as they go, while those behind play musical instru- ments; in the distance a river and low hills. Signed with initials and dated in left hand corner: EK. B. J., 1895. Exhibited: New Gallery, 1899 (A. Tooth & Sons), and Burlington House, London, 1909 (G. McCulloch). Collection and sale: George McCulloch, Christie’s, May 29, 1913; bee for Mr. Blakeslee: 7° U9: Alea M0 Z. Wa Etched by F. Jasinski, 25 by 18% inches; 1901. PAgeee Bice etal? 4 Py ak ae Pe No. 149 JACOB HOUSMAN (or HUYSMANS) Circa 1633—1696 MRS. BLOUNT BB. ay, ee, ce et Canvas: Height, 52 inches; width, 351% inches THREE-QUARTER length, in a landscape, walking to right and looking at spectator; old-gold shot-silk low dress edged with white and fastened in front with pearl buttons, short sleeves with broad white trimming, brown- ish gray cloak around shoulders fastened with small brooch; brown curly hair with pearl ornament; pearl necklace and drop earrings, waistband of large blue-glass beads; right hand holding fold of dress, left hand extended and holding a sheet of music; to left trees and blue sky, clouds and dis- tant view of building to right. Inscribed to left in gold letters: Mrs. Buount. No. 150 Sik WILLIAM BEECHEY, B.A. 1753—1839 ADMIRAL BRIDPORT, K.B. Canvas: Height, 50 inches; width, 40 ues Alexander, second son of the Rev. Samuel Hood, younger brother of Admiral Samuel Viscount Hood; born in 1724; entered the Navy; rear-admir ‘in 1780; K.B., 1788; created Baron Bridport 1794, Viscount 1800; died May 3, 1814. THREE-QUARTER length, standing to front looking to right, in naval uniform, blue coat with star of an order and gold chain with pendant, white waist- coat and breeches; gray hair; right hand holding sword. No. 151 WILLIAM DOBSON (after VAN DYCK) Cee 1610—1646 THE EARL OF PORTLAND One Vat Merk fl Canvas: Height, 52 inches; width, 39 inches Richard Weston, the statesman; born in 1577; M.P. for various constituencies from 1601 to 1626; knighted 1603; Chancellor of the Exchequer 1621; created Baron Weston, 1628; Lord High Treasurer 1628-33; created Earl of Port- land 16838; died in 1635. THREE-QUARTER length of elderly man, standing to front, looking to right; black dress with pearl fastener, white reflected cuffs and elaborately gauf- fered broad ruff, broad blue band suspended from neck with locket pen- dant; blue cloak over shoulders, right arm resting on ledge of pedestal, the ungloved hand holding open document, left hand gloved and holding wand of office; gray hair, pointed beard; background, brown curtain and stone pillar. A copy of the Van Dyck portrait engraved by Hollard and described in Smith’s “Catalogue Raisonné” No. 575. No. 152 MRS. MARIA COSWAY 1759—1888 LADY SEATED AT A PIANO ot, Ee fe Wee ij a cmome . Canvas: Height, 50 inches; width, 40 inches THREE-QUARTER length figure of a young woman, about twenty-five, seated at an open rosewood piano or spinet, in white low dress with broad gray sash, fair hair bound with white, black felt hat with large black feather; right arm resting on piece of open music on piano and turning over a page with her fingers; left arm on lap, tips of fingers on keyboard; trees in back- ground with distant view to left. No. 153 SIR GODFREY KNELLER 3 1648—1723 PORTRAIT OF A MAN (Ott; ‘e 7 c Err, 0 we Canvas: Height, 50 inches; width, 40 inches THREE-QUARTER length of a young man, standing to front; red coat with gold buttons and white sleeves, gold-embroidered waistcoat, white necker- chief; flowing brown wig, black felt hat in right hand, left hand inserted in opening of coat; stone balcony with distant landscape to left. From an anonymous sale at Christie’s, July 12, 1912, No. 11, when wt was , described as a portrait of George, Prince of Wales: Be ee fh halon, No. 154 SIR PETER LELY 1617—1681 DUCHESS OF RICHMOND (‘LA EES Oe We 216 ‘t Canvas: Height, 50 inches; width, 40 oe Frances Teresa Stuart, granddaughter of first Lord Blantyre; born in France in 1647, maid of honor to Queen Catherine; mistress of Charles Il; married the Duke of Richmond; a famous beauty, and probably the original of the figure of Britannia on the copper coinage; died in 1702. THREE-QUARTER length, age about thirty; seated near a balcony, directed to left, looking at spectator; scarlet low dress with short white full sleeves, blue mantle across waist and over knees, Jeweled brooch at center of corsage; fair curly hair; large, broad-brimmed black felt hat with white feathers; end of narrow brown shawl held with left hand, tassel of blue cloak in right; earth-— enware jar with flowers to left, blue curtain to right. Inscribed in right hand lower corner: DucuEss or RicHmMonp. From an anonymous collection sold at Christie’s, July 12, 1912, No. 8: 33- 12-( Th Me No. 155 ALLAN RAMSAY 1713—1784 PORTRAIT OF A LADY ee ee /)s5 Canvas: Height, 50 inches; width, 40 mohes THREE-QUARTER length, age about fifty, standing to front, looking at spec- tator; white satin low dress, short sleeves edged with broad white frills; white muslin fichu, black scarf across shoulders and linked at center of cor- sage with pearl fastener; three-row pearl necklace, powdered hair dressed high, right hand with gold and ruby chain, left hand holding miniature pen- dant with a man in blue dress; sculptured alcove and pillar background. Collection and sale: Sir Walter Bartellot, of Stopham House Pulborough, Sussex, June 19, 1911, No. 150." 148 y-0 Vf, Mpa: No. 156 SIR PETER LELY 1617—1681 ee Tae pe THE PRINCE AND PRINCESS OF ORANGE Canvas: Height, 69 inches; width, 53 inches Wilham II of Nassau, Stadtholder of the Netherlands; born in 1627. Suc- ceeded his father in May, 1647, as William II, Prince of Orange; died at The Hague in 1650. Mary, daughter of Charles I of England; born in November, 1631; married, May 2, 1648, the above Prince of Orange; died in September, 1660. Two seated figures to front on a balcony. To right the Prince in black robes, with broad white cuffs, scarlet band showing under cloak, white cravat, right hand holding fold of cloak, left on hilt of sword. ‘To left the Princess in rich brown dress with lace insertion, short sleeves with broad white trim- ming, blue cloak around back and on lap; pear! necklace and earrings, dark hair; right hand holding spray of orange plant with fruit, left hand holding pomegranate; red curtain to left, landscape in the distance. From a collection of historical portraits (formed about 1860-70), at Christie's Seay “the property of a gentleman,” November 19, 1910, No. 81: ZU-U-0C Gy wy & WAM *\ No. 157 SIR JOHN WATSON GORDON, R.A. and P.RS.A. 1790—1864 / ORS Sf " 1 THE MACKENZIE CHILDREN 7V- VV- Lavra Ugew Group of three children near a balcony; the elder boy of five or six in Scotch kilts with white waistcoat, white socks and black shoes, standing by a large- arm high-backed chair, on which are seated his younger brother in brownish- red dress and white lace collar and his sister in white dress and blue apron; she is holding flowers in her left hand, other flowers are on nen lap and on the ground; pillar and green curtain background. ~ iin ein ar a tan pent itera ne es rena lp © 58 Ai aa cen em mance a el cum ars eae ~ Canvas: Height, 63 inches; width, 46 inches No. 158 SIR WILLIAM BEECHEY, R.A. (Ascribed to) 1753—1839 THE STAR Gi a 5 cal Lae of] tgs Canvas: Height, 86 inches; width, 51 inches ee as W HOLE-LENGTH, life-size figure of a young woman about twenty, emblemati- cal of the Star, floating in mid-air, in dark-brown dress with jeweled star over forehead; brown hair; right arm upraised, hand over head, left arm ex- tended holding in hand a phial from which incense is pouring; flowering plant to right. No. 159 FRANCIS WHEATLEY, R.A. 1747—1801 PORTRAIT OF A LADY \ ry & Ca WW Pardee [docs poe $d Canvas: Height, 87 inches; width, 56 inches WHOLE-LENGTH, life-size, about twenty-five, walking in a wooded landscape, white low dress, short sleeves, blue sash, right hand carrying straw bonnet with blue bows, left hand extended; fair curly hair. No. 160 WILLIAM DOBSON (after VAN DYCK) 1610—1646 aa FE ff LORD JOHN AND LORD BERNARD STUAR Canvas: Height, 85 inches; width, 48 inches Sons of Esme, third Duke of Lenox. Two whole-length, life-size figures, standing in front of a pillar and blue curtain; the younger brother to front and looking to left, scarlet dress, brown cloak, leather top boots; fair curly hair. The elder brother to right, back to spectator, head turned, looking to front, white satin dress, stockings and shoes, blue cloak over left shoulder, gold hilt of sword partly covered by cloak; fair, long, curly hair. A copy of Van Dyck’s famous picture, which for generations belonged to the Earl of Darnley at Cobham Hall, but which was sold by private treaty mm 1912. No. 161 JOHN SINGLETON COPLEY, R.A. +o. 1872-1815 | BATTLE OF DUNKIRK (September, 1796) Y 7, eee) i 0-4 Canvas: Height, 59 inches; length, 94 nti _A BATTLE scene under the walls of Dunkirk with numerous figures, masses of red-coated soldiers on the right are pressing home a bayonet charge against blue coats, fallen and wounded soldiers are seen on both sides; in the center a fallen officer in yellow coat with red facings, white waistcoat and breeches, is surrendering his sword to a soldier. Painted in 1800. No. 162 BENJAMIN WEST, P.R.A. 1738—1820 CONVERSION OF ST. PAUL ie WAX : poo ee ‘s Canvas: Height, 68 inches; length, 104 inches A Broad, hilly landscape, with towers, aqueduct and building in the middle distance; the foreground occupied with a large company of civilians and soldiers in medieval costumes; to left a group of travelers with St. Paul m red dress and white head-covering and hands upraised as in supplication; dark masses of trees and rocks to right and left. From the Torre Abbey Collection, and sold at Christie’s, February 26, 1859, No. 73: £39-4-0 (Kayte, ) a3 4 | es | Ge Note: ‘This is doubtless *‘The Conversion of St. Paul, a finished sketch for the painted window in St. Paul’s Church, Birmingham,” exhibited at the Royal Academy, 1791, No. 426. Another sketch for the same picture was exhibited at the Royal Academy of 1801, No. 80. No. 163 BENJAMIN WEST, P.R.A. 1738—1820 DEATH OF HY ACINTHUS r/ B/S: ace Canvas: Height, 89 inches; Ws Or The story is taken from Ovid’s ‘‘Metamorphoses,” Book x. Hyagcinthus, a son of Amyclas and Diomede, greatly beloved by Apollo and Zephyrus. He returned the former’s love, and Zephyrus, incensed at his coldness and indif- ference, resolved to punish his rival. As Apollo, who was entrusted with the education of Hyacinthus, once played at quoits with his pupil, Zephyrus blew the quoit, as soon as it was thrown by Apollo, upon the head of Hyacinthus, and he was killed by the blow. Apollo was so disconsolate at the death of Hyacinthus that he changed his blood into a flower which bore his name, and placed his body among the constellations. Two whole-length life-size figures in a rocky landscape; Hyacinthus, clad only in a white cloak attached by a narrow band over left shoulder, is dying, and is supported by Apollo in flowing dark-red drapery, his right around his waist, the left hand resting gently on the forehead; two cupids floating in the air to left. Signed and dated in lower left hand corner: B. West, pinxit, 1771. Exhibited: Royal Academy, 1772, No. 273. The companion picture of “Juno recevving the Cestus from Venus,” exhibited in the same year, was also acquired in recent years by Mr. Blakeslee and is now in an American collection. Aye an en Cota THIRD AND LAST NIGHT’S SA: FRIDAY, APRIL 23, 1915 IN THE GRAND BALLROOM a Pv 3 - 2 OF THE PLAZA ¥ FIFTH AVENUE, 58th to 59th STREET oa aaa BEGINNING PROMPTLY AT 8.15 0’ CLOCK Rie mr. ¢ 5 ie a ‘.-e 4 No. 164 JOHN OPIE, R.A. 1761—1807 PORTRAIT OF A BOY ) 3 Loa 3SU — Canvas: Height, 24 inches; width, 1914 inches Heap and shoulders, to front, yellow dress with white collar; portfolio under left arm; long golden hair. No. 165 Sikh THOMAS LAWRENCE, P.R.A. 1769—1830 THE COUNTESS OF ESSEX L. GES g Loe 7 / 5° Canvas: Height, 21 inches; width, 171% inches Catherine Stephens, vocalist and actress, daughter of a carver and gilder; born in London in 1794; appeared at Covent Garden in 1813 as Mundane in “Ar- taxerxes,” acted Polly in ‘The Beggars’ Opera,” etc.; said to have had the sweetest soprano voice of the time; retired in 1885; married in 1888 the fifth Earl of Essex; died in 1882. Heap and shoulders of a beautiful young woman about twenty-five, directed to front and looking to right; scarlet low dress trimmed with white; black curly hair with white band, pearl drop earrings; grayish background. No. 166 Re be ; = 2% aS SIR THOMAS LAWRENCE, P.R.A. 1769—1830 Se 7. 71 a 7 Raion Canvas: Height, 1714 inches; width, 13 inches ee : . yr HEAD OF A GIRL Hazan and shoulders of a pretty child of about three or four, looking | spectator full face; white low dress with purple waistband; brown hair; bh background. 3 ‘ ¥ d From an anonymous sale at Christie’s, June 7, 1912, Ne Vee 14 a 2 D-0 4 bis 1 No. 167 GEORGE ROMNEY 1734—1802 LADY HAMILTON AS ee cee : GO Pe / hoes oe Canvas: Height, 18 inches; width, ae, Heap and shoulders, directed to right, head leaning to left, looking up with open-mouthed grieved expression; long auburn hair falling over shoulders, bare arms, white light drapery over shoulders. From an anonymous sale at Christie’s, June 18, 1913, No. 115- MF - U-0 A Nefbernun ig ame } : on ae a8 a Be Wela _ JOHN HOPPN ER, RAS ae 1758—1810 ae PORTRAIT OF LADY CAMPBELL | ae LL ys O77 *! Canvas: Height, 24 onches; ne 20 inches me = Hxap and shoulders of an attractive-looking lady about tw and looking to right, white semi-low dress, brownish waistbé curly hair with white turban-like broad band; red curtain bac From the collection of Lady Sassoon. | i Tag € A. os No. 169 g 4 S GEORGE HENRY HARLOW Miyia Wicd bey EY PORTRAIT OF A LADY WITH RED HAT re Ree Canvas: Height, 28 inches; width, 23 inches HALrF-FIGURE of young lady about Seniesa to Pann Qaarae front, in gray low V-shaped dress bordered with old gold, white chemisette, red patterned belt; large broad-brimmed red velvet hat, black hair falling in curls over neck and forehead; left arm resting on a volume and holding another in hand. No. 170 (yu SIR PETER LELY 1618—1680 THE DUCHESS OF CLEVELAND Canvas: Height, 28 inches; wi le sae Sy 2 rs : lo ONV% Barbara, daughter of William Villiers, ae Viscount Grandison, born in 1641; married Roger Palmer, Earl of Castlemaine; Lady of the Bedchamber to Queen Catherine; notorious for her amours and trafficking in state ap- pointments; mistress of Charles II, who created her Duchess of Cleveland in 1670; died in 1709. Frequently painted by Lely. HAtr-FicurF, about thirty, seated to front, head inclined to left and sup- ported by right hand, elbow on red-covered table; grayish low dress trimmed with lace and garnished with rope of pearls, short sleeves with full white cuffs, white-lined black cloak to left; pearl necklace and earrings; brown hair falling over right shoulder; brown curtain background. No. 171 JOHN CONSTABLE, R.A. 1776—1837 HAMPSTEAD HEATH 2760 « Canvas: Height, 24 inches; length, “Coe OY, ‘ Broapd sweeping view of the State bis. row of trees in center; to right high} hill with square white house with smoking chimney, and cows on the hori- | zon to right; the foreground to right, cart and two horses at the entrance to — a gravel pit; pool, with donkey and driver, in center. This is a variant of the Sheepsbans picture etched by David Lucas and as plate 22 in “English Landscape Scenery,” 1855. | a . Se Now Ly2 JOHN OPIE, R.A. 1761—1807 GOING TO SCHOOL 1S ia Canvas: Height, 28 eed Law lle HAtr-Fricures of two children in the open; the elder, a girl in green low dress with patterned crossover and white mob cap with blue band, satchel hanging on gloved right hand. She is holding the right hand of a curly brown-haired boy who is dressed in dark-brown jacket with white open collar and dark felt hat; he is holding a book in the left hand; blue sky and tree background. Collection: The late Capt. Warner of Leicestershire. | ee No. 173 GEORGE HENRY HARLOW 1787—1819 GROUP OF TWO CHILDREN / OS - Canvas: Height, 29 inches; width, 24 inches Two young, fair-haired girls, seated to front in an open landscape, white low _ dresses, the elder with red coral necklace looking up to left and holding a robin in her hands; the younger looking at spectator, her right hand on her sister’s shoulder; background, autumnal trees and sky. Purchased from an anonymous sale at Christie’s, May 15, 1918, No. 149, when . 9 66 99 44 S it was ascribed to “Lawrence. a ok, ti Vo 0 ADI Y, Cae -_ F i SN Oa a ly Ae | SIR JOSHUA REYNOLDS, P.R.A. te MISS THEOPHILA PALMER Canvas: Height, 29 inches; dhe 24 jaches / Pe re oe + ae | “Offie,” second daughter of John Palmer, of Torrington, Devon, and the Ph) | orite niece of Sir Joshua; born in 1756; married in January, 1783, Robert — Lovell Gwatkin, of Plymouth; died at Bideford, Devon, July 5, 1848. a HALr-ricureE, age about thirty, to front, head slightly inclined over right —_ shoulder, looking to left; dark dress with short sleeves, trimmed with white, 4 white fichu, narrow black neck ribbon tied in a bow; dark hat trimmed with _ blue ribbon and with white ostrich feathers; right arm leaning on table. Ad poo Purchased from the Palmer family and sold by Messrs. Agnew to Mr. Blakeslee. | q 50 No. 175 WILLIAM HOGARTH 2 1697—1764 eee /| te WWr0- WG PORTRAIT OF PEG WOFFKFINGTON Canvas: Height, 29 inches; width, 24 inches The famous actress often painted by Hogarth. A bricklayer’s daughter, born in Dublin, October 18, 1720; acted on the Dublin stage from the age of seven- teen to twenty; appeared at Covent Garden in 1740, and was for many years the leading British actress, as famous for her beauty and coquetry as for her talents on the stage, from which she retired in May, 1757; died March 28, 1760. Har-Fricure of the actress when about thirty, in an oval, directed to left and looking at spectator; grayish bodice, white fichu with pink ribbon bow at cen- ter of corsage, brown hair, white lace tight-fitting cap fastened under chin with pink ribbons. From an anonymous sale at Christie’s, June 22, 1908, No. 97. [ g? No. 176 SIR THOMAS LAWRENCE, P.R.A. 1769—1830 STR THOMAS BUCKLER LETHBRIDGEH, BART ( O70 ae Canvas: Height, 29 inches; width, 24 eee =. pray Py Son of John Lethbridge, Esq., who was created a Baronet of Sandhill, Somer- setshire, in 1804; born in February, 1778; M.P. for Somersetshire 1806-12, 1820-30; Colonel of the second Somerset Militia; succeeded his father in 1815; died October 17, 1849. Hatr-ricure, age about forty, to front, looking to right, grayish military coat fastened, embroidered with gold stripes across chest, scarlet collar, gold epaulettes, black stock; fair, straggling hair, dark background. Described in Sir Walter Armstrong’s “Sir Thomas Lawrence,” 19138, p. 146. From the family. No. 177 SIR JOSHUA REYNOLDS, P.R.A. 17238—1792 MRS. MUSDELS AS “HEBE” S ( JO ‘— Canvas: Wen 29 ec ee 24 inches Sophia Catherine, daughter of James Modyford Heywood, rade Marston, Dae a married, in 1776, John Musters of Colwick Hall, Notts; died in 1819. She is described by Miss Burney in 1779 as “the present pea: whose remains our | children may talk of, the reigning toast of the season.” She frequently son to Sir Joshua from 1777 to 1782. Heap and shoulders, aged twenty-five to thirty, directed to right; looking at spectator full face; flowing pinkish dress with white chemisette and short _ sleeves; right hand holding reddish jug; brown wind-blown hair with blue q : and gold band; blue-gray background. . Col \S00 The engraved whole-length portrait of Mrs. Musters as “Hebe,” painted circa 1782, is in the Iveagh Collection. 9 No. 178 Sik JOSHUA REYNOLDS, P.R.A. 1723—1792 COUNTESS OF STRAFFORD 700 — Canvas: Height, 29 inches; width, 24 inches Lady Anne Campbell, second daughter of John, second Duke of Argyle; born in 1715, married April 28, 1741, William Wentworth, Earl of Strafford (a title created in 1711 by Queen Anne and extinct in 1799); died February 7, 1785, from her clothes having accidentally caught fire. HALr-FIGurE, middle age, to front, head slightly inclined and looking to left; white low dress with two strings of pearl and precious stones on corsage, blue and ermine cloak over right shoulder, on which a plait of her brown hair, bound with blue ribbon, falls; pearl earrings, blue neck ribbon with double row of pearls. Engraved by J. McArdell, 11 by 19, 1762; also (reversed) by J. Brookshaw, 1770, by J. Johnson, T. Johnson and by Spicer. ) fo : From Thomas McLean’s Sale, January 18, 1908, No. 135- 37 a- De, 2 VOnKAihN Note: According to Graves and Cronin’s “Reynolds” the Countess of Strafford paid £15-15-0 (which would be the first half payment) for this portrait on February 3, 1761. Possibly neither this nor the companion por- trait of the Earl was delivered; at Sir Joshua Reynolds’s sale at Greenwood’s rooms, Savile Row, London, on April 15, 1796, the portraits of Lord and Lady Strafford were sold for two and three and a half guineas respectively to “Byng of St. James’s Square.” The portraits were only known through the engravings and were not traced by Graves and Cronin. This one of the Countess at one time belonged to Messrs. Agnew. No. 179 SIR THOMAS LAWRENCE, P.R.A. 1769—1830 CHARLOTTE LADY STRANGE 6 The Py heal Jd + Canvas: Height, 29 inches; width, 24 inches Charlotte Margaret, second daughter of the Rev. Geoffrey Hornby; married June 30, 1798, her cousin Edward Lord Strange (who succeeded his father in 1834 as thirteenth Earl of Derby); died June 16, 1817. HALF-FIGURE, age twenty-five to thirty, seated to front looking to right, three-quarter face; white low dress with frilled collar and short sleeves, gold and ruby brooch at center of corsage, reddish waistband, long yellow glove on left arm (which is only partly seen) ; black curly hair falling over fore- head and ears; stone pillar to left. Collection: Captain Phipps Hornby. This is sometimes ascribed as a portrait of the thirteenth Countess of Derby, but Lady Strange died many years before her husband succeeded to the title. | No. 180 H ©}. aes TILLY KETTLE 1740—1786 COUNTESS OF STRAFFORD WV Ff, ° At "an uf a — e$--s-« Canvas: Height, 29 inches; width, 24 inches HAL¥-ricurE, middle-aged, to front looking to left, three-quarter face, low dark dress, short white sleeves with pearl fasteners, and white lace at neck, pearl ornament at center of corsage, yellow waistband, dark cloak over shoul- der; two-row pearl necklace with pearl pendant; powdered hair with pearl band, black aigrette. This is a variant by Tilly Kettle of the portrait of the Countess of Strafford, described under Sir Joshua Reynolds in this sale; Catalogue No. 178. te No. 181 ‘ ‘é om i 3 SIR JOSHUA REYNOLDS, P.R.A. 1723—1792 MRS. FORTESCUE 6). chalk Abs ID are Canvas: Height, 29 inches; width, 24 inches Mary Henrietta, eldest daughter of Thomas Orby Hunter of Croyland Abbey, Lincolnshire, a Lord of the Admiralty; born about 1734; married the Right Hon. James Fortescue, of Ravensdale Park, P.C., M.P.; died December 24, 1814, aged eighty. Her second son succeeded his uncle as second Baron Clermont in 1806. HALF-FIGURE, age about twenty-five, seated to front; head slightly inclined to left; blue and white dress, white fichu, flowers in corsage; brown hair dressed high, with string of pearls and red ribbon, pear! drop earrings; arms folded and resting on brown ledge, on which are roses; dark background. Mrs. Fortescue sat to Reynolds in 1761. No. 182. SIR HENRY RAEBURN, R.A. 9 am Ve eae ia 1756—1828 ow @ d, - MRS. CATHCART | Canvas: Height, 29 inches; width, 24 inches Ha.r-ricure, age twenty-five to thirty, seated in a landscape, directed to q front, looking slightly to left; white satin low dress with high waist, black mantle, arms crossed on lap, ring on penultimate finger of left hand; brown ~ hair falling in curls over forehead; eee >) ae and trees. — gS 2 ( —\ f 2 ; ; ‘ m Rx ey Le yo LN 1h CH K oe ie da Lo sae 7 GaAs Ion ¢ pawns SSS | oe ( 0) . No. 184 \ al ; GEORGE ROMNEY 1734—1 802 LORD HUNTINGDON pee) tz w: §6©Canvas: Height, 29 ee th, 24 imches ie DAA Francis, eldest son of ninth Earl; born in 1734; succeeded his father in 1746; carried Sword of State at the Coronation of George III, 1761; died without issue October 2, 1789, when the ancient baronies were carried by his eldest sister into the Rawdon family and thence to the Earldom of Loudoun. HaAxr-ricure of elderly man about sixty, directed to left, head turned, look- ing at spectator; brown coat, white tie, dark felt hat with blue trimming, powdered wig, rustic walking stick under left arm; background balustrade and distant view. The canvas has been relined and is inscribed “Painted by G. Romney 1790.” It is, there can be no doubt, one of the two copies of a portrait by an artist whose name is not stated, done by Romney in 1791 and 1795; see Ward & Roberts’ *““Romney,” p. 83. aS No. 185 SIR JOSHUA REYNOLDS, P.R.A. 1723—1792 THE COUNTESS OF ANCRUM ae - &y. Je Canaan Height, 29 inches; width, 244% wches Elizabeth, only daughter of Chichester Fortescue, and granddaughter of first Lord Mornington; born in 1745; married in 1763 William John, Earl of Ancrum, afterwards fifth Marquis of Lothian; died September 30, 1780. Ha.r-ricure, looking to left; pmk overdress trimmed with fur; gray low bodice; powdered hair dressed high and bound with pink ribbon, plait over — left shoulder; right arm resting on pedestal; dark background. From the Lesser ae February 10, 1912, No. 80: 74. f- "y, es) Sir Joshua painted several portraits of the Countess of Ancrum from Lipo tl? No. 186 RICHARD WILSON tile 1782 ROME AND THE CAMPAGNA / k ae Canvas: Height, 28 inches; ey De or) 3 060 = Broap view of the Campagna, with distant hills; ras to Lb Ae Be ure driving cattle to left; in the foreground two figures conversing near portion of a carved stela or ancient tombstone. Signed at bottom to left with entwined monogram: R. W. =. re a0}: : 33 z No. 187 JOHN CONSTABLE, R.A. 1776—1837 THE OLD MILL Qe “g d Canvas: Height, 27 inches; ee ee : + Se | A ricuLy foliaged summer scene, in which an old water mill, red-tiled house _ - and overhanging trees occupy the left side of the picture; in the distance an undulating country with tall poplar and other trees and a cottage are seen; in the middle distance, and on the mill-pool, dammed up with a f wooden palisade, is a sailing boat; in front on the shallow water a small boat = with fishermen is seen near a willow tree; on the bank to left are two youth- "a ful figures, one of whom is fishing. | Signed to left at bottom edge: Joun ConsTaBLeE. a DPD No. 188 ALFRED EDWARD CHALON, R.A. 1781—1860 PORTRAIT OF A LADY | ye Canvas: Height, 30 inches; “Up 25 ownches : Heap and shoulders, age about twenty, directed to left, head turned looking at spectator; red cloak trimmed with fur, white collar; dark curly hair, large black felt bonnet, with black feathers and edged with white lace, fastened under chin with dark ribbon; gloved hands only partly seen. ; No. 189 \\ FRANCIS COTES, R.A. 1726—1770 PORTRAIT OF THE HON. CHARLOTTE JOHNSTON a 2: ese. Canvas: Height, 30 inches; width, 25 inches . HALF-FIGURE, in an oval, about thirty years of age, to front, head turned and looking to left, three-quarter face, white dress with lace at corsage, scar- let and ermine overmantle, scarlet waistband tied at center; black hair. strand falling over right shoulder; gray background. oe No. 190 GEORGE ROMNEY ~ 1734—1802 MRS. DRAKE 83 Canvas: Height, 380 ky Bacrg q Ms) 0 lo ‘Rachael, daughter and heiress of Jeremiah Ives of Norwich; 1 August 21, 1781, as his second wife, William Drake, M.P., of — Ame: | Bucks; died August 3, 1784. Her elder daughter married the» thi Boston. > eae Hatr-Ficure, directed to right, head turned and looking at specta dress, powdered hair dressed high, white head-dress; Ran arm res brick-red balcony; red curtain background. | i Painted in 1783, the artist receiving £21. | ore os : | Purchased in 1908 from Lord Boston by Messrs. Colnaghi & Co. aon lee a | Reference: T. H. Ward and W. Roberts, “Romney,” 1904, p. 46, where a full — ; : list of the various sittings is printed. aes so A ERR AR % - ee SRD sa eee he No. 191 | | FRANCIS COTES, R.A. : 1726—1770 PORTRAIT OF A LADY ag , Canvas: Height, 30 inches; Eee inches HAtr-ricurg, about twenty-five, in an oval, directed and looking to right; white low dress edged with lace, white and pink sleeves, flowers at center of corsage, lace frilled collar; black hair with string of pearls and white feather, pearl earrings. No. 192 SIR THOMAS LAWRENCE, P.R.A. ; 1769—1830 MR. H. J. BLAMIRE (Chairman of the Commission on Sewers) = chee Atha, Sie RT NAO E PAE ETF ape aeyigtie NARS PRET A IIS CII NT IEE aE a eves . Cinens : Height, 80 inches; width,.25 inches /2 ) j Heap and shoulders of an elderly man, to front, looking at spectator full face, black coat and vest, white stock, gray wig, hands only partly seen on lap; red table and curtain background. nap, 161-F1> Collections: The late Mrs. J. M. Kennedy, until July, 1902 and Sir Edgar Vincent. Sir Walter Armstrong’s “Lawrence,” 1918, p. 115. No. 193 JOHN HOPPNER, R.A. 1758—1810 S preolvrthe THE COUNTESS OF cai at q 8 "4 0 — Canvas: Height, 30 inches; width, 25 inches Maria Frances Mary, daughter of George, third Earl of Buckinghamshire, born in 1760; married September 80, 1785, the Hon. George North, who suc- ceeded his father in August, 1792, as third Earl of Guildford; died April 23, 1794. A famous beauty, described by the Prince of Wales (George IV) as “the only modest woman of position that he was acquainted with.” HA¥F-FricurE, seated to front and looking to left; white dress and fichu, black satin sash, black gauze scarf over left arm; powdered hair bound with band of silk; gold neck chain; rich red curtain background. Collection: Capt. G. W. Tyler, of Tidmarsh Grange, Pangbourne, who in- herited wt from his father, Admiral Sir George Tyler, who married a twin sister of Lady Guildford. Sold by order of the High Court of Justice, August 6, 1913, to Mr. Neville Cooper, of 387 Duke Street, London, who sold it to Mr. Blakeslee. Described and illustrated in the Supplement (1914) to “John Hoppner, R.A.,” by W. McKay and W. Roberts. Although this portrait has always been known as a Hoppner, it possesses more of the characteristics of Sir Thomas Lawrence than Hoppner. o P \ f 4 ; f ‘“S 4 f is : ; | ¥ a A ows ae TA /e tlt fy Ison tl oe \y » AS ER | EA. Oe \ } : ; : f es Le 7 ; wt } ¥ : ’ A. No. 194 Wis JOHN OPIE, R.A. 1761—1807 GIRL WITH CAT Vaiae (ce Canvas: Height, 30 ae ie | WHOLE-LENGTH seated figure of a little girl about five, directed to left and looking at spectator; dull-brown low dress trimmed with white; brown curly hair; gold bracelet, hands clasped over a tabby cat which rests on her lap; dark background with window or balcony to right. No. 195 PIR THOMAS LAWRENCE. P.B.A. 1769—1830 MISS HARE Y 50 ae Canvas: Height, 30 inches; fwtdth, 25 ee y HALF-FIGURE, age about twenty-five, standing to ffont; white high-waisted dress cut to V-shape, white collar, short sleeves, gray belt and gray cloak around shoulders and arms; red coral necklace, black curly hair with broad white band, right arm resting on red-covered table; pillar to left, tree to night. Back of canvas inscribed: Str THomas Lawrence, P.R.A., 1824. S ee | No. 196 HENRY R. MORLAND Circa 17830—1797 PORTRAIT OF A LADY ole ee Canvas: Height, 30 inches; width, Doe "a aie ae HALrF-FIGURE, about twenty-five, to fro ; looking at spectator; blue low dress with white lace insertion, puffed white sleeves, bow at center of corsage, purple shawl over right arm; long white lace head-dress with blue ribbon. No. 197 JOHN OPIE, R.A. 1761—1807 MR. RICHARDSON .- 3 I oo Canvas: map 30 oe width, 2 he Os. Heap and shoulders of elderly man, to front, brown coat and waistcoat closely fastened, white neckerchief slightly seen; gray wig; dark background. No. 198 SIR HENRY RAEBURN, R.A. 1756—1823 LORD CRAIG Canvas: Height, 3434 inches; Side 26) inches i 3 es J Aviliam Craig, the Scotch Judge; born in 1745, CRS oa cate 1768; Sheriff-Deputy of Ayrshire 1787; Lord of Session 1792; died in 1813. A contributor to The Mirror and The Lounger, two famous weekly periodicals on the plan of Addison’s Spectator, edited by Henry Mackenzie, author of the once famous “Man of Feeling.” HAL¥r-LENGTH, directed to right, in crimson gown with white cape, crimson ribbon and rosettes, large white cuffs; hands clasped, resting on arm of chair, gray wig; red curtain background. Raeburn Echibition, Edinburgh, 1876 (by Mr. Andrew Hay Wilson). Fe y A oa ca Sale: “The property of a gentleman,” Christie’s, May 10, 1912, No. 54: 84 f- 17 — | Aha James Greig, “Raeburn,” 1911, p. 42. Ee 8 DON PRE art = Mee ee ‘oa ne No. 199 ALLAN RAMSAY 1713—1784 PORTRAIT OF A LADY | Cie: oe : ub oles aa Pel en Canvas: Height, 30 inches; width, 25 inches | z : ae ie Bust of young woman to front and looking at spectator with smiling expres- sion; gray low bodice almost entirely hidden by a brown and blue cloak or overdress; blue plush turban head-dress; black hair, of which a plait Le over right shoulder. Collection: Robert Hoe, New ieee February, 1911, Nps 64, illustrated i m the sale catalogue. if S4 Si VPS bs No. 200 JOHN OPIE, R.A. 1761—1807 MR. JAMES WHITBREAD re) oe oi Canvas: Height, 30 inches; i se) incly 8 G A aie) A tr n ADS y | gut Yo Z Heap and shoulders of elderly man, age 55-60, to front, looking up to left; brown coat fastened with one button, yellow patterned waistcoat, white stock, gray wig. No. 201 GEORGE ROMNEY (Period of) Latrer Harr or THE EIGHTEENTH CENTURY COUNTRY GIRLS ee Canvas: Height, 311% inches; width, 28}4 inches, 3 a5 “ ee f pnrom_ eon SMALL whole-length figures, in an open landscape with evening effects, of three young women in red, brown and gold low dresses, probably illustrat- ing a classical scene or story; two are pointing to a distant scene and trying to induce their companion to look that way, but she is recoiling in horror; gray sky background. No. 202 FRANCIS COTES, R.A. 1726—1770 MISS MARY DASHWOOD /2-69 oa Canvas: Height, 86 inches; wilth/ 28 pete LB . ) ’ . fi HaA.r-ricure of a young lady about twenty-five, to front, looking to right, white low dress with pink bow, elaborately pleated bodice, short sleeves with broad muslin and lace cuffs, black bracelets, black shoulder band tied in center of corsage with pink bow, black velvet band around neck; brown hair with pearl ornament; right hand holding shuttle, the cotton from which is held in left hand, arm on red table. No. 208 SIR WILLIAM BEECHEY, R.A. (2) 17538—1839 LADY HARRIET VERNON , ; : 2 0, SG ae Canvas: Height, 35 inches; width, 27 imches = <\ Youngest daughter of Thomas, Earl of Strafford; married, in 1743, Henry Vernon of Hilton Park, Co. Stafford; died April 12, 1786. HALF-LENGTH, about twenty-five, to front, looking to left, brown and white low dress with gold insertion and short sleeves, broad blue waistband, er- mine cloak over shoulders, pearl bracelet; powdered hair, gold and white turban with border of rubies; right arm resting on ledge, hand supporting face. An excellent portrait much more suggestive of Sir Joshua Reynolds than Beechey, and to which reference is made in Mr. Roberts’s Introduction. It is curious to note that in 1775 a “Lady Harriet Vernon” sat to Reynolds for a picture which has never been traced. No. 204 GEORGE ROMNEY 1734—1802 MAJOR PEIRSON y, 7 eo ve Canvas: Height, 36 inches; oe 27 inches is Born at Cote, near Burton-on-Kendal, about 1740; entered the Honourable East India Co. 1771 and attained the rank of Major; died at Calcutta, August DeLisi. HAtF-FIGuRE, directed to left and looking downwards; red coat with large gold buttons, white neckerchief, long staff held by left arm, hand hidden in fold of coat; fair brown hair, dark background. Note: ‘This is the principal figure cut out from the group of Major Peirson, a Brahmin and servant exhibited by Romney at the Society of Artists, 1771, and described in T. H. Ward & W. Roberts’s “Romney, Catalogue Raisonné,” p. 120. This group remained in the collection of W. Miller-Rawlhn- son, of Duddon Hall, Broughton-in-Furness, until its sale in July, 1902. No. 205 RICHARD COSWAY, R.A. 1742— 1821 LADY BOYNTON AND CHILD CY ihe Gal ot td — Canvas: Height, 4614 inches; width, 36 inches Mary, eldest daughter of James Heblethwayte; married, as his second wife — (after 1767), Sir Griffith Boynton, sixth Bart., of Barton Agnes, Yorkshire (he died in 1778) ; she married secondly John Parkhurst, of Catesby, and died May 138, 1815. THREE-QUARTER length of a young woman, seated to front in plain wood chair, looking at spectator, white low dress with broad stiff lace collar, pow- dered curly hair; gold ring on penultimate finger of left hand, which sup- ports the child’s shoulders. The infant in long clothes and lace cap on the — mother’s lap is looking up towards her; gray cassie with door to foes cradle seen to right. From an anonymous sale at Christie’s, March 19, 1904, No. 94: 164 i O-4¢ ee a No. 206 SIR JOSHUA REYNOLDS, P.R.A. 17238—1792 MISS KITTY FISCHER ~ Ree rs i rf Oy: ah 5 OS /- a ae Ep CA eee : Canvas: Height, 35 inches; width, 27 inches The most celebrated woman of the town of her time. Katherine Maria, daugh- ter of a German staymaker, named Fischer; married at Haddington, Scot- land, October 25, 1766, John Norris, Jr., grandson of Admiral Sir John Norris; lived under the protection of Captain Keppel; sat to Sir Joshua Rey- nolds frequently between 1759 and 1767; died at “The Three Tuns” Inn, Stall Street, Bath, March 10, 1767, aged about twenty-six, “ta victim to cosmetics” ; buried at Benenden, Kent. THREE-QUARTER figure, directed and looking to right, seated on a blue sofa; white low dress, yellow cloak trimmed with ermine; holding dove in lap, an- other dove perched on edge of sofa; brown hair with plait falling over left shoulder; blue curtain and brown pillar background. ee ee. Collection: E. W. Beckett, M.P., May 23, 1903, No. 85. ILE - G-U Jar The version of the same portrait which formerly belonged to A. Geddes, A.R.A., is in the Lenox Collection in the New York Public Library. No. 207 ‘FRANCIS COTES, R.A. — - 1726—1770 PORTRAIT OF MRS. OLIVE — & A vy | S: UG oe Canvas: Height, 49 inches; width, 39 inches white bonnet fastened around neck with fiouk cbbOne pearl ish background with red curtain to left. ra = No. 208 ee BENJAMIN WEST, P.RB.A. 1738—1820 DEATH ON THE PALE HORSE Tis in Canvas: Height, 38 inches; length, 55 inches SKETCH for the finished picture in the Pennsylvania Academy. Signed and dated in center at lower edge: B. West, 1804. Exhibited at the Royal Academy, 1804. N. () No. 209 Cy Sik PETER LELY 1617—1680 MISS ELIZABETH LIDDELL 0, eae ‘ <2 as -| Ca AAF\__ ie fg (Canvas: Height, 49 inches; width, 82 inches Probably Elizabeth, daughter of Sir Henry Liddell, Bart., of Ravensworth Castle, who married, in 1696, Robert Ellison of Hebburn, Co. Durham. W HOLE-LENGTH portrait of a young girl about nine or ten, in a landscape leaning against a rock; gray satin low dress with flowing blue mantle; fair hair; holding a flat rustic basket of flowers which is resting on a rock, near which is a growing large thistle. 5 No. 210 SIR THOMAS LAWRENCEH, P.R.A. 1769—1830 LADY MELVILLE + \ ~ : tit ! - Fm Ce rf od ‘“— Canvas: Height, 49 inches; width, 89 inches he | 1 E : -Anne, daughter of Huck Saunders, M.D., and sister of the Countess of West- % em moreland; married August 29, 1796, Robert, second Viscount Melville; died — in 1841. 7 THREE-QUARTER length, about twenty-five, standing in a landscape directed shghtly to right, looking at spectator; black low dress with short sleeves, edged with white, right sleeve with pearl and ruby fastener; white flowing scarf — around neck, pearl bracelet; golden hair dressed in curls; left hand resting on bosom, gold ring set with ruby on penultimate finger; stone pillar and flowering shrubs to left, blue sky and shrubs and trees to right. Collection: Fischhof of Paris, 1906. No. 211 2 GEORGE HENRY HARLOW 1787—1819 GIRL PLAYING THE HARP aa a Bie Canvas: Height, 49 inches; ey, SAV - (A av Ante NEARLY whole length of a young lady about twenty, standing looking at spectator and playing a harp; low white satin dress with short sleeves, blue sash; brown curly hair; background crimson curtain and pillar, landscape seen through an open window. < vee : No. 212 FREDERICK W. WATTS EXHIBITED FROM 1821 To 1862 THE CANAL BOAT l a G2 Canvas: Height, 47 inches; Beep 37 inches ~ DN Ae TF AEN A RIVER scene with rustic bridge anda barge containing three figures, two harnessed horses standing on the bank beyond; dense clump of willows and other trees to right, distant view to left. Collections: William Cave, 1859; Viscount Falkland, June 14, 1907, No. 23: 34 b- } (Me oe Note: This is one of the many excellent works by F. W. Watts which long passed as by John Constable. ‘, ae a No. 213 SIR MARTIN ARCHER SHEE, P.h.A. 1769—1850 MRS. KEMBLE AS “COWSLIP” (5 Borris a Canvas: Height, 49 inches; width, 39 inches Elizabeth Satchell, daughter of a musical instrument maker; born about 1763; appeared at Covent Garden in September, 1780, as Polly in “The Beggars’ Opera,” played Desdemona to Stephen Kemble’s Othello in 1783, about which time she married him; one of her successes was as Cowslip in O’Keefe’s “The Agreeable Surprise”; died at The Grove, near Durham, January 20, 1841. “A little woman but a great actress,” says one of her biographers. THREE-QUARTER length, walking to right, looking at spectator, and carrying a white bowl; white low dress, pale-blue shawl over shoulders, red rose in center of corsage, gold necklace; brown curly hair, white high-crowned Welsh hat trimmed with blue ribbon; sculptured stone urn to left, autumnal tinted trees in background, distant landscape to right. Exhibited: Royal Academy, 17938, No. 382. Collections :H. A. Rannie of Glasgow; and Sir Cuthbert Quilter, London, 1909, No. 96: 977 De 0G ape ae Reproduced under the title of “The Country Girl,” and as by Sir Joshua Rey- nolds in the “Pall Mall Magazine,” January, 1905; and in the privately printed “Catalogue” of Sir Cuthbert Quilter’s Pictures, 1909. Shee’s “Life of Sir Martin A. Shee,” 1860, p. 178. Note: This has been cut down from a whole length since it left the Quilter Collection. Ore 2s — Canvas: Height, 49 incgas th 39 inches / ji~ No. 214 SIR PETER LELY 1617—1680 FRANCES LADY DIGBY \ 7A { / AX aed ia DAMA Daughter of Edward, first Earl of Gainsborough; married Simon, fourth Baron Digby; died in child-birth September, 1684, aged twenty-three. Funeral sermon preached by J. Kettlewell; see “Wilford’s Memorials and Characters with Lives of Eminent Persons,” 1741. THREE-QUARTER figure seated at the foot of a large tree, directed to left and looking at spectator; brown low dress trimmed with white, short sleeves, gray overmantle with brooch of precious stones, brown curly hair falling in ringlets over neck, iarge pearl drop earrings, right hand holding edge of cloak, left hand on lap; distant view to left. Inscribed wm lower left hand corner in gold letters: FRaNcEs Lapy Diesy. Collection and Sale: Earl of Gainsborough, April, 1902, No. 98. SOF 4) - 7 Re No. 215 GEORGE ROMNEY 1734—1802 MRS. UPPLEBY 7 J - > 0 7 ¢- Canvas: Haght, 49 HCE AE ea” e hes : Y, thaw Dorothy, second daughter of George Crowle, of Fryston, Yorkshire; married, as his second wife, in 1745, John Uppleby of Wooton and Barrow Hall, Lin- colnshire; died September 15, 1787. | Neary whole length of elderly lady, seated at a balcony in a red chair, di- rected to right and looking at spectator; grayish slate-colored dress with short sleeves, long white gloves to elbows; black lace shawl over shoulders, white satin gauffered bonnet tied with white chiffon; gray hair, hands folded on lap. Painted in 1783. In T. H. Ward and W. Roberts’s ‘Romney,’ 1904, through the artist’s almost indecipherable entries in his “Diaries,” this portrait is incorrectly en- tered as “Appleby” (p. 4), under which name will be found a record of the picture. The portrait remained untraced until 1911, when it was purchased privately by Messrs. Sulley & Co., London. | r : [ ef = fr he LA a f C; Kast) ‘ . ne “ tw UY - = if 4 \ No. 216 JOHN SINGLETON COPLEY, R.A. 1737—1815 THE FORTUNE-TELLER c) ee a 0 0 ae Canvas: Height, 491% inches; width, 39 inches THREE-QUARTER length portrait of a lady in the character of Fortune-Teller, standing to front, in brown dress, short sleeves trimmed with white, partly tucked up white apron, white fichu, pink cloak over shoulders; brown hair with long curl resting on shoulder, bluish-white head-dress with pink bow; left hand extended and holding a coin, right hand raised as if in protest; background a wall and overhanging trees, distant landscape to right. Exhibited: Worcester, Mass., Museum, circa 1910. Briefly described in F. W. Bayley’s “Sketch of the Life of J. S. Copley,” 1910, p. 38. ee a No. 217 SIR HENRY RAEBURN, R.A. 1756—1823 2 by Cape oe | MRS. STEWART RICHARDSON EL rh ALLL Canvas: Height, 50 inches; width, 40 inches ; B s Elizabeth Ann, eldest daughter and co-heir of James Stewart of Urrard, Perth ‘ae married James Richardson of Pitfour, Perth (who died July 26, 1825). Their — eldest son, John Stewart Richardson, succeeded his kinsman as ee ie Baronet of Pitfour in 1837. HAL¥F-LENGTH, middle age, seated in armchair, directed to left, looking at — spectator; red dress cut to V-shape, white muslin collar and cuffs, white tur- ban head-dress, fair curly hair; right arm resting on table and holding gloves; to left table with books and black shawl, the end of latter on n lap; gray back- ground with red curtain overhead to right. , Exhibited: French Gallery, Pall Mall, 1911; Matraten in the volume of “Pic- tures by Sir Henry Raeburn, R.A., exhibited at the French Gallery.” James Greig: “Raeburn,” 1911, p. 58. al No. 218 FRANCIS COTES, R.A. 1726-1770 PORTRAIT OF MISS HASTINGS 27 ae ¢! Canvas: Height, 49% mches; width, 839% inches os oe : Le gag THREE-QUARTER length of a young lady about twenty-five, in a Iandscape, standing, directed to right, looking at spectator, white dress, broad white gauffered collar; brown curly hair, straw hat edged and trimmed with blue, black shawl under left arm; trees and shrubs to right. ) From an anonymous sale at Christie’s, July 12, 1912, No. 10° hs 45 -( haysow No. 219 FRANCIS COTES, RA. - 1726—1770 , GIRL WITH A HARP e 0 Sg Cound Height, Wee width, 40 10 inchs | Wnone length of a young girl about ten, seated in a rons I right, looking at spectator; white low dress, long creamy whit with gold, pink shoes with gold buckles; long, fair hair, ri on knee, left hand on small harp-like instrument; trees with to left, distant Heat to right. | pace aM so - No. 220 GEORGE FREDERICK WATTS, R.A. 1817—1904 LADY AND TWO CHILDREN 3 ooo ‘" -Canvas: Height, 49 inches; width, 39 inches Group of a mother, about twenty-five to thirty, and two young children near a balcony. ‘The mother seated, and embracing the elder child, who is in red low dress, white stockings and black shoes; the younger child on its mother’s lap in white dress and arms extended; pillars and red curtain background. Signed and dated to left across rug on the mother’s lap: G. F. Warts, 1837. Note: A very interesting picture, probably the earliest in existence, of this great master and differing totally from his well-known style of later date. He first began to exhibit at the Royal Academy in 1887. P pop i A oh) . aa no é : ~ No. 221 SIR THOMAS LAWRENCE, P.R.A. 1769—1830 MARQUIS OF HERTFORD 2 / / 0) ‘Canvas: Height, 50 inches; io) 40 inches R Francis Charles Seymour, Earl of Yarmouth; born in March, 1777; M.P. f Oxford, Lisburne and Camelford, 1819-22; Vice Chamberlain to the Prince Regent; succeeded his father as third Marquis of Hertford in 1822; died in ~ — March, 1842. He was the original of Thackeray’s “Lord Steyne,” and one of the most notorious “men about town” during the latter part of the eigh- teenth and early nineteenth centuries; his wife was the heiress Maria Fagnini, and their son, the fourth Marquis, was the founder of the Wallace Collection in London. HALr-LENGTH, standing to front, looking to right; black buttoned-up coat with velvet collar, the red lining of vest showing at neck, white collar, black stock, wearing the star of the Order of the Garter; red hair and side whis- kers. Painted about 1825. Engraved by W. Holl, 4% by 31% inches, for Jerdan’s “National Portrait Gal- lery,” 1833. Collections: Marquis of Hertford; Sir Richard Wallace; and Sir John E, A. Murray Scott. Murray Scott Sale, June, 1918, No. 109: 399- p- " th dy hin Sir W. Armstrong’s “Lawrence,” 1913, p. 139. hig 6 daa ag Na a dai the ae ia) a ca | No. 222 JACOB HOUSMAN (or HUYSMANS) 1656—1696 MRS. HOBEY Da gag 7 —. Canvas: Height, 58 inches; width, 37 inches ie be Va / rae THREE-QUARTER length figure, age about thirty-five, seated, directed to left // and looking at spectator; bluish low silk dress, short broad sleeves with fast- | teners and brooch of precious stones; brown curly hair with blue ribbon and pearl ornaments; right arm on rock, hand resting against face, left arm on lap, fingers extended; stag to right; background stone wall, with foliage to left. Signed to right on rock in gold letters: Mrs. Hosry. J. Hovs- MAN Pryx. 5 \ No. 223 SIR JOSHUA REYNOLDS, PRA, X/ SU. SS ipa, (ltr (Barer EARL GOWER LEEOISMUTING OF STAFFORD) Canvas: Heahe, 88 inches; width, 57 inches i Genel cuce aaa as reef Earl eee in 1754; created. Marquis oO ford, March 11786; died October zo, 1803. : WHOLE-LENGTH, middle-aged, standing on a balcony, in Peer’s robes. 1 vith chain and pendant of St. George; coronet in right hand, left ba ribbon of cloak; wig; pillar and red curtain to left. aoe Earl Gower sat to Reynolds in 1760-1. No. 224 Sik GODFREY KNELLER 1646—1723 PORTRAIT OF WILLIAM III vi) . % I= 7 4 5 / ia 4 © 76 eae Canvas: Height, 50 inches; Oy 40 ys THREE-QUARTER length, middle age, standing to right, looking at spectator full face; in demi-suit of armor, blue and gold dress, white lace scarf and cuffs, red cloak flowing across shoulders and fastened with large brooch set with a miniature, long black wig; left hand resting on hip, right hand hold- ing baton; to right table with crown; to left sculptured wall or pillar. 4 Inscribed at lower left hand corner: Wivu1AM ILL. Collection: The Earl of Sheffield, December 11, 1909, No. 99: Th - AU - L Ue feos me | No. 225 SIR GODFREY KNELLER 1646—1723 SOPHIA, WIFE OF GEORGE I (2) vA 5 ise Canvas: Height, 87 inches; width, 52 inch Only daughter and heiress of George, Duke of Zelle; born February 3, 1666; married November 21, 1682, George, Elector of Hanover, who succeeded as George I of Great Britain in August, 1714; divorced in 1694; died Novem- ber 18, 1726. | WHOLE length, about twenty-five to thirty, life size, standing near a balcony, in state robes, blue ermine lined gown and mantle and white satin gold-em- broidered petticoat, richly studded with pearls and precious stones, fair hair | | with pearl and other ornaments; left hand holding robes, right hand on orb : a which, with crown, rests on blue-covered table; red curtain background. Exhibited: Guelph Exhibition, New Gallery, 1891, No. 11. Collection: Duke of Fife, of Duff House, Banffshire, June 7, 1907, 1p og ie 18-0 fers No. 8152 in the old catalogue of the Fife pictures. This was No. 17 in the Duke of Fife sale and was included among the portraits by unknown : artists. It is a very fine portrait of a beautiful woman, more in the style of | a French artist than Kneller and probably represents some other Queen Sophia than the wife of George I, to whose other known portraits it bears no resemblance. FS ’ a ry 4 5 ¢ & el “ 8.5.Carvalho 260 «-F.R.Welsh BenjeAllen Re Le Thompson H.Lanthier BenjAllen E.YW.Shieids RL. Thompson C.F Williamson C.A.Platt E.?.Swenson Otto Bernet, Agent. T.E.Spencer 0.Bernet Agent $ — Ehrich Galleries : 101 102 | 103 104 105 106 107 108 109 110 L111 112 LIS 114 115 116 117 118 l119 120 121 laee 125 Rdw.Brendus : Geo F.Rand WoW, Seaman Agent Ches.S.Inman - Chas.A,Platt 0.Stratton ReLe Thompson Chas.A.Platt Relie Thompson ? Edw. Brandus A.EsSmith ¢ 0.S5tratton ? 0.Be mot gAgent Ja8.D Brown 0.Bernet,Azent A.E.Smith Holland Galleries 0.Bernet ,Agent Eevtone 0.Bernet Agent H.Lanthier Geo F.Rand 156 138 1359 140 141 142 143 144 145 146 147 148 149 100 150 250 300 400 375 175 325 200 2100 225 Holland Galle» es A.Kremer ReL. Thompson a WeD.Denegre | Sir Hugh Lane B.Stratford 0.Bernet Agent R.Le Thompson DreP.Mersch 0.Bernet,Agent HoG. Duncan B. Stratford Chas.Inman T.BeSpencer te ” EeHeHolbrook O.Bernet Agent Rel. Thompson W.eD.Denegre Rel. Thompson 0.Bernet, Agent Rel. Thompson Edw. Brandus Minneapolis Institute of Fine Arts. B.Stratford WAS ess @ & 22 23 j 5 © @ a oe: eee ea H Price. 3 S's ag 8 8 375 500 375 950 buyer. Ph.Berolzheimer FeRWelsh Mc Cormick $.5.Carvalho 8 J oDeMcIlThenney A.B. Smith Ph. Berolzheimer O.Bernet, Agent Snead Dr.Paul Mersch WelheEvarts W.GeChariles $.5.Carvalho JeDMellheney Holland Galler. $.5.Carvalho A.E.Smith E.eW.ohields Holland Galle JeDeCrimnins New York, April 21-25, 1915. American Art Galleries. Noo Price. Buyer's 24 $ 300 Herbert Du Puy 25 26 27 28 29 30 31 oR oo oe 35 46 700 250 50 725 1000 Otto Bernet Ab HeDeEstabrook Asli, Zalinski B.terastcigent $.5.Carvalho A, Kaufman Holland Gall. Metrop.iuseum O.Bernet Agent JoHoFry A.E.Smith S.LeParrish Ee Shields A.Ee Smith T.Prentices ” Jel. Johnston C.F Williamson T.rrentice " Dr? Mersch F ReWelsh 64 65 66 67 68 69 Price. $ 325 1025 aid 1050 550 1100 425 600 225 550 600 250 700 O75 60 150 375 500 350 1175 600 775 500 S.5.Carvalho A.E.Smith Mrs McCormick W.E.Evarts Albert Pleut $.5.Carvalho 0.Kaufmann : O.Bernet, Agent H.Lanthier Chas.A.Platt O.Bernet, Agent T.Eeopencer Ph. Berolsheimer ” Lewis & Simmons | BenjeAllen CG. Timken Ph.Berolzheimer Benj. Allen Fred W.Scott ie a stachatee a ui we i ie, be ae ais eet Striteiner sree iaaetite ee PrsAz} sf . Hh Bhs 1H sefet xT is tet BSAA) aie! Pa a a Th * Seer ata a a=