era 7 celeS=i: siota : o a rte - 556-8 FIFTH AVE. NEW YORK shin pa! reer a BP ne oll abe a a tS eed ON FREE VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING FRIDAY, JANUARY 8, 1913 AND CONTINUING UNTIL THE DATE OF SALE thy COLLECTION OF THE LATE TADAMASA HAYASHI OF TOKYO, JAPAN UNRESTRICTED PUBLIC SALE BY ORDER OF MADAME HAYASHI WEDNESDAY EVENING, JANUARY 8 AT THE AMERICAN ART GALLERIES AND IN THE GRAND BALLROOM OF THE PLAZA FIFTH AVENUE, 58ra TO 59rn STREETS THURSDAY EVENING, JANUARY 9 CATALOGUE OF THE IMPORTANT COLLECTION: OF PAINTINGS, WATER COLORS PASTELS, DRAWINGS AND PRINTS COLLECTED BY THE JAPANESE CONNOISSEUR THE LATE TADAMASA HAYASHI OF TOKYO, JAPAN Chief Commissioner for the Japanese Government to the Exhibition Umiverselle, Paris, 1900 TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF MADAME HAYASHI ON THE DATES HEREIN STATED Tue SALE WILL BE CONDUCTED BY Mr. Tuomas E. Kirsy, or THE AMERICAN ART ASSOCIATION, MAnacers MADISON SQUARE SOUTH NEW YORK 1913 , Sn re +. aE rey aot e x -% an we a 4: : — CONDITIONS OF SALE The highest bidder to be the Buyer, and if any dispute arises a _ between two or more Bidders, the Lot so in dispute shall be immediately put wp again and re-sold. i 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, Bee likely to affect the Sale injuriously. 8. The Purchasers to give their names and addresses, and to pay ae down a cash deposit, or the whole of the Purchase-money, if required, im default. of which the Lot or Lots so purchased to be immediately put up again and re-sold. — 4. The Lots to be taken away at the Buyer’s Expense and Risk Phe within twenty-four hours from the conclusion of the Sale, unless other- wise specified by the Auctioneer or Managers previous to or at the time of Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in defauit of which the undersigned will not hold them- _ selves responsibie if the lots be lost, stolen, damaged, or destroyed, but ES they will be left at the sole risk of the purchaser. ie [ 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity of, or any fault or defect in, any Lot, and make no Warranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is rep- resented to be, use every effort on their part to furnish proof to the contrary ; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unlezs otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the de- faulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. 8. The Undersigned are in no manner connected with the busi- ness of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts. and charges of the parties engaged for such services. Toe AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, Avcrioneer. TADAMASA HAYASHI The late Tadamasa Hayashi was born on December 12, 1853, at Takaoka City, in the province of Etchii, and was the second son of Dr. Gentei Nagasaki, a physician of that city. _ _His early education, which was largely in French lit- erature, was received from Tachu Hayashi, who belonged _ to the gentry of the Toyama clan, by whom he was after- ward adopted. Later on he entered the Daigaku Nanko, the only college then in existence in Japan, and studied French political science, with the purpose of engaging in public affairs. — ~ While he was in college, the most extraordinary trans- formation in politics, as well as in the social state, took place, abolishing the feudal system and the Shogunate, and restoring power to the Imperial throne. Being satisfied with the new order, Hayashi changed his original plan, and, despite the kindly protest of Presi- dent Hamao, he left college a few months before gradu- ation, with the intention of going to France to study en- gineering there. During his student days in France he experienced many hardships and trying circumstances, yet he did not give up his study. | In 1883, success poale came to him through his estab- _ lishment of an art firm in Paris, which rapidly expanded and made him known the world over in the realm of art. | He was on intimate terms with the late Prince Ito and Viscount Sone, and when, in 1900, the World’s Fair enterprise was in progress, the Japanese Government con- sulted him in the matter, and, availing themselves of his advice and experience, finally appointed him chief com-— missioner of the Japanese exhibit, with the fifth title of official rank of the “Sho-Goi.” His services were entirely satisfactory, and after the close of the fair the Japanese Government decorated him anew, while the French Goy- ernment made him a Commander of the Legion of Honor. Far-seeing, with natural-born talent, devoting with heart and spirit all of his time to the cultivation of art, he deeply deplored the fact that the Oriental people were not afforded opportunities to learn and study Occidental art. For this reason, he made a collection of paintings by — Western masters, the idea being thereby to benefit artists and educate the public. As to the collection itself, for which he spent a sum of no small consideration, he intended to present it as a gift to the Imperial household. He died on April 4, 1906, still in the prime of life. What he contributed to the world of art, at home and abroad, cannot be easily measured, and we all owe to him a deep and sincere gratitude. Had he lived a few years — longer, we have no doubt that he could have accomplished still greater successes. The pictures reproduced herein number preeed of 160. We firmly believe that the album will prove a most beneficial companion to lovers of art. : Y. Hosurno. Toxyo. | A FOREWORD I am fulfilling the wishes of the wife of my friend, Tadamasa Hayashi, in saying a few words about his col- lection of French paintings. Tadamasa Hayashi is known to all American and European friends of Asiatic art as one of its best connoisseurs and most fortunate collectors. The auction of his wonderful Japanese treasures in Paris will never be forgotten, but few know that he had also the greatest interest in the art of the West. While most of the Japanese remain indifferent and _ even hostile to our art, and particularly to our paintings, Tadamasa Hayashi followed its development with the most intelligent interest. In Paris, where he lived dur- ing the greater part of his adult life, he had the friendliest relations with the most important artists, and his collec- tion of pictures arose out of this living intercourse, which lasted more than twenty years. Many who look for the first time upon the collection - will be astonished to see with what remarkable acumen this J apanese recognized what was really important in the con- fusing whirlpool of art production. His collection would, in fact, do honor to the best European connoisseurs. It does not contain, as do many others, only great names, but, what is of far more importance, great works. All of the most celebrated names are borne here by works which are really worthy of their reputation. For that matter, the paintings will speak best for themselves—the luminous Monets and Renoirs, the char- acteristic Degases, the pleasing Collins, among them the great “Dance on the Seashore,’ which was so much ad- mired at the Exposition of 1900; the noble Sisleys, Raf- faéllis and Vidals, the powerful Guillaumins, the Pissaros, and, not least, the dreamy landscapes of the early-deceased Blache. Hayashi had made his collection with no idea of. a later sale, but chiefly out of a pure delight in the subject matter. Besides, he cherished the hope of later making — his collection useful to his countrymen. He expected much for the future of Japanese art, which was close to his heart, from their study of European art, and he knew that the pictures which had hitherto reached Japan from the West = were by no means sufficient for that purpose. _ | = | It was not granted to. the tireless man to carry out this plan. Soon after his return home, he succumbed to the illness which ended his rich life within a year. His precious collection of European paintings was left behind him, unconsidered and unused. ‘The hope that they would be bought by the Imperial Museum, and thus his original a intention of initiating the Japanese public into’the spirit — of Kuropean art be fulfilled, was disappointed through — lack of means, and Japanese private houses, with their narrow, low rooms, offer no place for such pictures. Since even in the home of the family he left behind no satisfactory exhibition was. possible, and since, besides, the moist Japanese climate threatened the life of the can- vases, his heirs have finally decided to give back to the West these treasures of Western art. May they there find the honor which they deserve! Ernst GROSSE. TOKYO. _ HAYASHI'S COLLECTION OF FRENCH PICTURES Although Western scientific culture passionately in- ) terests the Japanese, it is but rarely that our art attracts their curiosity, and, with the exception of the painters . who come to learn from us processes which they think more in accordance with their new ideals, they remain indiffer- _ ent to the works of our artists. Their national traditions still hold them captive and their eyes have not learnt our point of view. aa 'E; Hayashi was, to my knowledge, the only Japanese _ who really loved and understood the arts of Kurope. Com- ing to Paris when very young, in the employ of a society which intended to show ancient Japanese art works at the ‘Universal Exhibition of 1878, he did not have long to wait before artists came to his stall in the Champ de Mars. Truly, it was the first time that Europe was enabled to see the real treasures of old Japan, and perhaps the great public hardly became aware of the occurrence, but those who already were working for the renovation of our vision were singularly impressed. Advanced critics and those painters called “Impressionists” stopped for a long time before these semi-disclosed wonders, and as their custodian was very intelligent, and as he was in a position to give them all the information they could desire, they could not fail to enter into friendly intercourse with him, and soon he became their friend. ‘There must have been with the best amongst them, and especially with the critics, with the Goncourts, Burty, Gonse, many long conversations in which, whilst the Japanese initiated them into the mysteries of his national art, he learned in return from we to kaa our art and to appreciate it. | When the exhibition closed these fuente Alone did not cease, warm friendships were made, and when Hayashi set up on his own account in a little flat in the Rue d’Hauteville, art lovers, critics and artists continued to visit him. Those upon whom this first revelation of Japanese art had made the deepest impression were the painters of that new school, who, with Claude Monet, sought especially to transfer to canvas the charm of the ~ play of light, and its reflections; or those draughtsmen gifted with a marvellously keen eye, such as Bracquemond ~ or Degas, who found in the paintings and prints of Japan something of their own ideals; and still to-day these pro-- claim openly all they owe to that art, which filled them with enthusiasm. The same reasons which brought them to Japan drew the young Japanese to them. His eye, accustomed to the luminous transparencies dear to the landscape painters of his country, found pleasure in the subtle mannerisms of Monet’s canvases, and all that in- — tensity and fulness of life compressed into a pastel of — Degas reminded him of the masterly draughtsmen of his own land. They chatted long and often, and, indeed, much as it would have been a joy for our painters to pos- sess some of the masterpieces which they admired in the hands of the dealer, Hayashi himself yearned to decorate his rooms with some paintings of those artists whom he admired. But the great public had not yet found either the Impressionists or the Japanese, and the hard life which this little group led precluded all thought of purchase. But if money was lacking, another way remained open to gratify their tastes. As in the fable the blind and the halt had formerly associated their miseries, our friends also entered into the way of exchanges. Claude Monet ar 5 ee a has shown us admirable prints and exquisite pottery, which he obtained from Hayashi in exchange for pictures then unsaleable, and Degas possesses certain albums from the same source, especially those Moronobu which still _ to-day he almost worships, and for which he gave a few precious drawings. When Hayashi’s business had ex- tended he could assuredly acquire in another manner those productions which charmed him, and his collection includes the works of artists into whose studios a Japanese work _ never entered. Still, he always loved the other method. _ It was by exchange that Raphaél Collin obtained the most beautiful sword-guards and the best prints of his collec- tion; and when, after twenty-five years’ sojourn in Europe, Hayashi decided to return to his native land, it was in exchange for an incomparable series of inros that he procured from Henri Riviére the decorations for the _ villa which he wanted to build for himself in 'Tokyo—that villa which was never completed except in his dreams. Hayashi had not only understood modern French art—that of the little group of Japan-lovers amongst the _artists, in the midst of whom he lived in Paris, and after all the best in contemporary France—but he had also penetrated into the foreign schools and those of the past. During the frequent visits he paid in Germany to Prof. Grosse (his most intimate friend in Europe, and who -had, owing to a passionate taste for them, some of the most beautiful objects of Far Eastern art which came to Europe), he learned to appreciate Boecklin, and M. Grosse has told me of the long talks in which these two, the German and the Japanese, penetrated together into the art of that painter, so mysterious for most F'renchmen, even for those who wish to understand him. Indeed, once when I was going through the rooms of the Louvre with Hayashi, he stopped before a red chalk drawing of Wat- teau’s; for a while he remained entranced before it, then, turning to me with his smile, at the same time full of irony and of deep conviction, he said: “What can you want of Utamaro, when you possess a man such as this?” — It was a whimsical sally, and yet not such a sally as one might think, for, true Japanese though he was, he only half enjoyed those prints which delight us. They were to { him a source of profit as well as pleasure, and to them he ~ owed a large part of his fortune, but he set things in their proper places, and he remained above all the fervent admirer of the great arts of his country—paintings, sculp- ture, lacquer work, pottery and sword cases. Perhaps what he loved most in his prints was that they had pro- cured for him the beautiful collection of modern paintings which were his joy, for it was to the prints, particularly, that Monet and Degas were attached. As the dealers in old pictures disdained to exchange and wanted hard cash, Hayashi limited himself to the work of contemporary artists, and those who have seen his little gallery will agree that he was not wrong in doing so. But they are the select few, and it was a special privilege to be admitted to his private apartment. Haya- shi’s show-rooms were, after 1890, in a fine first-floor flat in the Rue de la Victoire, where he had Japanese things only. But on the fourth floor, at the top of the house, some rooms had been furnished for his personal use, and there it was that he piled up his treasures of French paint- ing. And perhaps “piled up” are the right words, be- cause on the walls there was hardly anything. ‘They were bare walls, and when he wished to show a painting to a friend for whom he had a particular regard, he had to draw it out from some hiding place, the mystery of which no one had ever fathomed. He acted with his pictures | as Japanese art lovers with their paintings, not showing e them all at a time, but contriving agreeable surprises each __ time they were brought out of their prisons. Moreover, we firmly believed that he always sent or took direct to Japan most of the French paintings he had acquired, thus saving them from an extended stay in Paris, and hastened to _ place them in the selected place which it was his intention they should never leave. - Hayashi had wished to spend his old age in Japan; | he hoped to enjoy there a fortune acquired by his unre- mitting toil, in the midst of the Japanese masterpieces _ which he had reserved for himself and had always refused to sell, among the French paintings which he had collected one by one, and with each of which was associated a recol- ge section. A pretty house should receive them, and after his death the Museum of Tokyo was to inherit them, for - Hayashi wished those things which had so brightened his life to give joy to many others after he had been gathered with his ancestors. And not only were they to give joy to all others, but, ardently patriotic as he was, he had in mind the education of his countrymen and their artistic development; he thought they could benefit by the study of those French painters who had so ingeniously reno- vated Western traditions by contact with Japanese art, and he was proud to think that Tokyo would have a “museum of modern paintings such as few European capitals could boast of. Not that he had conceived any illusions upon the relative value of his pictures. He was well aware that he did not possess capital masterpieces such as financiers alone could pay for, and which satisfy their vanity rather than their love; but he was conscious that each of the pieces he had chosen struck an exquisite note, was a theme of individuality, a gem for a refined collector, and that they would minister to his memory as they had brightened his life. Alas, the dream was never realized. Death took Hayashi before he was able to put his affairs in order as he wished. His canvases were never hung as he wanted them in the house which his imagination had conjured. They will not find a peaceful and safe resting place in the Tokyo Museum, and they will not serve as models for Japanese painters. The fire of the auction-room will scat- — ter them, not on their native land, but in distant countries beyond the ocean. Could he who so loved them in his life- time but have foreseen their fate, he would perhaps have grieved at first, and then resigned himself. He would have felt that these pieces of the highest taste would only be - bought by art lovers capable of understanding them, that they would join in their new dwelling places other paint- ings worthy of them, and he would have soothed himself with the certainty that they would bring afresh to others the joy that they had given him. Let us, the Parisian friends of Hayashi, hope so in our turn, in now bidding farewell, doubtless forever, to those works which we loved with him. : ey RAYMOND KOECHLIN. ea 9 See ft el tan chy “Soe WSR ie ee okt, ee a ee " ORR a ea le ot ae ei ee aie ye Col ME eer Ak | A oe aaa he es os 5 ‘ < TADAMASA HAYASHI SOME RECOLLECTIONS : I became acquainted with Tadamasa Hayashi about _ 1884, when he was some thirty years of age. He came to me to introduce a young Japanese student, Seiki Kuroda, who, after some years successfully devoted to literary studies in our old Quartier, later became my pupil, and who has since made for himself in his own country a great name as one of the most famous painters of modern Japan. MHlayashi’s open and truly “Parisian” mind had been impressed by the trend of modern art, and finding _ interest in every artistic manifestation, he was one of the _ first to understand, at the very dawn of their career, those artists whose work was stamped with an audacity, an orig- inality, which, although apparent, was yet beyond the ken of the vulgar crowd. The paintings of Monet or Degas, the drawings of Renouard, the colored engravings of Théodore Riviére, had struck him with a deep sense of admiration, and with an enlightened connoisseurship he acquired a number of their works from. these masters before their great suc- cesses. Personally, my studies of nude life in the open had found favor in his eyes, and he expressed the wish to possess several of my most important paintings. Conversely, Hayashi initiated us in an exquisite man- ner into that world unknown and full of marvels, whose precious relics he accumulated in his flat of the Rue de la Victoire, where every new visit brought forth fresh pleas- ure and delight. I cannot do justice to the delicate and graceful manner with which he showed us those fine pot- teries from Korea and Japan, powerfully modeled in the finest taste and the most unexpected forms in a clay that almost lives; or those noble figures, sober of gesture, dig- nified in their august mien, which, whether of gilt bronze or lacquered wood, had been the erstwhile ornaments of Buddhist shrines; or yet the kakemono of pure and refined style, the prints in rare colors or delicate tones, the quaint metal work, and that precious marvel of perfection which we call lacquer. Works of a peculiarity which enhanced the perfection of the esthetic spirit that created them, their contemplation was at once a revelation and a feast for the mind and the eye, a Tare pleasure, and a aie E lesson withal. Again and again I visited Hayashi, and I so felt the charm of all these things of beauty that I yearned to : possess at least a few, which I treasure to this day. Every month the “Diner Japonais,’ founded by Bing, brought together those worshippers of the art of Nippon who lived in Paris, and we met at the same table; Edmond de Goncourt, S. Bing, Alexis Rouart, the painter Whistler, Ary Renan, Gillot, Manzi, Ch. Mourier, the col- lector Groult, Raymond Koechlin, Migeon, Blondeau, and. a few others, all passionately fond of that exquisite art. Hayashi, steeped in art to his very soul, supplied us in- formation and explanations with indefatigable ahi and charming good nature. Those were pleasant nights, but of the gifted and re- fined men in whose midst they were spent, many, alas! have now departed this world. In 1898 Hayashi left us to seek in Japan some fur- ther art treasures, and to prepare, on behalf of the Jap- anese Government, the Retrospective section of the Ex- hibition of 1900. ‘This masterpiece was for him and for his country a real triumph, and for our eyes an unpar- alleled feast. In the midst of gardens surrounded by _ ponds stood a building, copy of a famous temple, hoard- _ ing the rarest types, of which only a few isolated speci- mens had been shown us before by Hayashi, and at last the ___ public had an opportunity to understand all the grace and all the strength of the Japanese soul. es: Alone a Japanese with so Parisian a mind, as was Hayashi, could gave brought together in Paris, with so _ Mmuch tact and discrimination, so complete an ensemble, and no words can express the gratitude we owe to this _ man of taste for this initiation to such sublime beauty. | When, after this success, Hayashi decided to return home forever, and scattered his collections, when the time came for the banquet at which before his start we wanted Le tO, SIE him a lasting token of our affectionate gratitude, AS we felt almost abashed to bring a bronze to this refined connoisseur. Yet the work was signed Barye; but some- how the cast appeared poor beside those magnificent cire perdues which he had so often allowed us to admire. Over that banquet hovered an atmosphere of true cordial- ity, of warm sympathy, yet mingled with dismay at the departure of a very dear friend, and the emotion conspicu- ous in the toasts was true and sincere. Alas, poor Hayashi! A letter received shortly after- ward from Tokyo brought us the sad tidings of his pre- carious health, together with a portrait, in which one would hardly have known him. Yet he wrote without a plaint, with a smiling philosophy; true to his race, he would have grieved to cause us sorrow. Short was his enjoyment of that fine collection of modern French works of art which he had carefully ac- cumulated in his sojourn of over a score of years. He had found pleasure in showing to his countrymen, so fond of Western novelties, the productions of masters who dur- ing that period had been his friends and his preferred painters; he had hoped to influence the taste of Tokyo — artists and dilettanti in a happy manner by the variety and the individuality of the latest creations of French paint- ings at the end of the Nineteenth Century, and to that end he had constructed in his house—decorated in European style by Parisian friends—a hall, the high windows of which opened over a flower garden. ° But he departed this life before the realization of his hopes, and this beautiful collection will soon be scat- ‘tered. May its contents be understood and treasured; may they find resting places in the hands of amateurs as fervently appreciative as he was himself. For the widow and the young son of my lost friend, | I have only to wish the successful issue, and that it may be seen how, amongst the numberless host of ordinary works, Hayashi has discriminated many full of life, full of true individuality, with as much tact in his appreciation of Western art as he had shown of taste and refinement in collecting and bringing together the masterpieces of his own country. From the French of RapHain Conuin. ee ee oe ed Yd eee Sy ae aN oS: a erie 1.29 ac inci sarees Sk So al eee a ea 3 < Motsvuuiro, Emperor of Japan, by Grace of Heaven, and seated on the throne occupied by the same dynasty from Time Immemorial, causes Tadamasa Hayashi, Fifth ____ Senior Court Rank, to be ranked in the Officier (or class of the order of the Rising Sun), and confers upon him the insignia of that order, and accords him the privileges and courtesies due to the said rank. : In witness whereof, we have caused the Grand Seal of ~ the Empire to be affixed at our Palace, at Tokyo, this & e twenty-first day of the tenth month of the thirty-fourth is year of Meiji, corresponding the twenty-five hundred _ sixty-first year of the coronation of the Emperor Jimmu (A.D. 1901). Grand Seal of Emperor signed: Grand Cordon and the Third Senior Court Rank, Vice-Count Wataru Ociu, President of the Imperial Bureau of Decoration. Visé and countersigned as No. 33987 of the Imperial Order Register, Commandeur and the Fourth Junior Court Rank: KANAYE Yoxora, Secretary of the Imperial Bureau of Decoration. NOTE OccAsIONAL divergences will be noticed between the titles preceding the descriptions and the titles under the illus- trations in this catalogue. The illustrations were all made and printed in Japan, for Tadamasa Hayashi, and in the transcriptions thereon of French titles, and some- times of signatures, certain errors are obvious. A few it has been necessary to correct in the text; for the most part and so far as possible the titles have been preserved as they were recorded for Tadamasa Hayashi. PRINTS AND LITHOGRAPHS TO BE SOLD IN THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH On Wednesday Evening, January 8th, 1913 BEGINNING AT 8.15 O’CLOCK No. 1 PAUL CHENAY FRENCH 1818-1906 AMICA SILENTIA . Print Height, 2°24 inches; length, 8 inches OV AFTER Victor Hugo. A romantic view of the sunset hour. Light departing, and the landscape given to silence and peace. : No. 2 MANZI FRENCH A PORTRAIT 3 Height, 54% inches; width, 4 inches = A : ke } See a ~ bok A. FINE and living likeness or portrait of a man, in black and white, heightened by pink flesh tones. He is seen head and shoulders, in profile, facing the right, and wear- ing a silk hat, with a blue throat muffler above his great coat. Signed at the lower left, Manzi, 1881. No. 3 EUGENE MICHEL JOSEPH ABOT BELGIAN 1836-1894. PORTRAIT OF VICTOR HUGO Etching oie Height, 6 inches; width, 4 inches y, Heap and shoulders of the French poet and novelist, fac- ing to the left, three-quarters front, his eyes directed upward. : Signed at the lower right, E. Abot, aqua f. No. 4 H. SCOTT FRENCH Contemporary TORPILLEUR Black and White pe dsiess Height, 5 inches; length, 11 inches 4 AL TORPEDO boat is making rough weather of it in a choppy sea. Several men are on the slanting deck, and a steamer, with sails, is seen in the distance. Signed at the lower left, H. Scott. No. 5 F. MEAULLE FRENCH Contemporary MAISON DU MOYEN AGE Print eo Height, 934 inches; width, 6Y_inches AFTER Victor Hugo. Apparently a combination church and dwelling, or one of the buildings of ecclesiastical architecture used for residence, with a tall clock tower in a brilliant light and the mass of the building in deep shadow. The Middle Ages seen in the Nineteenth century. Signed at the lower left, F. Méaulle, sc. No. 6 GUSTAVE GREUX FRENCH Deceased LA RENTREE DU TROUPEAU Print WMA L) —. Height, 7 inches; length, 91/2 inches meee AFTER Jean Francois Millet. ‘The familiar Millet peasant leading his sheep homeward, across a flat field. Signed at the lower right, J. F. Millet. (Jean Frangois Millet; French, 1814-1875.) +; iat Aa anes KAS MeO ate No. 7 CHARLES WALTNER FRENCH Contemporary LE VASE DE CHINE Engraving aN Height, 9°4, inches; width, 7 inches * Lp eo Yr i oe AFTER a pen drawing or etching by Fortuny of his/own well-known picture in water color of an early exquisite admiring as a connoisseur a tall Chinese vase in a palace, entitled “The Rare Vase.” a ° The original water color, sold mm the Mary J. Morgan collection, in 1886, is now in the W. T. Walters Galleries, Baltimore. No. 8 _THEOPHILE CHAUVEL FRENCH 1831- UN VILLAGE EN SUEDE Etching ot Height, 61 Mie 10 inches ae Vee | Ce AFTER Wilhelm von Gegerfelt Sethe 1844—). A group of dwellings on either side of a stream, all under deep snow. No. 9 GUSTAVE GREUX FRENCH Deceased SABOTIERS DANS LE BOIS DE QUIMERC’H (FINISTERE) p ‘Print 20 iaate Height, 6% inches; length, 1014 inches ue a OS We hoarthey AFTER Camille Bernier (French, ray A large tree has been felled, in an open forest, and sawn into logs, which lie in the foreground. In the middle distance the sabots makers are at their work or resting. No. 10 Bo, THEOPHILE CHAUVEL FRENCH 1831- BUITEN SINGLE, AMSTERDAM Print re Height, 71 inches; length, 11 inches/) Meee XS Py Gos Eo tat Arter la Baronne Nathaniel de Rothschild (rench— Contemporary). A view of the Dutch city, with a great windmill near the foreground, the whole seen across two _arms of a placid river—or possibly a canal or an inlet— which carries reflections of the shore edges and the windmill. No. 11 ALICE HAVERS DEUX FILLES Process Reproductions ae oh Height, 12 imches ; width, "(1% 18,8 : Two REPRODUCTIONS from water color dr awings by Alice ~ Havers; subjects, “Wide Awake” and “Fast Asleep.” In “Fast Asleep” is pictured a young woman sitting back _ against the portieres, dreaming. In the companion picture a young girl, quite awake, with a kitten playing on her shoulder, is carrying a tray holding more small — kittens. “Wide Awake” signed at the lower right, A. H. No. 12 EUGENE ANDRE CHAMPOLLION FRENCH 1848-1901 LE DEPART Etching Pilg Height, 7 een gth, 1% Miss je A¥TER Ulysse-Butin. (Louis Auguste Ulysse-Butin; French, 1838-1883.) It is low tide on a flat coast, and fishermen and their families are making ready for the next sailing, carrying water casks, etc., over the wet sands toward and from the boats. Signed at the lower left, E. Champollion, aqua f. No. 13 HENRI ROOKE LA PRAIRIE Etching Het ht, 8 inches; length,.13 inches Cae a 2 ee Yur a Five cows in different attitudes, forming a oy ake group, three lying down, on a flat meadow at sunse Signed at the lower left, Henri Rooke. No. 14 C. LAPLANTE | FRENCH “OLD MARINER” Wood Engraving Height, 11%4 inches; hie og oh inches Bs 4 ater | partir FTER Gustave Doré. A proof of an engraving on wood by C. Laplante after Doré, which has been “touched up”’ for reproduction. ‘The picture is of a motley group of men, women and children, gathered about the gateway of an ancient castle wall. Signed at the lower right, C. Laplante. No. 15 THEOPHILE CHAUVEL _ FRENCH 1831- UNE ECLUSE DANS LA VALLEE DOP- TEVOS (ISERE) Etching & Height, 7 eg lengt, 18 inches Y, apatt S oo? AFTER Daubigny. What appear to be ruins are visible at the side of a hill, in connection with a sluice through which a stream descends to the valley in the foreground. ~ A girl and her dog have driven some cows down to the water here, to drink, and on the farther bank of the stream other cattle are seen. Krom a painting by C. nee Daubigny which hung in the Luxembourg. No. 16 UNKNOWN MERE ET ENFANT SUR UN TOMBEAU ‘a Print / 12 Height, 184% inches; tid Se nh A MOTHER in black kneels at the foot of a tombstone, — over a grave in a cemetery, her small son kneeling, with his hat in his hand, at the side. Signature at the lower left wndecipherable. No. 17 GEORGES ROCHEGROSSE FRENCH Contemporary HISTORIQUE Lithograph a oe Height, 14% inches; width, 9 inches ee lagen ONE of ae artist’s Babylonian creations. “pag appear- ance of the avenging angel of the Lord with a luminous sword has stricken down the Oriental potentate, at the foot of a stairs under a dark arched entrance of an East- ern building, while people look down, awe-struck, from the street aloft. Signed at the lower right, G. Rochegrosse. No. 18 DANIEL MORDANT FRENCH Contemporary LA PRIERE | Print rae —— Height, 15 inches; widthMl0O inches / Vo WMA t3 A’ f (L/L AFTER Jean Beraud. A woman in the dress of the early -°80’s, leaning over a chair, at prayer, in a European church. No. 19 EK. DERBIER FRENCH Contemporary FILLE AU CHAT Wood Engraving a Height, 151% inches; width, 10 inches S A LARGE-EYED, pretty, pensive girl, ated an fame to the left, is facing the spectator fully, directly and thought- fully, as she holds in her arms a large cat, which appears to be a Persian, that has gone to sleep. Three-quarter length. After Chaplin’s well-known painting. On fine Japan paper. Signed at the lower left, E. Derbier, sc. BLACK-AND-WHITE DRAWINGS TO BE SOLD IN THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH On Wednesday Evening, January 8th, 1913 BEGINNING AT 8.15 O’CLOCK a a No. 20 M. F. JACQUETTE DEUX ETUDES DE FLEURS Pencil Sketches Lh 4* Each, height, 41 inches; length, ye inches | VO 4 Two FLOWER studies on one Tae a mass 4 fowent ; growing wild about the foot of a tree trunk; the other, growing flowers arranged at the foot of a large column on a terrace. : Lower study signed at the lower left, F. Jacquette. INO. 21 S. HUYKRUZ ADORATION DES BERGERS Black and White ae Height, 724 inches; length, 10% inches 1e As AA v7, a af Dr On a mound of straw in a lowly stable the Virgin is seated, with the Child in her arms. Before her the shepherds are kneeling and standing, and the stable ani- mals are seen at the sides of the building. A pen-and-ink drawing, with gouache used for the faces of the shepherds and for their staffs. Signed at the lower left, S. Huykruz, 1884. No. 22 ADOLPHE JOURDAN FRENCH 1825- PRIMEVERE Drawing Vs po. Height, 10% eames 8 inchés A youne girl of graceful features, sketched at /three- quarter length, seated, and facing toward the left, three- quarters front. A large open volume lies in her lap, at which she is looking with interest. Signed at the lower right, A. Jourdan. No. 238 M. F. JACQUETTE UN CHAUME Crayon—Black and White uo Loh ly, inches; length, 11 inch iho: BusHEs, a field and a winding path from the foreground. Beyond are some cattle grazing under a tree, and near by is a tall building with a low thatched roof. Signed at the lower left, M. (or M F in a monogram) Jacquette, with the title, “Un chaume.”’ No. 24 WALTER GAY AMERICAN 1856-1912 VIEILLE TISSERANDE Charcoal Drawing pee. 11 inches; width, 7% inches ee ce Gs A MIDDLE-AGED woman in a cap and a long apron sits fac- ing the left before a window of an humble building, care- fully sorting threads at the large loom where her daily | task of weaving is done. Her features are strong, and her expression is patient and one of quiet content. Siened at the lower left, W. Gay. No. 25 CHARLES HENRI PILLE FRENCH Deceased ROI DES FRANCS Pen Drawing is one Height, 114% inches; width, 7 inches _ () wn. Slore, THE king, crowned, riding a little in advance of his Wrar- riors, has halted his horse and turned to listen td the admonishment of a bishop. (Probably an historical inci- dent or an illustration. ) Signed at the lower left, Henri Pille. No. 26° LOUIS EUGENE BOUDIN FRENCH . 1824-1898 AVERSE | Black and White oe Height, 91/2 inches; length es ake A SLOOP-RIGGED fishing boat, reefed down for Fath he a shower, is working her way out through rising waves . oe the face of a black squall which is coming up. Both sky and water are full of action, and the storm cloud is | ominous. To the starboard another sailing boat is seen. Signed at the lower right, E. Boudin. Inscribed on the upper margin: “Wm. Grain—Salon, 1886—E.- Boudin”; with “H.C.” (hors concours) appended in blue. ; No. 27 LOUIS BRUCK-LAJOS HUNGARIAN 1846- DESSIN D HISTOIRE Black and White iy << _—- Height, 131% inches; noe ihepies Trude A TALL, handsome-featured but pensive young peasant woman, in Hungarian garb, stands barefoot, in her picturesque costume and headdress, in the midst of a partly harvested grain field where other women are reap- ing and gleaning. In the middle distance two men in. clerical robes regard her from the rear, solemnly. _An illustration for a story, or possibly an historical incident. Signed at the lower left, Bruck-Lajos. ee ates Be te cows has been ven ys a PNG. 20: es b RRE GEORGES JEANNIOT FRENCH > 1850- 3 | sae Pe ic ce “Height, 5 inches; width, ee he . ALA UCAY (wae: oA = (es . terrasse of a small French cider caRe | is shown in the i ‘fae +4 te ole who has turned to regard a little bonne on her way to do the marketing. aE MA. drawing in black and white for an illustration, prob- nes ably i in color. | 7% 4 Peed at the lower left, Jeanniot. No. 30 G. dE. GEORGES D’ESPAGNAT? FRENCH MENDIANT oe Black and White be Height, 111% inches; length, 1724 wches An aged man with Jewish ean hed his hat slouched down over his eagerly staring eyes, who stands at the left, extends his open palm to a hatless,’ buxom young woman who is giving him alms. Both figures are seen at half length. Signed at the upper right, G. @E. No. 81 EUGENE VIDAL FRENCH Nineteenth Century “A RAINY DAY™ Crayon “be 7 Cte. Height, 221% inches; re Nf pee Vad hae a A LITTLE girl, with large round eyes, iv a large bonnet and short-sleeved frock, leans on her elbows and rests her chin on her hands, as she sits behind a table and facing the spectator, and seems to be sorry that she cannot go out of doors. Signed at the lower left, Hug. Vidal. Exhibited at the Royal Academy. WATER COLORS TO BE SOLD IN THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH On Wednesday Evening, January 8th, 1913 BEGINNING AT 8.15 O’CLOCK No. 382 PHILIPPE CHARLES BLACHE FRENCH Deceased COPIE D’APRES UNE MINIATURE PER- SANNE Water Color yA [ ““_ Height, 814 inches; width, 672, inches Tuis copy of a Persian miniature Nasa hee a young person seated on a hair rug, on the grass at the base of a tree. One knee is bent under, the other flexed against the breast. ‘The face is thoughtful, as of a dreamer, and a book lies at hand on the rug. ‘The miniature has been copied even to the intricacies of the framing, which at the top includes three ornamental medallions. No. 33 UNKNOWN MATELOTS ET DANSEUSES Water Color ay Eis Height, 642 inches; length, 9 inches f ) cin PraraAa-VAYy A FREE sketch of several sailors amongst a THD of female dancers, some of the dancers appearing in Oriental costume. C No. 34 ALFRED EMILE MERY FRENCH 1824- POUSSINS Water Color and Pastel C-— Height, 11% inches; io. mn Two awxwarp chicks that hav® just burst from their shells, making their first noise in the world. Back of and about them, suggestions of the parental nest. Signed at the lower right, Mery. No. 35 UNKNOWN SCENE AU BOIS DE BOULOGNE Water Color ae 6° = Height, 7% inches; "Oe ie A SKETCH of some visitors to the Bois de Boulogne in the days before automobiles, when it was fashionable to drive there with coachmen and horses, and to ride in the park as well. No. 36 UNKNOWN DEUX CANTATRICES Water Color 7 ie eR Height, 1034 inches; pea A FAT, blond stage singer, arms akimbo and skirts short, and her equally fat brunette sister, ina stage pose side by side, both with pleased expressions of self-content over _ their own singing. — No. 37 LOUIS EUGENE BOUDIN FRENCH 1824-1898 Ds MARINE Water Color Lf eae Height, 9 inches; length, 1454 at Ul b th “hls port A sKETCH of the harbor of Brest, the weste of France, in Finistere, with scattered shipping—square rigged ships and steamers—mainly at their anchorages. It is low tide, and a bit of the beach is visible in the fore- ground, beneath a bulkhead or quay on which a few fig- ures are to be seen. Signed at the lower right, E. Boudin. Inscribed at the lower left, Brest, "71; E. B. No. 38 J. ALDEN WEIR : AMERICAN ia --1852- THE BROOK Water Color ec cal Height, 1034, inches; ees i 2 Pe. Ube fat THE blue-gray waters of a Bae ream are Ub foul the bend of a flat, green bank, where a tree with green — and some yellow leaves grows. The stream passes from sight at the foot of a round-topped hill. | Signed at the lower right, J. Alden Weir. Exhibited as “The Brook’ at the Fourth Annual Exhibition OF asim the New York Water Color Club (1893). The title “Aw bord | du flewve” was acquired later. No. 39 FEDERICO ZANDOMENEGHI ITALIAN 1841- DAME LISANT UNH LETTRE Water Color po Naty tic) Height, 16 inches; ae Sy, A YELLOW-HAIRED young woman, trés chic, in street costume, has paused to read a missive. She wears a light green waist, a deep blue skirt, and a small, » flower- _ bedecked. bonnet, and stands with feet wide apart as she peruses the writing attentively. Signed at the lower left, Zandomeneghi. No. 40 CHARLES EDMONDE SAINT-MARCEL FRENCH -1890 FAMILLE DE LIONS Water Color pa ys “— Height, ov, inches; length, ey, rane LUsb. y four mem- op YA A SIMPLE drawing, with much Eai(b f oe fe bers of the leonine tribe at rest on the slope of a hill, all done in black and the tawny hue of the beasts’ coats. A lion with a massive head is seated on his haunches, back to the spectator, his head turned to look down at a lioness who lies on her side facing the spectator, and at a cub which peers over her back. Another cub sits awkwardly at the left, looking up hopefully at its father. Signed at the lower right, Saint-Marcel. No. 41 © GEORGES DE FEURE FRENCH Contemporary — DAMES Water Color / pris Height, 19 inches; width, ey md A CURIOUS panne of J me effect, duh dental. Two European women in European garb are so arranged with their draperies as to suggest the flowing robes and poses of Japan. ‘They stand perched upon a mound or terrace before a huge stone gateway, flowery ‘branches of unseen trees overhanging their heads. ‘The landscape falls away beyond them in Japanese pic- turesquerie, dotted there with wave lines, a building or a tree. One woman is seen in back and profile, the other faces front, half-turned to the left. Signed at the lower right, de Feure. No. 42 GEORGES DE FEURE FRENCH. _ Contemporary DAMES Water Color ce Height, 201% inches; width, U5 i / | yas Height, 20 4, inches; a at hab N\A Two TALL women, a blond and a beioette. in low-necked gowns with sweeping trains elaborately ornamented in many colors, are walking, each clasping a hand of the other, on the shore of a large body of water upon which many distant sailing boats are seen. ‘The women, walk- ing toward the right, turn their heads so that their faces may be seen as they pass an enormous tree trunk—the whole, though European painting, done with quasi- Japanese suggestion, in a brown tone. Signed at the lower right, de Feure. No. 43: PIERRE EUGENE LACOSTE FRENCH 1818- FEMME JOUANT DU VIOLON ~~ Water Color y < ret Height, 25 CO a 1814 Ghee ee well THE woman, a street musician, a’weary,/—a string of her violin broken,—has mounted ‘the, steps’ before a closed church door and leans disconsolately against the porch, — her bow lying in the dust at her feet. She is of Southern European type and wears a black shawl, green waist, and a wide, full and ornamental pas skirt, with old blue stock- ings. Signed at the lower left, P. Lacoste. No. 44 GEORGES DE FEURE FRENCH Contemporary DAME ROUGE AU BOIS Water Color 2 2 —— Height, 81% inches; width, 26/thches f : CLVITD ANo., THE interior of a wood, characteristically painted by this artist in fantastic coloring—trees red and blue and green before the light of a red sky—a Japanesque sparkling waterfall in the foreground. In the center of the decora- — tive composition a tall woman, all in red, stands, like a weird presence from another world—though in modern costume—looking out into space. Signed at the lower right, de Feure. PASTELS TO BE SOLD IN THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH On Wednesday Evening, January 8th, 1913 BEGINNING AT 8.15 O’CLOCK No. 45 JULES LOUIS MACHARD FRENCH 1839- DAME EN COSTUME ROCOCO Pastel (Soe Height, 81 inches; width, 644 inch és y en A PportTRAIT of a young and pretty lady who is seen head and bust in partial déshabillé. Her figure is facing the left, but she has turned her head so far to look back of her, over her left shoulder, that she is seen by the spectator almost full face. She wears a fluffy lace ruche around her neck, detached from her gray dress, which, falling from her shoulders, exposes part of breast and arm. Her light brown hair is dressed high over her forehead, she has large blue eyes, and she holds before her a loose bouquet of large pink roses. Signed at the lower right, J. Machard. No. 46 PHILIPPE CHARLES BLACHE FRENCH Deceased CLAIR DE LUNE ) Pastel sw Height, 644 inches; length, 11 ate es and houses of a ime in aon terminable form, in the dull light of a crescent moon which is partly obscured in an evening haze just above the hori- zon. In the foreground a shallow pool, or stream, its boundaries not distinguishable in the dusk, reflects the — lunar light. 5 Signed at the lower left, and numbered 13. No. 47 PHILIPPE CHARLES BLACHE FRENCH Deceased NUIT . | Pastel a dee. Height, 6 inches; mis iaip ee he ae A GREEK temple stands in the center of an obscure landscape on the far border of a small valley lake. Over a hill behind it the moon rises, a warm reddish-yellow, half of the full orb being seen above the blue hill-crest, and reflected, as are the pillars of the temple, in the still and silent waters of the lake. Signed at the lower right, dated 1897 and numbered 48. oc ue _FREN CH _ Deceased i Be ctel . a 4 614 inches; length, er fi ieee Bee Mg on d oo of almost(/fantastic coloring, lights « of the close of day. The sky is a predominant blue aloft, and a red- oreground are to be seen buildings at Be ne the trees. No. 49 J. SERRET. FRENCH ~ Contemporary mt BY Ba ; Pastel ) es ‘Fi ht, 814 inches; length,13%4 inche - I ee Two CHUBBY tans, one in pink and one in blue, are : perched upon a stone seat in the fields, where other chil- _ dren and their elders are laboring. A little girl somewhat e older than the babes is giving them a drink of water from ‘i a bluish-green jar, bending over them in a graceful atti- a te _ tude—the tow-haired cherub who is awaiting his turn for a _ the water gazing wide-eyed and solemnly up at her. Signed at the lower right, Serret. | No. 50 PHILIPPE CHARLES BLACHE : FRENCH. Deceased PAYSAGE AUX SAPINS © Pastel Height, 1234 inches; width, 9% inches Coie oi THEIR trunks are brown and their green Sravictens eXx- hibit blue lights, but as to their general configuration the — two tall fir trees, which grow in the foreground of the picture, rise in strong silhouette against a light-flooded mountain side which is seen across a valley, all aglow in flame-hue, yellow and purple. Signed at the lower right, dated 1884 and 1896 and numbered 38. No. 51 CHARLES LAPOSTOLET FRENCH 1824- BATEAU A VAPEUR Pastel ies Height, 1214 inches; Bees 814, inches SomE trees which have grown in a group/on the shoré of a stream occupy the middle distance, Stowe the left, with some men standing back of them in the shelter of a low tower. ‘To the right of the trees a freight steamer is moored, at the bankside, and ahead of it some small boats have been hauled out on the sloping foreground shore. Stamped at the lower left, Vente Lapostolet. No. 52 MARY CASSATT AMERICAN Contemporary MERE ET ENFANT Water Color Height, 122 inches; widt ott ee eight, 4 inches; width, oly id y, Le me A MOTHER Wearing a gray-white gow1/‘s seated in a chair of a bedroom, one arm clasped about her chubby infant, who in a deep blue frock stands on her lap with one fat arm on the mother’s shoulder. ‘The mother is seemingly in the act of undressing her child. The baby, finger in mouth, wears a very intent expression, though looking into distance, and his round head hides his mother’s face from view. Signed at the lower right, Mary Cassatt. No. 53 CAMILLE PISSARRO FRENCH 1810-1903 PAYSANNE—ETUDE Pastel Vib» ro Haght, 914 inches; length, 12 ing ae () ADL KEL THIs Pete is of the full-length figure of easant Woman in a bluish-green dress, blue stockings and clumsy shoes, seated lazily on the ground, her hands clasped in her lap, and gazing afar off. She has yellowish-red hair and is seen in profile, turned to the left. Presented to Tadamasa Hayashi by the artist. Signed at the lower left, C. Pissarro, 1890. No. 54 HILAIRE GERMAIN EDGAR DEGAS FRENCH : — :1884- | | “BOHEMIENNE” : me | Pastel ae Qo «— Height, 12 inches; width, 9% inches (Oe 4 THE title given to this picture, whether taken as meaning __ gipsy, or as meaning a Bohemian, seems to be a mistaken one, both from the costume and an inscription in the upper left hand corner which reads “Ballet de Faust—Kgyp- tiennes.” Though written in a hand resembling that of © Degas in his signature, however, this inscription is further confusing as there is no Egyptian ballet in “Faust,’—and ~ the artist would hardly write “Faust” if he were thinking of “Aida.” It requires no caption, however, to make the | expressive drawing clear. z One of Degas’s strangely drawn figures of the stage this one a heavy, sturdy, woman dancer, in a flowing, semi-transparent robe girdled by a broad red sash, corre- sponding to her red headdress, with her brow bound in = light yellow. She is seen in a peculiar attitude, partly back to the spectator, but turned about so that her face, as she leans over as though to pick up something, is three- quarters to the front. ; | | Signed at the lower right, Degas. No. 55 PHILIPPE CHARLES BLACHE FRENCH Deceased CLAIR DE LUNE Pastel Height, 12 inches; width, 9inches Vi WHITENED cottage, its thatched roof purplish- Q. dell the moonlight, occupies the foreground, and with a tall pine tree that rises behind it, high in silhouette above the lowly ridgepole, almost fills the picture. An end of the house and the sky beyond the pine tree are bathed in a cool, greenish, lunar glow. No. 56 PHILIPPE CHARLES BLACHE FRENCH Deceased CHAUMIERE SOUS ARBRES Pastel i <— Height, 111% inches; length, eee inche “ 6k A HUuT appearing dilapidated but Ae hae attractive stands amid a grove of low-branching trees, which throw the ground between them into deep shade, while beyond the cabin a flood of light bursts among the farther trees, | in a golden contrast to the cool green of the shaded nook. Signed at the lower right, dated 1879 and 1889, and numbered 36. No. 57 CHARLES LAPOSTOLET FRENCH 1824 RUE SOUS LA NEIGE Pastel pe Height, 12 inches; length, 1444 in ae y wes a Ir is a dull winter day, with just enough snow fallen to whiten the eaves and drift in low hummocks at the curb and against doorsteps, in the winding street of an ancient town with picturesque and irregular architecture. Some of the green shutters have been put up, and a few strag- gling pedestrians make their several ways slowly home- ward. Stamped at the lower right, Vente Lapostolet. No. 58 H. SAUTER FEMME NUE Pastel LM : Height, 8 wedth, L mches fesoan lig woman of THREE-QUARTER length pr Ree full figure, standing nude, facing the left/and so far turned about that her back is brought three-quarters into view. Her brown hair is done up over her head. Her left arm, raised shoulder high, is bent back at the elbow so that her hand supports and partly conceals her face.. Signed at the lower left, H. Sauter. No. 59 NORBERT GQNEUTTE FRENCH 1854-1894 DAME EN NOIR Pastel re we Height, 15%4 inches; width, Te ie Wehe EL E lady is seen in profile, facing the left, the artist hav- ing pictured her head and shoulders. She is young, of listless countenance, and pale, with rouged lips, and her yellow hair is dressed low on her forehead, all but over- hanging her eyes. She is hatless, but with a veil about her head and half covering her face, and she wears a black wrap. Signed at the upper left, N. Geneutte. No. 60 OTTO WEBER GERMAN 1823-1888 BORD DE LA MER Water Color \ es vaya Ld ie oS — Height, 11 inches; length, py | ey Tue deep bluish-green water of the sea comes We gently at the left, mildly splashing in thin lines of white foam upon outlying rocks along the edge of a boldly rolling coast line. ‘The day is sombre, dull gray clouds sagging low, and the more or less barren coast, with its faded green and red-sandy hues, appearing dull in sympathetic dejec- tion. Signed at the lower right, Otto Weber. No. 61 FEDERICO ZANDOMENEGHI ITALIAN 7 1841- TETE DE JEUNE FILLE : Pastel prawd (Ave . ! : /7 °2- — Height, 1634 inches;"width, 114 inches | THE head of a pug-nosed young girl, seen full face but turned slightly to her right, her eyes directed somewhat downward. Her dark hair exhibits reddish lights over her forehead, and she wears a light blue waist, loosened at the neck. Signed at the lower right, Zandomeneg hi. ; No. 62 FEDERICO ZANDOMENEGHI ITALIAN 1841- TETE DE JEUNE FILLE, SUR FOND VERT Pastel / Cae fe 1 a Height, 1514 inches; width, 12 inches THE young girl, shown head and shoulders, wears a white | frock which falls well away from her neck and clings over the shoulders. Her brown hair, brushed carelessly from her forehead and draped loosely down her back, frames her fair face—with its deep blue eyes—against a back- ground of solid green. She appears almost full face, turned slightly to her left, whither her gaze is directed, and exhibits in her right ear a blue earring. No. 68 FEDERICO ZANDOMENEGHI ITALIAN 1841- TETE DE JEUNE FILLE | Pastel 4(6 Height, 16% inches; width, ek 2 Cul. A YOUNG girl of peasant type, dressed in a loose, blue house jacket, is shown head and shoulders and facing three- quarters to the left, so that her face is seen almost in pro- file. She has blue eyes, full red lips and red cheeks, and a retroussé nose; and her black hair, through which green- ish lights play, is done up in a saucy knot and decked with a bit of red. No. 64 FEDERICO ZANDOMENEGHI ITALIAN 1841- . TOILETTE Pastel soa te yee Height, 18%4 inches; ee he hee ores } belt Cle, Two YOUNG women are shown in their pe room ft their toilette, one adjusting her corsets before her psyché; she stands back to the spectator, her head turned to the left to look into the mirror. Her comrade who stands near by—her own toilette no further progressed—is leaning forward, at the moment, arranging her garter, her head so far lowered that her face is not seen. Signed at the lower right, Zandomeneghi. No. 65 ARMAND GUILLAUMIN FRENCH 1841- TETE DENFANT Pastel ,¢ Height, 15 inches; ae cg we eae A SMALL girl with an eee face ae ae tures appears in head and shoulders against a ght an dark green background, the curiously variant lights of out-of-doors playing upon her serious face and unkempt hair—an early plein air exposition. Signed at the lower right, Guillaumin, *79. No. 66 HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- FEMME DESH ABILLEE Pastel | .e« Height, 171% inches; width, 944 inches oOo i @ : ; : Coats A stouT woman, nude, just emerged from the bath, her back turned to the spectator, leans forward, supporting herself with one arm on the furniture while with the other hand, extended, she is drying her foot with a towel. A study of flesh against blue tones, and warm reds on the floor and wall. Signed at the right, Degas. No. 67 HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- PAYSAGE Pastel -cHeight, 111% inches; length, 151 inches Ree ee ea Deh aaa A STEEP, seamed and es acclivity rides at the right, mounting out of. the picture, from a colorful and varied, _ but inhospitable and uninviting foreground. From the left a road entering the middle distance and winding about a knoll, conveys an intimation of a habitable country some- where beyond. A landscape of ruggedness and rigor. : Rak 2 _ Signed at the lower right, Degas. “Vhs. 7h No. 68 HILAIRE GERMAIN EDGAR DEGAS FRENCH 1884- PAYSAGE AVEC EAU / o sti . Pastel Height, 11% inches; length, 151, inches et p RIE eer! e A sTREAM with its confluent and a narrow offshoot is pic- tured in a more or less barren landscape, which it makes interesting through the odd forms arranged by its inter- secting liquid lines. Signed at the lower left, Degas. No. 69 HILAIRE GERMAIN EDGAR DEGAS FRENCH ° 1834- SENTIER DE PRAIRIE Pastel Oy-g = Height, 1134 inches; length, 151/2 inches A STRAGGLING path winds upward—its way looking not unlike the reverse course of a swift-descending brook— through a yellow-golden hillside field bathed in sunshine, and vanishes over the top of the rise in the shadows of a woodland. Formerly exhibited as a plain “Paysage,” apparently, when passing through the hands of Messrs. Durand-Ruel & Co.; the hillside of the picture does not itself suggest the “meadow” referred to in the newer title. Signed at the lower left, Degas. Pe eee Te ee ee er ROCHEUSE Peay oo _ Tue blue-green sea from right and left runs up on both sides of a low, sandy strip of shore, bearing scant vegeta- - tion, leading from the foreground back to a rocky coast. ee aA Mi age Panels Ae dele Lah Mg No. 70. HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- Pastel _ Height, 1184 inches; length, AZZ inches The coast looms grim in its desolation, the gray rocks here yellowed over with iron-rust, there greened with the mois- a ( 4 Height, V1 inches; width, 19 ee _ ture of the climate—everywhere rugged and weathered. | Signed at the lower left, Degas. sa No. 71 HILAIRE GERMAIN EDGAR DEGAS i FRENCH 7 Ate 1834- DANSEUSE + Pastel - SHE might be called, “The Girl of the this young woman in ballet costume, leaning over, right elbow on knee, her other hand reaching down to grasp her ankle as if to attend to something there. Her head is bent so far forward that only the top is visible, and her slight, bright green headdress is so rendered that at first there is the illusion of green hair—the complement of some familiar and pronounced reds, of the stage and elsewhere. Signed at the lower right, Degas. No. 75 ARMAND BERTON » FRENCH 1854- DAME SE COIFFANT Pastel ee wes Height, 1742 chess width, 14% inches TuHE half-length figure of a young woman seen from the back as she dresses her reddish-yellow locks. With her left hand the sitter has gathered her tresses into a bunch at the base of her head, and they flow over her arm, revealing the upper back and neck as she turns her head toward the right. She wears a blue underwaist, low at the neck, where the flesh tones, between the blue of the waist and the reddish hair, and the graceful curve of body as the head is turned away to the right, have caught the artist’s fancy. Signed at the lower right, Armd. Berton. ee a ae No. 76 H. BOUKER PRES DE LA FENETRE Pastel Jet — Height, 22 inches; width, ae Pe nate A young lady of pleasant features‘and slig y tip-titled nose is seated at a window in the winter time, sewing or em- broidering on some white material gathered in her lap. She is dressed in dark colors and the room itself is dark except at the window, so that she appears almost in silhouette as it were. Through the window panes are seen outlined the bare branches of a tree. Signed at the lower left, H. Bouker. No. 77 GEORGES CALLOT FRENCH Nineteenth Century DAME | Pastel 5a Se inich?. 2014 imches; width, 154 gle Pie: UA Yv AA A YOUNG woman with light brown /hair, her head poised ~ over her right shoulder, glances smilingly in the direction of the spectator, with some pale yellow or tea roses that have decked her hair falling about her neck. She is seen head and bust, a single blue wrap that has dropped from her shoulders clasped with one hand below the exposed breasts. Signed at the upper right, Georges Callot. No. 78 ¥ LOUISE BRESLAU GERMAN 1856- DAME - Pastel Height, 23% inches; width, 164 mches THE artist has drawn the portrait, in head and shoulders, of a lady with clear hazel eyes whose features have the sug- gestion of a smile, though in repose, and who looks straight _ at the spectator, her head slightly tilted toward her right shoulder. She is dressed for the street, her jacket buttoned to the neck, and her lips are a vivid pink. Signed at the lower left, L. Breslau, 1891. =e Se | aS No. 79 MARY CASSATT AMERICAN Contemporary DEUX TETES DE FEMME * Pastel Height, 15 mches; length, 21 inches C05 O—— Dede Les) C Two youne women, both self-contained and moderately : ageressive, wise each in her own belief and way, are de- picted, head and shoulders, as in a temporary pause in a conversation or an argument. One, with plump outlines and deep russet-brown hair, whose light green and pink house gown can be seen on her shouiders, is figured in pro- file facing to the right. Her interlocutor (all but her head screened by a red fan which she carries), is dark- haired and dark-eyed, and looks at her plump companion searchingly and questioningly. Signed at the upper left, Mary Cassatt. No. 80° PHILIPPE CHARLES BLACHE FRENCH — Deckascd CLAIR DE LUNE : Pastels / Retest Height, 18 inches; wise 2334, inches In the greenish, blue and gray mists of moonlight, a land- scape of hills and valley appears as if in the process of crea- tion and still coming into being. In the foreground a group of dwellings is well defined, and back of them trees are beginning to assert themselves, but in concilliatory aspect, while beyond, over the distant hills, the moon is just appearing, and leaves their outlines vague against a still somber and o’erclouded sky. Signed at the lower right, dated 1882 and 1887, cae numbered 58 © No. 81 LOUISE BRESLAU GERMAN 1856- JEUNE FILLE Pastel = Height, 24 inches; width, 16°4 in Fig) Bee, helewidl A YouNG girl of quiet and thoughtful expression is seen at half-length, standing, facing the spectator, and looking intently to her right. Her brown hair is falling over her shoulders, which are covered by the over-folding long- pointed collar of her white and lavender gown. Just below the front of the low-hanging collar a wide black sash binds her high waist. Stgned at the lower left, L. B. (in a monogram), 791. No. 82 MARY CASSATT AMERICAN Contemporary JEUNE FILLE LISANT Pastel pagent, 2194, inches; width, TZ ee SEATED at a table facing the spectator al sie SNe inl is reading a book which lies open in front of her. Her flaxen hair is banged over her forehead and brushed straight but loosely back over her crown. She leans with one elbow on the table, resting her cheek on the hand, and with the other hand fingers the leaves of her book. Her _ features are clearly marked and her cheeks are almost as pink as the lower sleeves of her blue frock. She is shown against a neutral background. Signed at the lower left, Mary Cassatt. No. 83 CAMILLE PISSARRO FRENCH 1810-1903 PAYS ANNES : Pastel Height, 18 inches; length, 22% inches RE ne Me CG Gaal Two sTuRDY peasant women are pictured in characteristic attitudes and with much homely attraction. One, with her arms bare to the elbow, stands,—head bent down- ward, as ever,—holding under one able arm.a bundle of sheaves at her waist. She wears a gray blouse and an old-pink skirt. The other woman—somewhat younger but with heavy features and vacuous expression—clad in blue, with a red and yellow headdress, stands carelessly by, with her heavy hands resting on her wide hips. Signed at the lower right, C. P. No. 84 EUGENE VIDAL FRENCH Nineteenth Century JEHUNE FILLE Pastel Height, 231 inches; Be LT schon // Cie wpe A TRIM young girl in street attire is shown at three- quarter length, back view, her head turned to the left so that her face is seen in profile over her shoulder. She has regular features and looks steadily at something be- low her at her side. Done throughout in neutral tones. Signed at the lower left, E. Vidal. No. 85 HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- BAIGNEUSE | Pastel D7 £7 —Height, 21 inches; width, VY inches young woman of ample figure is climbing into a bath tub, which reflects blue and purple lights save where a white towel is thrown over its rim. The varied lights and their reflections on the nude flesh of the bather’s back and side, which are toward the spectator, have made an inter- esting study together with the drawing of the flexuous pose. Signed at the upper left, Degas. Al 4 ee ee In a room with warm-hued walls of a Yellowish tone, a ye Y LAA Ke eo 0 Sd ee ae ton be oP Cee PAN AOD ey Ee ee” Na a ae ee es ~~ Oe ee es et * Set 7 ie} Pe TSE ee Che btn Porgy ma Ae Oh te ety allege -o ght ON den a ae ee ase, Sa tC ee CORED EMEC GMS mamma re EMC te ye Y me a He Ate Are coma Oar ULE, Wire (Ha | it Rea ae hs im vey > os ‘ Gy ‘ cee Me icy, 5 Sts ee ate ee bs ‘ x . os vo } Sh od le 7 ¥ 4 y 4 Un eerie “Din ‘ + 7 ras uM y uf , Pe isk , 49 4 ‘ 4 No. 86 FIRMIN-AUGUSTE RENOIR FRENCH 1841- FEMME DEMI-NUE Pastel * Loa —ye — Height, 23% inchessywylth, ee inches A YOUNG woman with sapphire-blue eves and light hi eg eg hair is seen at half-length, and looking directly at the bet spectator, her lips parted. Her single, bluish-white, filmy undergarment has slipped from one shoulder below the _ well rounded bust, and the painter has studied the tones and mottlings of the neck, breast and arms. Signed at the lower left, Renoir. No. 87. HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- TOILETTE MATINALE Pastel / ub 6 0 — Height, 231% inches; width, 17 inches ee A. YOUNG woman has arisen from bed and stant partly dressed, braiding her yellowish-brown hair, at a wash- stand that holds a blue bowl and pitcher. Her figure is slim, and as she turns her head sidewise and tilts it back for convenience at her braiding, her still sleepy face is seen in profile. Signed at the upper right, Degas, ’94. No. 88 HILAIRE GERMAIN EDGAR DEGAS FRENCH 1834- FEMME SUR LIT Pastel Height, 1934 inches; length, 251 inches aco Bente A WEARY young woman in a negligée garment—quite likely a tired model, resting—has rolled the wrap down from her shoulders and thrown herself carelessly forward upon a divan, one knee curled under her, one foot resting on the floor,—her torse among the pillows, her red-brown hair falling over her back. Her face, turned three-quar- ters front, lies against her right hand upon the pillow. The other arm is extended backward along the back of the sofa, and vari-colored draperies are scattered about. Signed at the lower left, Degas. No. 89 PHILIPPE CHARLES BLACHE FRENCH. Deceased PRINTEMPS : Pastel Height, 2614 inches; width, 201 inches yee va ae aot ek : cee Cieee in Isére, in the ecutheaat of France, with the Grenoble spire which Blache found so interesting as the principal architectural feature of the composition. This old clock tower of Grenoble is one that the artist studied — many times, rendering it, as he says on the back of this picture, from month to month of the year, in the vary- ing weather, sometimes depicting also the mount behind it, known locally as “Nero’s Helmet,’ which is visible when the weather conditions are favorable.* (‘The French text of the inscription on the back appears here- — under.) Here the spire is already in -+the evening shadows—the month is March—although the curious mountain beyond it is still alight with the sun’s late rays aloft, and the sky is yet light and blue, with tinges of sun- set. Alow, on every hand, the church tower below the spire is embraced in masses of blossoms, which seem strange of hue in the evening light, and mount to the very top- most twigs of the tall trees. _ : : Signed at the lower left, dated 1894 and 1897, and numbered 49. *“Variations selon les mois de l’année . . . et le temps qu’il fait sur ce motif: ‘Un vieux clocher de Grenoble—ayvee—derriére— visible parfois . . . selon le temps . . . le mont qu’on appelle 9 la-bas “‘Casque de Néron.”’ Ceci est un soir de Mars.” a aslo No. 90 PHILIPPE CHARLES BLACHE | FRENCH eves Deceased LA NEIGE Pastel S$ Q<¢ Height, 291% inches; width, 2434 inches + Ir is snow, but snow without col a ow on the or ledges and in the crevices; snow on the bare branches of the trees; and snow in the air. The spectator looks from a window or eminence through the interlaced, snow-laden branches of the trees, toward a great church or cathedral, which seems partly buried in the snowfall. The building is the old church at Grenoble, which Blache painted in all weathers and all seasons, studying it with care under the different meteorological conditions. _An- ° other view which he had of it in winter, when the snow was also plentiful, is to be seen in No. 135 among the oil paintings of thiS collection, with the curious mountain known as “le casque de Néron” in the background. Both spire and mount, seen from a slightly different point of view, appear again in the pastel No. 89 of the collection, the season then being Spring. Signed at the lower left, dated 1894 and 1897, and numbered 4'7. OIL PAINTINGS TO BE SOLD IN THE GRAND BALL-ROOM OF Pe PLAZA FIFTH AVENUE, 581Tx TO 59tne STREETS On Thursday Evening, January 9th, 1913 BEGINNING AT 8.15 O’CLOCK No. 91 EK. ROSSANO ' ITALIAN Contemporary RUINES ROM AINES a, eee Bb A sxetcH of some ancient ruins—irregularly br walls—of dull reddish tone, over a sand-colored plafnh,— and in the distance two wooded mountain summits under a blue sky. Height, 612 inches; length, 101% oa Signed at the lower right, Rossano. No. 92 E. ROSSANO ITALIAN Contemporary ARBRES EN AUTOMNE / Se Height, 1034 inches; egy, ae sie y A. ¥FEw rocks in the foreground, the crest of a rollin U/ field,—and two scragegly trees rising against a leaden sky. Their leaves have mostly fallen. Up the trunk of one the clinging ivy is still green. At the foot of the trees a few scrawny field growths, yellowed of autumn, rise over the dark green grass. Signed at the lower right, Rossano. No. 93 VICTOR VIOLLET LE DUC FRENCH Contemporary POMMIERS EN FLEURS Panel ob Height, 7 inches; length, Oe Ces VIA. In an open field freshly carpeted with eee Spring grass, lines of apple trees are ablaze with their white and pink blossoms, which in profusion adorn the scrawling and irregular branches. In the middle distance are discerned the figures of people who have come out to enjoy the season of these ever-fascinating arboreal flowers. Signed at the lower left, V. Viollet le Duc. No. 94 VICTOR VIOLLET LE DUC FRENCH Contemporary COUCHER DU SOLEIL Panel — De Height, '(34. inches; Bisih, 10 aes ff, See Pee wn THE blue water of a river which tae the fore- 4 ground, and is seen extending back into the landscape, mirrors a robin’s-egge blue sky. ‘The river’s course is through a land mainly low, and gently sloping to the right. In the middle distance at the water’s edge a slender tree or two rises, on the left; and beyond them, at the far horizon, the sun is sinking in a pink glow below the low land. Signed at the lower left, V. Viollet le Duc. No. 95 EK. ROSSANO - ITALIAN Contemporary LISIERE DU BOIS ft Height, 1034 inches; width, 7 Anch ae ee Her: is pictured a shallow gully at the edge of a d— a tall bush at its foot; its sides, up and between which the spectator looks, lined with abundant green underbrush. A little V- or U-shaped patch of sky is visible at its far- ther end as the eye follows its upward course. Signed at the lower right, Rossano. No. 96 EK. ROSSANO ITALIAN 7 ae Da suse 8) LE FLEUVE rae ow 3 Height, 5 wnches; vet eee A LONG, low, flat boat, setting 1G own in the vata seen in the central foreground, in the broad river Which © flows across the canvas, its farther bank high, mud- bordered and grass-topped. Beyond the level plain which | forms the grassy bank-top, the land rises at an easy slope; — and plain and hillside are dotted with cottages, ps sketched amid indeterminate trees. Signed at the lower Bye Rossano. No. 97 FIRMIN-AUGUSTE RENOIR FRENCH 1841- PORTRAIT D ENFANT Height, 101% wmches; width, 7% inches Le dinber cass Varro he eee TuE portrait of a pudgy-faced, golden-haired child with large, deep blue eyes and rosy cheeks, who is shown head and shoulders and facing the left, the head turned three- quarters toward :the spectator. The child is clad in a rough blue jacket. The hair, which falls loosely over the shoulders, is brushed smoothly down in front, in a straight bang, over the low forehead. Signed at the upper right, Renov. No. 98 GIUSEPPI DE NITTIS ITALIAN 1846-1884 LA COTE Panel Height, 614 inches; length, wy ae Vohre. Aaa sketch of a mountainous and roc y coast, pert haps Italian, and a partly landlocked bay on which somte black-hulled sailing ships, of square rig, ride at anchor in the distance. ‘The rocks are of burnt orange tinge, the hill or mountain tops are obscured in purple mists, and the quiet water is of the hue of the green turquoise—a big land- and sea-scape within small compass. Signed at the lower right, De Nittis. whtAFER __ i No. 99° VICTOR VIOLLET LE DUC FRENCH Contemporary ARBRES AU BORD DUN FLEUVE Panel ay Height, TAnches,; length, 12V inch pe cig” ep fy Aine ln inche In the tones and the quality of the water anM)the sky there is a suggestion of Boudin here,—in the blue river which moves slowly at the right, under a sky less blue only because of the multitude of gray-white clouds which make the great world-dome populous. The foreground presents low-lying green fields, which are crossed by a riverside footpath leading to a cottage sheltered beneath a compact group of trees that give to the picture its title. At the right the broad river sweeps in a great bend, in- denting the left-hand shore, and long rowboats rest at intervals with their noses against the grassy bank. Signed at the lower left, V. Viollet le Duc. No. 100 VICTOR VIOLLET LE DUC FRENCH. Contemporary L’ETANG : Panel > 7 jo Height, 7 inches; length, ops is Sa erie ONE corner of a pond appears in the foreground—blue, : save where its limpid sheen reflects the rushes and verdure of a bordering meadow at the left, whereon cattle graze. At the right arises a mass of low, bush-like trees, at whose base the shadows deepen over the water. Signed at the lower left, V. Viollet le Duc. No. 101 VICTOR VIOLLET LE DUC FRENCH Contemporary ETANG AVEC VILLAGE Panel j jets Height, 8 inches; length, Fae ; ey AT the left the head of a et aa coming up, in the foreground, to a broad, irregular road, which, extending: | into the distance, is lost amongst a grove of trees beyond the pond. To the right of the road, in the middle dis- tance, the houses and other buildings of a village, with red roofs visible here and there, are banked against a green hillside which forms the boundary of the picture. Some of the villagers are seen about, in the bright light of a clear day. Signed at the lower left, V. Viollet le Duc. No. 102 VICTOR: VIOLLET LE DUC FRENCH | Contemporary PRINTEMPS Panel ® a7 ve Height, 12 inches; width, eye THE gable of a high-peaked roof, Co WU chertes chimney top, abuts at the left of the composition before the end elevation of another high gabled building, both apparently dwellings in a kindly country. A blossoming apple tree intervenes between the houses, and beneath it at the end of a shed, or lean-to, a woman has scattered feed for the chickens, which cluster about her on the sward. Signed at the lower left, Viollet le Duc. No 103 VICTOR VIOLLET LE DUC FRENCH. Contemporary FERME AU PRINTEMPS Panel o« HMeight, 8 inches; Aength, 12 wmches eae me iO “2, Ri A BRILLIANT moment made permanent. The charm o gloriously bright Spring day, when all Nature was sing- ing in the country, becomes potent, personal and direct, in a pigment so delicate that the medium itself is for- gotten. ‘Thatched-roof farm houses and outbuildings are almost screened from sight by a wealth of blossoming trees and shrubs and plants, which surround them, in a level green field as fresh as the season itself. Before one of the cottages a woman in a red waist and blue skirt brings humanity into touch with the vernal beauties of outdoors. Signed at the lower left, V. Viollet le Duc. A pendant to No. 104. No. 104 VICTOR VIOLLET LE DUC FRENCH Contemporary _ FERME AU PRINTEMPS Panel A gee vo __— Height, 8 inches; length, ane S A FRENCH farm house with its outbZildinge 4 is eee part of the group is seen—in the center of a flat plain at the edge of a low, round-topped hill. Abundant foliage on slender limbs and branches rises before and over some of the buildings, screening them from view. A haphazard footpath winds over the verdant plain toward the main cottage, losing itself to sight before the door in the lux- uriant new greenery of tree and bush surrounding the dwelling. Over all is a kindly sky of pale azure, beyond a low floating mass of vaporous fleece. Signed at the lower left, V. Viollet le Duc. A pendant to No. 103. ele bod / No. 105 VICTOR VIOLLET LE DUC FRENCH Contemporary FLEUVE AVEC UN PONT Panel Height, 91 inchs; on 13 Cee oboe A PLACID river pursues its Leg 1 course locale green fields,—with lush verdure covering the low banks to the water’s edge,—and amid detached Lombardy poplar trees, which stand in small groups and singly, like high- placed sentinels, overlooking the landscape. At either bank, in the middle distance, small boats are drawn up, and on a point of land two men have disembarked from one of these. In the distance the eye perceives the gray arches of a stone bridge crossing the pastoral stream. Signed at the lower right, V. Viollet le Duc. No. 106 EK. ROSSANO ITALIAN . 3 Contemporary CACTUS | Height, 81% inches; length, 10 inc Lo ye oe 6 f Lae THE picturesque forms which the ie cactus take caught the artist’s eye for a natural composition. he sturdy plants, green and a dullish red, raise their bulky outlines in an irregular and picturesque group, below which a black-haired, grim-visaged youth or man, in a red _ fez, is seen, shoulder-high, against them. Probably a note for a large picture. (0 —— Height, 101% ee - Te broad river, of a silvery Sn) he just tinged ath reflections of the green bank at the left, and gently rip- pling in a summer breeze, is populous with the shipping of a busy port. The tall masts and: yards of square- riggers rise against a blue sky flecked with bits of white cloud, the spars of the more distant vessels being blurred in smoke and a warm haze. Signed at the lower left, V. Viollet le Due. No. 121 VICTOR VIOLLET LE DUC FRENCH | Contemporary _FLEUVE | Panel / 4 se Height, 10% inches; length, 16 ig : fio river, very likely the Seine, DP state right across the picture and forward, bearing numerous craft assembled along the margin at a small town thickly _ grown with bushy, shady, green trees. Beyond the flat _ borderland of the stream, the landscape extends in a high, _ even hillside, as far as the eye sees. The whole is bathed in warm, hazy light, under a moist and vaporous sky. Signed at the lower left, V. Viollet le Duc. =i | POSEN G. 122 ARMAND GUILLAUMIN | FRENCH igh 841- BORDS DE LA MARNE meets Height, 12% inches; ee 45 1/2 pak aye Tue water of the river has in places the blue of starch, or of slate; again it takes the color of the reddish banks where the verdure has been washed away, or of the green slopes where the grasses and herbage still cling at the stream’s edge. Trees green and blue rise at either side of the river, in regular and irregular masses, and the swirling clouds of a breezy day are tinged variously in sunset hues. Signed at the lower left, Guillaumin. No. 123 VICTOR VIOLLET LE DUC — FRENCH. Contemporary LA RIVIERE Z = Height, 10 inches; length, imchey — ie "4 eet : i of ff Aol A. PASTORAL stream, silvery under a light gray : threads its way through a flat, green valley, its irregular boundaries indenting the land and projecting into the river as though but half-heartedly stemming or confining the gentle current. Grasses and blossoming wild flowers border it on the hither side. Across the stream a few slight, graceful trees are growing, here and there. At the foot of one group of the trees a boat with a figure or two in it is drawn up on the bank, and at the horizon there is a line of low hills. Signed at the lower left, V. Viollet le Duc. No. 124 CHARLES LAPOSTOLET FRENCH 1824 DORDRECHT Height, 1212 mches; length, 15% wake ae oe Ces 4 A Aetifoite A putTcH land- aa water-scape in low key,! (aes a quiet picture of one phase of Low Country life. A river or canal enters the picture, forming the foreground, and on its waters floats a cargo boat with a single tall mast, the hull almost at the doorways of the buildings on the bank at the right. Here, figures are to be seen near the ship, and farther away along the stream are suggested more buildings of a town. Signed on the back, “a Dordrecht, 1872; C. Lapostolet.” No. 125 EK. ROSSANO ITALIAN Contemporary BOIS DU BOULOGNE 5 Height, 144% inches; Mw, 161 inches $78 CR. —— A - HE Seine is shown at a bend, or elbow, an extended stretch of the right bank along the famous park forming, with the river, the major part of the composition, only a wooded point of the farther or left bank being visible. The hither shore in its long sweep is grass-bordered, and the trees, some of them sending projecting branches over the water, do not grow so near to the stream but that plenty of promenade room is left. Here, along the grass, a man and woman are approaching, arm in arm. In the distance one sees an arch or two of a bridge. Signed at the lower left, Rossano. inches: ‘width, ay, ne 2. af ark, Bee Man anda full ie ae ROSSANO - ‘JTALIAN Contemporary _ aay ULL ( ese of a green hill which enters the nenie from: hit he Eeroly, and to a greater height, at the left,—the deep cleft. being filled with trees. A road in the foreground is bordered by a masonry wall, which, turning to the left, : _ becomes a viaduct, pierced by archways, and carrying the road over the valley. And | in the distance are more roll- ing hills. | | ; oe | Signed at the lower right, Rossano. YEALIAN ; eS PAY SAGE ITALIEN © We oe Height, 13 i ~[TRREGULAR hills rise r valley dotted with buildings. — In ttle for gt winds through a pass among low hills, a the foot of a broken wall two children ; are and a girl—on the grass. A quiet lands 5 effect of remoteness, which is scarcely m n presence of the children. eee Signed at the lower ee Rossano. No. 129 ALBERT LEBOURG FRENCH 1849- PAYSAGE AVEC FLEUVE i .¢ Height, 141% inches; length A sLUGGISH river passes across the canvas, its~/br foreground darkening toward the middle distance | the shadows of the farther bank and its trees. Behin trees, over the last blue hilltop, the sky is alight, and peo- pled with purple clouds. The foliage of the far bank has the hues of Autumn, and on the quiet water of the river float two rowboats, carrying people. RO Che) ane Signed at the lower left, A. Lebourg, 1873. No. 130 ALBERT LEBOURG FRENCH 1849- EFFET DE NEIGE acd ee Height, 15% inches; length, 251 ine is Be LIN Arf er A RARE, snowy day of winter in Paris, the view tea fig ( along a boulevard near the river. The air is seemingly charged with fine, drifting snow, though the sky over- head has almost cleared, and the sun has struggled through the vaporous curtain near the horizon suf- ficiently to throw cool, green shadows over the whitened roadway. Two great white horses, laboring tandem, drag a cart forward, and an occasional pedestrian is seen on the sidewalks. Signed at the lower right, Albert Lebourg, 1892. Inscribed on the back, “Boulevard aw bord de la Seiwme, avec environs de Paris. Paysage d@hiver.” No. 181 | PHILIPPE CHARLES BLA \ FRENCH Deceased — ETANG DANS LES MONT AGNES. a ee tte . Haske 204% inches; ‘width, 1b ey ye bar / « me ‘aa eae clouds. The near dope of the nearest RE u aus covered with verdure and trees, descends to a pc nd. : bordered, in the foreground, where the water m = . colors of near-by trees and the hues of the distant Signed at the lower ers dated 1892 and et see nu ib | No 134 Bt me ARMAND GUILLAUMIN FRENCH | pre. 1841 fA g NSA a SOLEIL COUCHANT 4A CHARENTON, JUIN, 1891 Height, 18 inches; length, 2114 inches S the ae Tue Seine and the sky are aflame with the chromatic Bree a jiance of sunset, as the spectator looks from Charcton | westerly across Paris, with familiar monuments of the city rising in distant silhouette against the burning heavens. 4 At the right is a green bank of the curving river. ‘At the left, buildings line the shore, and above them the gonfalon of industry—a pall of swirling smoke sent from numerous _ chimneys—streams out over the peaceful river and mounts 3 a toward the effulgent sky. a? Signed at the lower right, Guillawmin, ’91. The title as given appears on the back. eae Clete sree. ae Oa ict Pades3 {\ Le sic _ PRENCH ie a | Deceased ae 0 ua, inches; ah 19 inches point of view is from a igh window, ; ei. Rede a blue ey in the late rays of : sun. These MG une nea eee Hv, Grenoble stu ied fen at all times of the year and in varied weather ‘ al hi gehts. A similar composition, in a different seasonal as pect, appears among the pastels of this collection in ae Gs ringtime’—No. 89 of the group of pastels—and the ) TINS" ree church tower in Winter is seen again, alone, in “Snow,” No. 90 of the same group. re \ ay Signed at the lower left, dated 1893 and 1895, and numbered 5. FRENCH > 4 | 18H PRAIRIES . Height, 21 hee Tenet J-£0 ter uiidinealt in the middle distance, appears ibe ie brilliant BUUREN? of late sunsch ae 0 Sioned at ‘the lower right, Guillaumin. No. 142 ARMAND GUILLAUMIN FRENCH 1841- RUELLE A CROZAN APRES LA PLUIE ie poe 21 weted lengthg25\% ine ae oe Bs Mey A FreEsu and living impression of a a grouping ns of peasants’ cottages, trees, and an end of a narrow lane, | after a shower. The leafage of the trees is sparse. Many : colors are reflected from the path, boulders and por and across her cottage doorway, in the middle distance, an old woman Sait looking up the path. Signed at the oe right, Glee shin. | No. 143 BARDOMENEGHI ITALIAN LA TOILETTE / ba Hee Height, 251 inches; width, 21 inches A YOUNG woman in a creamy-white dressing sacque is seated, facing the left, gazing into a hand mirror which she holds in her left hand, while with her right she reaches up to adjust her dark brown and banged hair. She is shown at three-quarter length, and her right wrist is en- circled by a red bracelet. Back of her a woman of mid- _ dle age and knotted knuckles stands helping her, both hands pressing down the girl’s back hair and arranging its comb. Signed at the lower right, Bardomeneghi. Kirondl tek No. 144 EUGENE VIDAL FRENCH Contemporary DAME A OMBRELLE - vai ; Height, 27 inches; Wes 20 inches y seni : | figs A YOUNG woman whose hair has sioren red in it so that it is not likely to be overlooked, who is walking to the right, has turned to look with a mild and questioning coquettishness over her right shoulder, so that she is seen almost full face, her wise head framed in her open, crushed raspberry parasol, with which she screens herself from an imaginary sun. She is seen head and shoulders against a foliage background, in a black waist somewhat low in the neck, and a black hat of a former fashion,—a fetching young woman of her time. | Signed at the lower left, Hug. Vidal. No. 145 CAMILLE PISSARRO : FRENCH ° 1810-1903 MAISON DE PAYSAN eee 23 inches; length, 281 inches J d-1-0 As Pee hile THE corner of a prosperous French far yard j is repre- - sented in the full green of summer. In the foreground a woman in a plum-colored dress and blue apron bends over a jar or can on the green lawn, and one of the domes- tic animals buries its head in another receptacle behind her. Further away a child is at play on a bench, near a woman who holds an infant in her arms. Corners of the farm buildings project at the right; and beyond the gar- den wall, which is skirted by rows of bushes, are seen the houses and trees of the neighbors,—all in sunlight, under a blue sky with mounds of fleecy-white clouds. Signed at the lower left, C. Pissarro, 1892. No. 146 CAMILLE PISSARRO FRENCH 1810-1903 BAIGNEUSE SEULE 1B dp «Height, 231 inches; Mii be al A coon. woodland stream makes its way through a glen, one of its banks showing a small clearing where the sun- light penetrates. Here, near a bush under which her clothes have been placed, a young woman of yellow hair and large figure is seated on the grass, drying herself after her bath. The water is filled with green reflections of the trees and grasses. ; Siened at the lower left, C. Pissarro, 1895. No. 147 ARMAND GUILLAUMIN FRENCH. ~ 41841- LE CAP LONG ET LE CASTEL SAGAY ™ S ba aye yw Height, 23 inches; saad 2812 mches te Rep and rugged TOL of a steep coast fill the force ound, mounting high at the left, while to the right one looks across them to a sea of intense blue in a bright, cold morn- ing light. Beyond the arm of water a green and rolling coast climbs to more rocky cliffs, and distant hills are purple under a sky more green than blue, with sugges- tions of feathery clouds. Signed at the lower left, Guillawmin. Inscribed on the back, “Le Cap Long et le castel Sagay, j&” °93, 9h matin.” () ‘ee v4 hiss No. 148 SEIKI KURODA JAPANESE Contemporary LE MODELE ; He ht, 28 inches; O. + Febcs & Oe Ute ite THE model, a blond-haired woma abo aspect, is seated on a stool in an atelier, her black frock dropped to below her bust. She is so posed that the spectator sees her from one side, as she is turned to face two students who are painting her from different positions. A pecu- liar, diffused light permeates and overspreads the studio, giving to the homely fixings and properties a “quality” especially interesting to the student and amateur of paint- ing. No. 149 SEIKI KURODA JAPANESE Contemporary FILLE AUX CHEVEUX ROUGES eo Height, 311% inches; width, 21 PT J poo ee, Uabck ~ OnE of the “little women,” as Paris eens see aged be- fore her time—a girl with a woman’s face (and here her hands), as though deformed. She stands, her yellow-red hair hanging down as if in mockery of conditions and sur- roundings, with her back against the bare wall of a poorly furnished room, before a chair on which a spoon and a broken bowl have been deposited. She is fingering some material, as though making preparations to sew, while her heavy face, with a story of the ages, is turned three-quar- ters toward the spectator. Her short dress is a greenish- yellow. tae 1850- BH Se, FILLE SUR LE GAZON 2 vere Height, 93 inches; =e 4 . Al BEAUTIFUL young girl, her 8 wis mer re One arm rested in her lap mer He aes ghtl on the other, the hand posed on the ground a litt 2 way from her. One white slipper projects from the Ids her skirt. The background is the grass and en ishe Signed at the lower right, R. Collin, °95 No. 151 SEIKI KURODA JAPANESE Contemporary JHUNE FILLE OS OR ae You -—Height, 31 4 anche width rane h ap ee hight Fle from the left fill’ upon her strange Ra i At her side grow blossoming marsh plants, about a eal Ss Seeks No. 152 ARMAND GUILLAUMIN FRENCH 1841- PONT DANS LES MONTAGNES Gag An arched stone Beare carrying a steep trail over a blue mountain rivulet occupies the center of the composi- tion,—picturesque in the rugged outline of its abutments and the colors of the weathered stones. 'To the right a group of tall trees shoot skyward, and ahead is the scarred and colorful side of the mountain range, the irregular trail climbing up and up, and losing itself in a cleft of the huge flank. | Height, 2514/2 inches; eee 3134 anes ‘i oe be Signed at the lower right, Guillawmin. No. 158 ARMAND GUILLAUMIN FRENCH 1841- CHAUMIERES A MIREY ANDON Ato oS Height, 251% inches; ee ean Liles Ir is a June morning with light gray clouds prevail- ing after a time of rain or mist, but with no haze left over a varied landscape. Brick-chimneyed cottages rise in reddish, purple and mottled aspect near two curved and leaning trees of the foreground, beyond and about them being more trees, and bushes and grass in pro- fusion. In the distance is a field under cultivation, bordered beyond by a line of trees which appear deep blue at the horizon. Signed at the lower left, Guillawmin. On the back ts written the title, and the memorandum (“le matin, temps gris,—? Juin, de 7 hr. ?’’) No. 154 _. ARMAND GUILLAUMIN FRENCH 1841- MOULIN A CHARENTON eae ., Height, 251 inches; length, 31S, 3/4 inches oe Lp Bro VV AL ty SF Ll, ts NA Tu A LANA In the midst of a Meshing landscape in/an undulat- ing country, an old mill stands in the course of a stream whose current runs swiftly among rocks and _ small boulders. ‘The big water-wheel is seen at the end of the building, in the stream which fills the foreground, dotted, as has been said, with small boulders and jagged pieces of rock. The rolling hills beyond have trees and houses and color, under a bright blue sky streaked hori- zontally with white clouds. Signed at the lower left, Guillawmin. No. 155 ARMAND GUILLAUMIN FRENCH 1841- VALLEE wae ine Height, 251% inches; le Ka i THE spectator looks across the rounded slope of a hill at the right, where sunlight has coaxed flowers into — bloom, past green trees whose tops only are visible on the hill’s farther side, to a bold, jagged hill beyond, which looms high under a strong sky. A landscape of green and purple, of trees, rocks and flowers, of hills and chasms - and indicated valleys, and of sunshine. | Signed at the lower left, Guillauman. No. 156 SEIKI KURODA JAPANESE Contemporary COUTURIERE i Height, 3134 inches; widt inehes (0G = Wee. eee A woman of young-middle age is seatéd at her window— a small bouquet of simple flowers in a pitcher on the sill— — working at her sewing. She faces the right, and her face is seen in profile against the white curtain, as, clad in black, she bends over her dressmaking task. INO? 157 CAMILLE PISSARRO FRENCH 1810-19038 FANEUSES AU REPOS _ Height, 25772 inches; length, 3134 oo THESE three peasant women, laborers in Ps fields, have stopped to rest, and to gossip a little, in the heat of the noontide, when in the nearly perpendicular light there is scarcely a shadow. ‘They are wearied, yet alert, and in the pause in their haying have assembled at the foot of a haystack, against the base of which one of them leans. Two are young, and all are heavy; the younger ones in blue frocks—one bare-headed, one in a red headdress— the elder woman, who is seated back to the spectator, in old red, and wearing a green head covering tied about her ears and under her chin. Beyond them are the fields, and on distant hilltops are seen more of the neatly rounded stacks. Signed at the lower left, C. Pissarro, 1891. No. 158 CLAUDE MONET | FRENCH 1840- COTE ROCHEUSE Height, 251 inches; Jength, 31%4 inches yee aoe (AE wre - het: THE blue sea in the distance appears under a lively, purp- lish-gray sky, the nearer waters becoming a light green as they approach the outlying reefs of a rocky coast and break in foam on their extended and irregular bases. In- shore of these brown outposts of the inhospitable land, the water swirls gently and tosses up harmless froth; and then abruptly rise sheer, reddish-brown cliffs, ominous and solid, and seen by Monet in their solemnity with the artist’s eye. Signed at the lower left, Claude Monet, ’86. No. 159 EK. ROSSANO ITALIAN Contemporary SIX ETUDES ; a | (a) pk Height, 14% inches; width, Nee Ve alene OC A SEAMED and sloping hillside of gray rocks, with verdure and occasional trees springing up among them,—a large fissure or glen in the middle distance being crossed by a stone arched bridge or viaduct. Signed at the lower right, Rossano. AG oe Vir Height, 11% inches; length, 16 a : A grour of trees, in the country. Loe Signed at the lower right, Rossano. ie | li : 3 \ Youle Tete Height, 111% inches; length, 16 inches LEAFLESS, vine-wound trees, standing in irregular order on the broadly sloping top of a deserted hill. Signed at the lower left, Rossano. D— h a nv 60 Height, 101% inches; length, 16 inches ae Gray and green. An active gray sky over a dull and barren landscape relieved by a low line of green trees and bushes. Signed at the lower right, Rossano. a rpc Toes SrupiEs of irregularly growing trees on the gently slopin back of a broad hill. ie 6, . nbd Signed at the lower right, Rossano. Height, 11 inches; length, 20 mches poe yack Sap Height, 14 inches; width, 81 inches Canvas on wood ,, ves h Four trees growing in a group by themselves on the bank of a river. Signed at the lower left, Rossano. od ce >i po bs ——— i, fi: \gat No. 160 CLAUDE MONET FRENCH 1840- ENFANT PARMI LES FLEURS Le ey : Op, a . Height, 281% inches; length, 36 inches A YOUNG girl in a light dress and summer hat—her thick brown hair in loose form straggling forward over either shoulder—who has been gathering flowers in a bountiful garden, comes forward, arm-laden, on one side, with long- stemmed blossoms, and carrying in her other hand a basket quite as full of her prodigal pluckings. She walks in a broad garden path bordered by riotous blooms, which bank up against and before a green mass of trees and shrubs. The floral bank ceases in the distance and discloses a garden wall at the head of the path. _ Signed at the lower left, Claude Monet, ’88. No. 161 ARMAND GUILLAUMIN FRENCH 1841- PRAIRIE A BREUILLET _, Height, 28% inches; length, a 290 & Se aes A FLAT field, freely painted in outdooft/ lights, where the middle distance is broken by a line of broadly conical trees _ traversing the canvas from center to the right. Beyond them at the left, across the meadow of the title, appear suggestions of a village. In the extreme distance is dis- cernible one of those midsummer illusions of the super- horizon which may be a mountainous bank of clouds, their contour varied as the sunlight strikes them, or a cloud- band overlying and partly obscuring veritable mountains. Signed at the lower left, Guillaumin. On the back is written: “Prairie a4 Breuillet, Juin, 1870.” No. 162 LOUISE BRESLAU GERMAN . 1856- PORTRAIT DE LARTISTE : uy 44 inches; width, 38 inches : i, y ye A ha MV Tuk artist appears in a brown skirt, and a Ad at colored waist loose at the neck and with flowing sleeves, seated easily in a wicker chair. She is seen at three-quarter length, corner-wise of the chair, her left elbow resting on the chairback, the arm flexed to support her head. Her right hand rests on the chair arm and displays a single ring. ‘The features are sensitive and refined, and the quiet, greenish-blue eyes look straight at the spectator. Neutral background. eS Signed at the lower left, L. B. (in monogram), 1895. No. 168 LOUIS JOSEPH RAPHAEL COLLIN _ FRENCH 1850- Height, 85 inches; width, eae Uch fil et ding, on a bit of A MAIDEN of trim figure is posed, sb white drapery thrown over the grass of an open spot in the midst of what might be a thick green wood. She faces the right, three-quarters front, and leans her head back over her left shoulder, both hands raised and folded about her head—her eyes lightly closed. Her long red hair hangs down her back below her waist and is lightly blown out at one side, intervening between the flesh tones and the solid green background. NUDE Signed at the lower left, R. Collin, 1893. Exhibited at the International Exhibition at Copenhagen. No. 164 LOUIS JOSEPH RAPHAEL COLLIN . FRENCH 1850- DAME SOUS L’ ARBRE Heaght, 82 inches; width, 45 inches of ro es A TALL young woman of resolute eyes, with light, reddish- brown hair, is seen at full length, standing, beneath a tree with a moss-grown trunk, against which she leans upon her upraised right arm in an easy attitude. She wears a pure white dress, slightly low at the neck and unadorned save by a white bow at the white belt. In her free hand she holds, hanging against her skirt, her flat leghorn hat trimmed with black and red. The background is the humid green of forest undergrowth. Signed at the lower left, R. Collin, 1894. Exhibited at the Exhibition of the Société des amis des arts, Bor- deaux, 1902. : Exhibited at Helsingfors. ha wd (/ I=, * & Y 2s i eee » eee ae © = to?) axe wo se ee oe ee hg 1, Meee Cee NE B,D o >" P »* ‘“ Si , J a! - - et