al a ™ a I a i ~ Nese eee ; Lace SARC te SS 2 4 mw, SS eo MT) AS ol jj “te ise —— —_ J 4. ” ” - . 5 eer 5 i aye - iS fi x 4 ; Lal. - ee ? “s ‘2 a af 2 a _ ae / 5 im A " gy yet AY “\ ay % 0 Sta a a \ ee a LPS \ SAM | ray PF i ah nae RA AM es P Ny ped: a f ? \ Wiese Gan este geet . yA AVL {ey i ; =f ; \i Ly : A : ; rece s , pA Se AS EA Del Kor Ve pay ‘tit ‘pH x (A WY ( me. 1a we D . I i yen / ee jer 1 ey y yet of TS AVA: BPN ; ‘icon i tg F 3, — Os % a - Sere yop” ae y i pies ate strain siren om 14 pete mnanNa -aMenaerewe am ene) 1, Seemmetie Same) MERI rim s pr ese eens Ws pene Set WR AOR CIS aan centimeter pete as Won me metige A net mane Hida Bebe PRE Ot | ay Lat WE PME Sd i aR i eid aR = ers Tinea ae mee EUZE JEAN BAPTISTE GR NUMBER 259] | en hes ay) % SALE NUMBER. 1463°° ON PUBLIC EXHIBITION FROM SATURDAY, JANUARY TWENTY-FOURTH DRAWINGS BY AMERICAN BRITISH, DUTCH, FLEMISH FRENCH, GERMAN AND SPANISH MASTERS _ ‘THE COLLECTION OF V. WINTHROP NEWMAN [PART ONE] TO BE SOLD MONDAY AND TUESDAY EVENINGS FEBRUARY SECOND AND THIRD AT EIGHT FIFTEEN O’CLOCK THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1920 CONDITIONS OF SALE All bids to be PER LOT as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the ~ good faith of all claims and his decision shall be final. | Buyers to give their names and addresses and to make such cash pay- ments on account as may be reqvired, in default of which the lots pur- chased to be immediately resold. | Purchases to be taken away at the buyer’s expense and risk within r : twenty-four hours from the conclusion of the sale, and the remainder of © | the purchase money to be paid on or before delivery, in default of which | The Anderson Galleries, Incorporated, will not be responsible if the lot 7 or lots be lost, stolen, damaged or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. g To prevent inaccuracy in delivery, and inconvenience in the settlement 1 of purchases, no lot will be delivered during the sale. | All lots will be exposed for public exhibition in The Anderson Galleries © before date of sale, for examination by intending purchasers, and The — Anderson Galleries, Incorporated, will not be responsible for the correct- ~ ness of the description, authenticity, genuineness, or for any defect or fault — in or concerning any lot, and makes no warranty whatever, but will sell ~ each lot exactly as it is, WITHOUT RECOURSE. Bips. We make no charge for executing orders for our customers and | use all bids competitively, buying at the lowest price permitted by ea bids. The Anderson Galleries, Incorporated, will afford every facility for the ~ employment of carriers and packers by the purchasers, but will not be ~ responsible for any damage arising from the acts of such carriers and % packers. THE ANDERSON GALLERIES INCORPORATED PARK AVENUE AND FIFTY-NINTH STREET NEW YORK TELEPHONE PLAZA 9356 CATALOGUES ON REQUEST © SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN | ' EXTRACT FROM “ETUDE SUR GEORGES MICHEL” PAR ALFRED SENSIER [RENDERED INTO ENGLISH BY V. WINTHROP NEWMAN] N acquiring a proper knowledge of the productions of an artist, it is an essential that his minor work should also be carefully studied, seeing | that when originality and genius are manifested an endeavor to fathom | the mysterious evolution of conception and creative force becomes even more | interesting than the analysis of the resulting display offered to the public gaze. | A painter almost invariably betrays dual personality, presenting to the | world at large a thoughtfully prepared and carefully guarded attitude, fear- lessly facing the critics; the while concealing his natural instincts, discreetly | veiling with precaution his veritable passions, for, actor-like, he must present | himself before his audience playing the part that lends itself best to his inter- | pretation and seems to appeal most to the generally accepted taste and judgment. The wlluminative disclosure of inspirational “‘afflatus’’ wherein the artist’s | soul flashes forth untrammeled and free occurs in the revelation of his nebulous creations displayed in the subtle sketches, the swiftly drawn notes, the pulsating _ studies from nature, hastily dashed off in the frenzied exaltation of his vivid | amagination. It is in these indications, revealing a hitherto unconceived and unknown being divulging his secret thoughts, that he raises us almost to the _ relation of a confessor, permitting us to behold his innermost soul, tts pro- | foundest depths. Worshipped piously in his sanctified Madonnas, freely adored in his _ pagan pictures, Raphael, “The Divine,” exhibited quite another unguessed | current in’his vibrant and striking studies of the living figure; the rapidly | drafted compositions which were never intended for submission to unappre- | ciative laymen. Forcefully brutal, even to excess, his conceptions of the human _ form are as those of a creator of New Worlds; he ts titanic, and seems imbued with a frenzy of wild movement, an animal vigor almost archaic or barbarous. _ Possessing a humanity equal to that of Michael Angelo, his daring conceptions are as actual monuments demonstrating the freedom of his pristine thoughts. from all alliance or compromise with the far too delicate ideas of the world mn general, decisively showing how, in varying degrees of utterance, every man of genius bears within him ha glittering spark which ts the true sign of creativeness. Nothing exists more - expressive or more audacious in their spontaneity than the dashing masterly scribblings, the magnificently simple renditions, the mere indications, of Guilio Romano, of Corregio, of Poussin, of Claude Lorraine, Rembrandt, Rubens, of all those masters who confide only to ther _tnmost selves the vague visions that their dreams mirror to them. Thus it seems that therein lies the actual proof of their strength, for by — these means can be realized, in some measure, the doubts, regrets and indect- sions that beset them, as well as the fortuitous inspirational joys granted to — them by their fertile ¢maginations. , CONTENTS AMERICAN SCHOOL 1- 22 BRITISH SCHOOL 23-107 DUTCH SCHOOL 108-170 FLEMISH SCHOOL e 171-196 FRENCH SCHOOL 197-827 GREEK SCHOOL 328 RUSSIAN SCHOOL 329-330 SPANISH SCHOOL 331-334 TEUTONIC SCHOOL 335-855 NOTE The date of dispersal of the Drawings by Italian Masters, belonging to this collection, will be announced later. Thanks are due to Mr. William Clifford, Librarian of the Metropolitan Museum, for his unfailing courtesy and aid; also to Mr. Maurice Sloog, for valuable expert assistance in the compilation of this catalogue; to each of these gentlemen appreciative acknowledgment is gratefully tendered. The drawings in this collection, with but a couple of exceptions, are dis- connected from the mounts, being merely hinged thereto. the early age of 15, entered as a student at the Louvre and later at the © Ecole des Beaux Arts became a pupil of Baron Gros. This training © by grafting a French style upon his English art instincts produced a 7 happy strain, preserving his individuality of manner and treatment. It was while studying in Paris that the almost perfect bond of com- 7 radeship, lasting till death, was formed between Eugene Delacroix and Bonington. He was a great student and admirer of Constable ~ and has been quoted as being the link between the men of classic fame ~ in England and the Barbizon School H. 6; W. 835 — Lead pencil. From the H. Bonrenno and P. Martin Collections. 7 [SEE ILLUSTRATION] 12 WILLIAM BLAKE SEVEN| [NUMBER TWENTY bs - COSTUME SKETCH of a 16th Century Historical Scene. A broadly blocked-in, preliminary composition toned with local color- ing, representing Henry the Eighth, seated in a chair of state on a dais, dispensing justice to a condemned foe, whose sword is being broken across the knee of a court officer, in token of disgrace. To the right and left are grouped interested spectators. H. 6144; W.8 Water color. THE TOWN HALL, SOUTHWARK, LONDON ___ A picturesque water color of the Town Hall in the Borough of South- _wark; nearly opposite stood the Old Tabard Inn from which Chaucer’s - Pilgrims started on their journey to Canterbury. The Town Hall replaces the old church of St. Margaret on the hill, which in early days occupied this site. The atmospheric effects and delicacy of - expressions in this drawing are noticeably good; the natural values and correctness of grouping of the foreground figures are simple and _ effective, the light and shade in the whole picture being harmoniously : expressed. This may be considered one of Bonington’s best topo- _ graphical pictures. H. 854; W. 634 _ Water color. " BARDOLPH AND NYM A diverting little character study representing Bardolph and Nym, ~ from Shakespere’s “Merry Wives of Windsor.” The smooth and - subtle delicacy of coloring, the free and spirited execution of this diminutive drawing is notably enhanced by the shrewd humor, so cleverly delineated on the leering face of the principal figure. Water color. H. 2%; W. 2% 82 INTERIOR OF A CLOISTER A detailed sketch of a cloistered Courtyard surrounded by pillared “galleries; through the arched openings in the upper story can be “noted the vaulted ceilings and low doorways. The finials, gargoyles, ____ and other projecting portions show elaborate carving; in the foreground of the Court are two monks, a third is seen passing oes the covered way at the rear. H. 654; W. 854 Lead pencil. William Henry Brooke London 1772. Chichester 1860 33 GROUP OF FOUR HUMOROUS DRAWINGS (Punning) on one mount. (a) ee figure of a smith holding a hammer in his left hand; the background a thatch-roofed smithy, punningly ba eaeiune O— “Hammersmith.” H. 4; W. 3 (b) This represents no less than four illustrated puns showing various wine measures: The left a butcher’s boy, aproned, with a steel at his side, bearing on his head a wooden tray containing a hog’s head ; to the right a figure of Punch on a butt or bluff, smoking a pipe; below him an archery target or butt, i. e. Hogshead, Puncheon, a = 13 Pipe and Butt. H. 4; W 3 34 35 Se (c) A male figure in late Georgian costume, standing within a le ee} decorative letter U inscribed above “Emblem of Cruelty” and} below “In-hu-man”’ (In-u-man). H. 544; W. 87 1a Signed, lower left-hand corner, Brooke. iE (d) A bewigged waiter dressed in the period of 1790, his lips fasten ed | together by a padlock, bearing on a platter a sucking pig. | aeee above “A Piece of Furniture,” and below “A Dumb aiter.”’ | b This artist was for many years an exhibitor of portraits and figure subjects at the Royal Academy, but was more generally known for his illustrations to such works as Moore’s “Irish Melodies” and Iz Walton’s “Compleat Angler.” Punning in various forms had a vo for many years in England, nor did some of the best-known writers) disdain to use it, a notable example being Tom Hood’s “Faithless | Nelly Gray.” =H. 54; W. 34) Pen and ink and water color. Signed, lower left-hand corner, Brooke. Ford Madox Brown Calais 1821. London 1893 SUFFER LITTLE CHILDREN TO COME UNTO ME A composition of six figures: Christ seated, his right arm ondiheliniale ag child, the left raised in invocation, while a young girl beside him prays; next to her a kneeling woman in an attitude of devotion crosses her hands on her bosom; to the right another female with her | arm around a maiden’s shoulder. In the background a suggestion of a stone building and a cloudy landscape. This drawing, very Italianate in feeling, was doubtless made by | Brown while in Rome, where he went after his preliminary studies in Antwerp under Baron Wappers. Eventually he came to England, where, in spite of his difficulty experienced in attracting the notice of the general public, his striking individuality caused Dante Gabriel Rossetti to apply for acceptance as a pupil. Brown was in advance of his age and was a pre-Raphaelite before the word was coined, and though not identified with the movement at its inception must be considered its progenitor. H. 8144; W. 10% Wash. Reddish brown, on blue paper. Signed, at base, M. Brown. Henry William Bunbury Mildenhall, Suffolk 1750. Keswick 1811 CARICATURE OF SIR JOSHUA REYNOLDS, P.R.A. A racy and spirited sketch accentuating in the size of the nostrils Sir Joshua’s excessive snuff-taking habit. Bunbury achieved some note as a caricaturist and humorous reproducer of the everyday life of his time, also as a contributor to Boydell’s Shakspere. His wife wast one of the famous Horneck sisters celebrated by Oliver Goldsmith, the other one, Mary, having been the heroine of the only love affair of Sir Joshua Reynolds. This sketch was utilized by Bunbury for the artist’s head in the well-known travesty “‘A Family Piece,’ engraved by W. Dickinson. H. 9; W. 73% Pen and ink. tt 14 Alfred Edward Chalon, R.A. Geneva 1781. Kensington 1860 6 A HISTORICAL GROUPING OF FOUR FIGURES in 17th - Century Costume. — A royal personage issuing commands to two courtiers in Carolian dress, who signify their acquiescence by rising and bowing, while the stately figure sweeps majestically on, her train held up by an attend- ant maiden. This artist acquired considerable reputation at the court of Queen Victoria as a painter of royalty and was appointed by Her Majesty Royal Painter in Water Colors. H. 1834; W. 1534 bua gas Vandyke brown. Signed, lower centre, A. E. Chalon. John Constable, R.A. East Bergholt, Suffolk 1776. Hampstead 1837 37 VIEW OF AN ANCIENT, PARTLY RUINED CHURCH |, A remarkably fine and brilliant sketch of an old church, flanked on Pe the right by a low building embowered in trees, one of which fills the “right foreground; to the left is another house. The arrangement ' of light and shade is admirably effective and, while broad in treatment, the sense of detail is subtly preserved, resulting i in a unity of purpose and directness peculiarly satisfying to the eye. ' John Constable, simple and unaffected, absorbed in his great art, ranks today with Gainsborough as one of the founders of the school _ of British landscape painting. He was a pioneer of verity to whom the artists of Barbizon, as well as every lover of nature, owe the perception of the poetic sense of natural effect, in contradistinction to the classi- _ eally composed ordonnance of an earlier day. H. 7%; W. 1835 Lead pencil and wash. Sepia. Signed and dated in lower centre, J. Constable, R. A., 1829. 38 A TWILIGHT SCENE An exquisitely luminous interpretation of the soft stillness of a fading day. Silhouetted against a mellow sky, in which the rising moon glows softly, are seen the tops of houses and trees; above these rises the pointed spire of a church. Peaceful quietude reigns over all, 7a accentuating the somber, shadowy trees encircling the limpid pool, _@ -whose rippling surface mirrors the eerie almost indistinguishable forms of its dusky surroundings. H. 544; W. 8}; Water color. Henry Corbould | . London 1787. London 1844 389 COMMERCE, vignette design for bank note. Draped classic female figure, standing within a niche, holding in her left hand a fruitful cornucopia, resting the other on an oar of Greek form. On base the word ‘Commerce.’ Corbould specialized in drawings of antique marbles for engraving, but also drew consider- 15 (ei, 40 41 42 ably for book illustrations. It is claimed that in this field “His wor k 1 was among the most graceful and effective productions of the age’ (Bryan). H. 5:5; W. 33% Wash. Sepia, on Bristol board. Signed, in pencil, Corbould fecit, mn lower right-hand corner. Inscribed on reverse of mount, “Presented to} me by Chas. Tappan, Esq.” From the Lane Collection. 7 Maria Cecilia Louise Cosway Leghorn 1745. Lyons 1821 PORTRAIT OF A LADY, half-length, facing three-quarters to left | A rapidly-sketched portrait of a lady in high coiffure with hands) folded in front of her. A life-like representation produced in a few); sae good in composition, displaying a pleasant reposefulness ] attitude. Maria Cosway would have achieved greater prominence as a minia turist had her efforts not been overshadowed by her husband’s reno | She studied in Italy and after arriving in England engaged in victoria illustrations. She was a contributor to Boydell’s Shakespeare Gallery | and Macklin’s Lives of the Poets. Subsequent to her daughter’s death she entered a religious institution which she had higen to found, where she expired in 1821. H. 4; W. 2 4 Pen and ink. Sepia. PORTRAIT SKETCH OF A WOMAN’S HEAD A swift, expressive sketch of a woman, nearly in profile, facing to the right, with headdress fastening under her chin; the head drawn in| pencil and emphasized in ink, which is also used in defining the body. Lead pencil and pen and ink. Sepia. H. 534; W. 2%) f John Sell Cotman Norwich 1782. London 1842 SOUTHWEST VIEW OF THE CHURCH OF ARQUES near * Dieppl A direct and vigorous architectural study; the linear perspective in} well-arranged definition, imparting dignity as well as grace of form to the elevation and expressing admirably the embellished elegance ol the Gothic period. The square low belfry tower crowned by a steep: pitched roof adds materially to the sense of proportion and correct- ness of design. Cotman was one of the band of youthful enthusiasts} who worked under the supervision of Dr. Monro. It included such) . names as Turner, Girtin, Varley, De Wint. Later, he returned tc)’ Norwich, identifying himself with the Norwich ‘Society of Artists,” and while there etched a number of plates from drawings made dur. ing a tour of Normandy in 1817. Removing to London he was appointed, through the influence of J. M. W. Turner, Professor oi Drawing at King’s College, where Dante Gabriel Rossetti studiec} under him. Though meeting with but scant recognition in his life! time, Cotman is ranked second only to Turner in the field of Englisk } landscape painting. H. 1234; W. 9¥ Lead pencil. se | David Cox Deritend near Birmingham 1783. Harborne 1859 { THE EDGE OF THE MOOR : _ A vast expanse of solitary moorland, broken only by a lonely thatched cottage flanked by a group of trees; the distance stretching away illimitably under a wide and depressing sky, while a faint glow of _. sunlight, piercing through a rift in the clouds, illuminates the bleak- *_ ness of the plain and falls across the road leading to the dreary habi- tation. The whole picture is permeated by a feeling of vague and spacious stillness which the low key of coloration accentuates. _ Water color. From the Lane Collection. H. 654; W. 11% % EDINBURGH CASTLE, SCOTLAND _ A well-executed drawing of Edinburgh Castle, the massive pile § dominantly topping the rocky hill known as Arthur’s Seat, its battle- mented roof outlined against the sky and the frowning ramparts of __, the rounded fortress defended by the semi-circular openings pierced ~ tor the cannon which safeguard it. The precipitous slopes are drawn _ with natural effect and a feeling of towering strength predominates. In the immediate foreground stands a bonneted and plaided figure. From the Lane Collection. H. 654; W. 85% 5 CONWAY CASTLE, WALES—AN ESTUARY Under a canopy of threatening clouds, a soft glow glimmers on the _ horizon; perched on the extremity of a bold headland rise the turreted battlements of Conway Castle, showing darkly against the distance; _ _a tranquil light lying along the placid sea reflects the leaden hue _~ above. Below, at the foot of the promontory, is seen an estuary in which lie various craft; the low land to the right sloping to the water’s edge, a steep hill merging into it in the left foreground. The entire drawing exhibits a subdued yet impressive unity of tone. Water color. From the Lane Collection. H. 334; W. 11% George Cruickshank London 1792. London 1870 6 FIRE AT COVENT GARDEN THEATRE (1856) An unusually large drawing of the destruction by fire of Covent ' Garden Theatre on March 5, 1856. The view is from the stage; the - curtains, pillars of the proscenium arch, the boxes and galleries all ’ _erashing in disastrous confusion, in the midst of which the massive chandelier falls, while panic-stricken victims exhibit every symptom of terror and dismay, many of the unfortunates being pinned beneath the shattered debris. Cruickshank was one of the most prolific of illustrators and introduced a peculiarly individual style, especially in his humorous productions. His versatility was displayed as a painter in oil, an etcher, a wood engraver, and a lithographer. Pen and ink, washed india ink and tinted with blue. 17 AT 49 50 Pd ‘British art. H.5; W. 7% | Lieut.-Col. Joseph Frederick Walsh Desbarres London 1722. Halifax, N.S. 1824 GREAT HARBOR OF MALTA, with the new city of La Valett | 4 A view of the City of Valetta, Malta, a strongly fortified town ar harbor, with its buildings rising terraced from the sea. In the mid di) ground war vessels at anchor refitting, other shipping and small ¢ af) mee between them a galley being swiftly rowed to a ship prep to sal Desbarres, who held a commission in the Engineer Corps of the Britis af Army, being connected with the Survey Department, served in a cam) paign against the Indians and later against the French Settlers in North i e America. Eventually he became in succession Lieut.-Governor | Cape Breton and of Prince Edward’s Island. He also made extensiv surveys and drawings of the Atlantic and North American coast subsequently published and now rare. H. 444; W. 15% | Pen and ink and wash. India ink, tinted with blue. Samuel Dewilde Holland 1747. London 1832 PORTRAIT OF MRS. SARAH HARLOWE, Actress A sensitively drawn portrait, delicately treated with much expres-| sion, the form lightly outlined. Dewilde devoted himself chiefly to: dramatic portraiture, though also practicing in both oil and water color; his chalk drawings indicate great dexterity. H. 1214; W. 9 M4 i Charcoal. Black and red chalks. Signed, lower right-hand corner, DeWilde. | PORTRAIT OF JOHN BANNISTER, Comedian | A strong character sketch, vivid and full of personality. | John Bannister was an intimate associate of the convivial group of young artists and caricaturists who flourished towards the end of the | eighteenth and the beginning of the nineteenth centuries. A boon com- | panion and quondam fellow art student of Rowlandson’ ’s, he is said | to be the originator of the “Tour of Doctor Syntax.” Black and red chalks. H. 535; W. 45 | Peter De Wint Stone, Staffordshire 1784. London 1849 GRAVEL PITS AT HAMPSTEAD This is a charming example of De Wint’s clear and limpid rendering of atmospheric distances. Taken from the highest point above London, | which merely appears as a faint blue haze on the horizon, the scene, tranquil in its coloring, is extremely restful yet conveys a sense of | spaciousness and breadth. : De Wint, whose father was born in New York, was early papmenticee | to John Raphael Smith, best known as an engraver in mezzotint, and | became one of that notable group of Dr. Monro’s earnest students, destined to add so much glory to the field of contemporaneous | ak ae iy Water color. 18 John Wilson Ewbank, R.S.A. Darlington 1799. Sunderland 1847 THE TRAVELLER’S REST A delightful drawing of a quaint old thatched inn near Stirling, situ- ____ ated beside a winding country road, embowered in overhanging trees __ which are reflected in the calm water at the foot of the bank. __ _Ewbank, well and favorably known as a landscape painter, was one 4 -of the founders of the Royal Scottish Academy, 1826. H.8; W. 7% Lead pencil on Bristol board. Signed and dated, “J. Ewbank, S.A., 1835, from one of my paintings.”’ On reverse, an unfinished sketch of the same subject. From the Lane Collection. 4 | 7 Henry Fuseli, R.A. A Zurich 1741. London 1825 f 52 SHAKSPEREAN SCENE mA tragic scene of dramatic force, showing an armed Roman warrior _ pointing with a naked sword at a swooning female figure supported on the knee of an attendant maid, while four others stand grief- stricken beside her. Beneath the frowning fortified wall of the edifices in the background are congregated a phalanx of Cesarian Legion- aries in martial array, bearing shields and spears, holding aloft trium- _ phal trophies, fascules, ete. An unusually good conception of mass eomposition, the chiaroscuro well, though simply, defined, and the .* attitudes charged with sentiment and unity of purpose. | Fuseli, who came to England at an early age to make literature his profession, was dissuaded from this purpose by Sir Joshua Reynolds. As an artist Fuseli was truly original and his anatomical knowledge remarkable. Like many of his colleagues he contributed illustrations to Boydell’s Shakspere, for which publication this drawing was - evidently executed. H. 1444; W. 19% Pen and ink outline. Wash. sepia. Thomas Gainsborough Sudberry, Suffolk 1727. London 1788 ) 53 FULL-LENGTH PORTRAIT OF THE HON. MRS. GRAHAM A superb drawing of a standing figure of a lady, facing three-quarters Ve to the left; abounding in majestic grace, ease and dignity, an aristo- _¢&*” eratic air pervading the entire composition; the attitude extremely refined, the treatment full of breadth and freedom, and simple in tone. The face, replete with sweetness and charm, exhibits a cultured amiability delightfully emphasized by the archly tilted hat and feath- ers set lightly on the poudré hair; the casting of the draperies is simply but effectively rendered, while the soft tones blend into per- fect harmony. The skillful handling displayed throughout is that of the Master, unaffected and free from all exaggeration. A refinement of manner is noticeable in the singular correctness of design main- tained in spite of the lightness of touch and facility of execution. This rare intuition manifests, in a marked degree, Gainsborough’s undoubted mastery of portraiture. 19 The Hon. Mrs. Graham, née Mary Cathcart, was ae dashes of Lord Cathcart. She was early married to the Hon. Thomas Graham, who subsequently was created Lord Lynedoch. Her wedded life wa brief and her husband was so grief-stricken at his loss that he cau od the entrance to the room in which her portrait hung to be bricked up and it was not until his death, some fifty years later, that the picture again saw the light of day. It now hangs in the Royal Scottish Academy in Edinburgh. Her great beauty charmed Gainsborough; this is shown in the original drawing, which shows a greater degree of finish and care than is displayed in most of his preliminary sketches. It is interesting to note the slight variations of pose and accessories between the original draft and the finished picture, as follows: The right arm is lowered and holds a folded fan; the topmost feather in the hat is more erect; the pillar on the right side of the picture is brought | in closer to the fioure to enable the left arm to rest on the base; the pannier draperies and the left hand disposed nearer to the waist and the direction of the gaze changed from left to right. These details emphasize the authenticity of this important eee He A W. 814 Black chalk, lightly treated in color on blue-grey paper. pe [SEE ILLUSTRATION] Ronald Gray Contemporary British Artist PORTRAIT OF MISS KITTY DEACON A graceful drawing, reposeful yet free, with much pista ty of treat- ment and unity of design. H. 1214; W. 8% Black chalk, tinged with colored chalks, on greyish green tinted paper. Signed and ‘dated, lower right-hand corner, Ronald Gray, ’08. William Hamilton, R.A. Chelsea 1751. Soho 1801 INTERIOR OF A RUINED ROMAN EDIFICE, embellished with statuary. This picture shows a group of six figures in varying attitudes, the whole drawn with much facility of execution. Hamilton studied in Italy under Lucchi, and was a painter of portraits and historical subjects. He also designed illustrations and was one of the collaborators of Boydell’s Shakespere. H. 124%; W. 8% Wash. Indiaink. Inscribed on reverse of original mount, “In the collec-~ tion of Sir Jeffrey Wyatviile, R.A., and presented by his daughter, Mrs. Knapp, to the Rev. W. J. Moore, 1840. iy 20 és nf Ps r= an See - ge mE age freedom and character, demonstrating accuracy and deftness of i _ execution combined with rare knowledge of the theme. In a few swift touches is indicated an illusion of solid form and mass as absolute as a finished painting. H. 8; W. 5% Lead pencil, washed with sepia. In the upper left-hand corner is a collector’s mark illustrated in Fagan as No. 604. On reverse of original mount was inscribed in pencil, Morland. William Payne Plymouth 1770. London 1830 67 VIEW ON THE SOUND NEAR PLYMOUTH A soft and mellow sunset composition showing a thatched cottage set in a clump of trees by the water’s edge, below the dimly seen hills in the distance is the sound, on whose bosom shipping floats leisurely; in the foreground, a busy fisherman drags his trailing nets ashore. Payne was a member of the earliest band of English water-color artists; one of his claims to notice is the invention of the tint known as Payne’s Grey. H. 24%; W. 514, Oval Water color. Signed in right foreground, W. Payne. 23 is : “teen Mr | Ji it # bee AY, 68 70 71 SS ge eee ak O 2. 7h un Frederick Pegram Contemporary Artist SALLY IN OUR ALLEY An exquisite drawing showing Sally bedecked in all her finery de- murely sauntering down “‘Our alley,”’ while her lover eagerly advances — “Drest in all my best, to walk abroad with her.” Pegram is one of the ‘well-known band of artists who sit at Punch’s Round Table. His work always indicates a delicacy of feeling and — treatment that fully justifies his inclusion among theforemostdraughts- — men of the day. This drawing has been reproduced in dry point and — published in color by V. Winthrop Newman. H. 124%; W. 914 © Black chalk tinted with colored chalks. Michel Angelo Pergolesi DESIGN FOR A CEILING An elaborate detailed projection for a decorative ceiling, evidently drawn under the active supervision of Robert Adam, the architect, © who utilized Pergolesi’s services in the interior ornamentation of the ~ buildings whose particular style bears his name. Pergolesi’s work is so like Robert Adam’s as often to be mistaken for q | it, but it is distinctly more French in feeling and nearer to what was — done in Paris in the reign of Louis XVI. Pergolesi and Lucchi both actually designed architecture for the firm of Adam Brothers, besides painting decorative furniture, as also — did Cipriani and Angelica Kauffman, who subsequently married Lucchi. (There are no data extant of Pergolesi’s birth or death.) Water color, on buff tinted paper. H. 1734; W. 2444 Samuel Prout Plymouth 1783. London 1852 GODESBERG A splendid example of Prout’s architectural treatment, exhibiting an | exceptional sense of aerial perspective, unity of design and definition of light and shade. As a chronicle of exterior form, the subordinate — manner in which the lofty tower in the background dominates the © half-timbered thatched houses lining the ancient cobbled street, which stand out with virility, creates union and harmony combined with freedom and directness of purpose. H. 1244; W.9 © | Wash. Sepia. A VENETIAN CANAL A Picturesque drawing of a canal in Venice, flanked by quaint old structures; on the buoyant waters are several canopied boats with sails hanging listlessly on their masts while other oar-propelled ones are loading merchandise. In the background a tall Campanile stabs the clouding sky, while a massive ornate palace raises its galleried front to the right. Over all an agreeable sense of quiet and repose predominate. Heo Wash. India ink, heightened with white, on light brown paper. Signed lower left-hand corner, S. P. From the Lane Collection. 24 mils ve A Ronee reget SIR JOSHUA REYNOLDS [NUMBER SEVENTY-TWO Sir Joshua Reynolds, P.R.A. Plympton 1723. London 1792 INFANT COMEDY A delightful study of a seated child, entirely nude, with uplifted right -__ arm, holding in the left hand a comic mask; behind is an arrangement of flowing draperies on which the figure is sitting, backgrounded in rich dark tones, broken at the left by sky and distance. This inter- __ esting painting has preserved all the original purity of the flesh tones, through being kept in a scrap-book by the former owner, George ) @ - ensuring a clarity of color not often met with in those of Sir Joshua’s ____ paintings that have been exposed to the action of light. For, although ___ the artist endeavored by every method to master the secret of per- -__ manency of tint of the old masters, most of his flesh tones have faded __ out, with the result of unduly emphasizing the blue values used by him in the shadows. __ Of further interest is the well-established fact that in his larger and _ better-known examples Reynolds painted in the face and hands, his _ pupils or assistants putting in the draperies, accessories, backgrounds, ‘SS ees . Sir Joshua Reynolds, the first great figure in British art, which he ennobled, was appointed First President of the Royal Academy on its he. in foundation, which position he held till his death. H. 7; W.53% Oil color, over pen and ink, on oiled paper. From the Geo. Romney j Collection. [SEE ILLUSTRATION] 73 FULL-LENGTH PORTRAIT OF RICHARD BRINSLEY | SHERIDAN, ESQ., M.P. | A unique example of Sir Joshua’s method of composition, being a pre- 50- liminary sketch of the Sheridan Portrait. This original conception | was subsequently altered to a half-length, necessitating the introduc- tion of a table whereon to rest the right hand of the subject, eliminat- ing the book shown in the primary study, adding an ink-well and quill, besides various papers, one of which is crumpled in the hand. The coat front has been lengthened and a greater number of buttons added, the disposition of the draperies and architectural details materially altered and the waist-coat cut at an open angle. This original study, like the preceding one, is entirely in the master’s own hand and displays a virility of execution and a modulation of harmonious tone that are rarely splendid. To achieve such a sense of hes and breadth of composition in so limited a space is excep- ional. Horace Walpole says of this picture: “It is not a canvas and color, It is animated nature; all the unaffected manner and character of the admired origina!.”’ H. 654; W. 4 Oil color, over pen and ink, outline on oiled paper. From the George Romney Collection. OK Aix “ey (Romney, the painter, from whose descendants it was purchased, thus 74 16 77 ay: . STUDY FOR PORTRAIT OF LADY MARIA WALDEGRA\ VE A fragmentary composition rapidly executed in pencil for a half length seated portrait, Jater altered in pose, with the hair dressed higher when introduced in the group of the “Three Sisters Walde- grave.” H. 3%; W. 234 Lead pencil. On the reverse is another hasty sketch in pencil of her sister, Lady Horatia Waldegrave, in the same attitude as shown in the jinished painting. } PORTRAIT OF AN UNIDENTIFIED MAN A half-length figure of a man holding an open book in his left hand, both arms resting on a table before which he is seated. Though lightly handled, the head is a remarkably fine study in portraiture, the animated expression being well marked and natural. With all its simplicity of execution this sketch bears the i impress of verity. | Lead pencil. . eee W. 3 j : George Romney Dalton-on-Furness 1784. Kendal 1802 BACCHUS AND ARIADNE A group composition of four figures: The Drunken Bacchus, his wrists bound with flowers, lies prone on the ground at the foot of a tree with Ariadne leaning over him, clasping his head in her arms, while two nude youths stand near, one holding a staff, the other filling a goblet from a wine-skin slung over a projecting branch. Ariadne, a good portrait of Emma Hart, the “divine lady,” is utilized in an almost identicalattitude as Comedy i in Romney’s “Infant Shakespere. | Romney’s great obsession was to paint pictures of a noble and heroic type, and his diaries show that, though he divided the honors of portraiture with Sir Joshua, he ‘considered such work irksome and merely as a means to enable him eventually to devote his art to Shakesperean and classical renditions. . 20; W. 1034 Pen and ink and wash. Sepia. The painting of which this is the original study ts in the collection of Ed Cooper, E'sq., and was shown at the exhibition of Art Treasures in Dublin, 1873. Thomas Rowlandson London 1756. London 1827 GREENWICH, with a view of the old Salutation Tavern. A fine example of uncommon size by this wonderful artist. The massing, grouping and coloring of this composition are exceptional in character and natural effect; a humoresque appreciation of common life animates the entire scene. The aerial perspective is of a high grade, nicely adjusted to the varying distances and contrasts har- moniously with the bold and vigoroushandling of the swarming throng, crowding the landing stage in front of the old Salutation Tavern. It was in the bow-windowed dining room of this inn that Charles Dickens, some fifty years later, placed that exquisitely written scene of the elopement of the “Boofer Lady” with John Rokesmith in 26 — “Our Mutual Friend;” and it was from these wide windows that Bella, John and “Pa” watched the shipping pass up and down the stream. In the distance is seen the facade of Greenwich Hospital, once the home of Britain’s invalided naval pensioners, in the painted hall of which Nelson’s body lay in state after his last victory at Trafalgar. , H. 138; W. 19% Water color, outlined. Messrs. Sotheby, of London, when selling this picture at auction on the 9th of December, 1912, catalogued zt as “‘Billings- gate,” but further research has duly identified it, and Grego in Vol. II, page 417, of his ““Rowlandson,”’ mentions it as being in the collection of the late W. T. B. Ashley, Esq. From the Ashley and Ottley Collections. x [SEE ILLUSTRATION] 78 VIEW IN CORNWALL A most effective landscape drawing, soft and harmonious in tone, _____ showing a stone mill on a rocky shore; on the opposite side other buildings; in the distance a wooded hillside, at the foot of which is ‘>, _an estuary with a sail-boat on its waters. In the foreground, a fishing J 0 “smack and boats drawn up on the strand, also groups of men with teams and carts. H. 11; W. 1544 __ Water color. Grego’s “‘Rowlandson,” Vol. II, page 423. From Joseph Grego’s Collection, “Corn Mill in Cornwall.” 79 AN UNEXPECTED RETURN or a Snip in Danger. A humorous conception of considerable artistic quality, illustrating an interesting situation; Jack’s unforeseen and ferocious advent into the domestic felicity of his erstwhile bride now happily wed to Snip has filled his terror-stricken rival and his assistant also with dismay, while the fair cause of dissension endeavors to soothe the outraged } / 0 feelings of her former mate by saying, “Why, Jack! I thought you | was dead, and am now married to Mr. Snip.” These words are written in pencil in Rowlandson’s hand at the foot. The composition and the freedom of treatment in this drawing show Rowlandson at his best; his delineation of character is well emphasized in every line. H. 1134; W.9 Water color, outlined in india ink. Quoted in Grego’s ““Rowlandson,”’ page 297 (erroneously dated 1815?). Signed and dated “Rowlandson, 1806.” On the reverse is a preliminary pencil sketch of another whimsical conceit. A remarkably stout old gentleman, wagging his forefinger deprecatingly _at a girl whose condition evokes comparison with his own ample girth. 80 A TAILOR’S WEDDING A comical gathering of grotesque dancers in a barn-like structure, _ pirouetting gaily, hand in hand, to the strains of a blind fiddler. Enthusiastic merriment and frolic abandon mark this fantastic repre- ? “sentation of lower-class types, conceived in Rowlandson’s raciest manner. H. 1056; W. 858 Water color, outlined in india ink. Illustrated in Grego’s ‘‘Rowlandson,”’ Vol. II, page 276. Published by T. Tegg (315), February 20, 1814. Also quoted Vol. II, page 426, under caption, “The following drawings have also come under the editor’s attention.” 27 —— 81 82 /20—- 83 A TOAD EATER| A fantastic and satirical delineation of an unprepossessing half- — length figure, with a grotesquely hideous face, wearing a red night- cap on his head and a napkin tucked around his neck, gorging himself _ with green toads, impaled on a knife and a fork held in either hand, ~ while another two are seen on the table and drooping from a bow] in front of him. H. 87%; W. 73% Water color, outlined in India ink. Illustrated in Grego’s ““Rowlandson,”’ Vol. II, page 421. From Joseph Grego’s Collection. DES ais HUMOURS OF HOUNSDITCH, or Mrs. Shevi in a Longing Condi- — tion. : A ludicrous drawing, best described in Grego’s words, ‘‘A member of the Hebrew tribe, who carries a bag slung on his arm, is bearing for- — bidden luxuries to two fair representatives of his race. A couple of — Jewesses whose persons are resplendent in jewellery are leaning over ~ the wicket gate of their premises, lost in admiration at the spectacle _ of a little stranger—a suckling pig—which the tempter, who has led ~ the maternal sow and entire porcine family astray, is holding out for q Mrs. Shevi—a sufficiently motherly-looking lady—to salute with a © kiss. Another Hebrew gentleman, who is overlooking this transaction, — has his face thrown into horrified contortions and his hair standing on ~ end at marking the discovery of this incredible depravity.” ‘ The “porcine family”’ was introduced later in the etching as also a handbill offering a reward of five pounds for the recovery of the stolen sow and litter. H. 10%; .W 734 | Water color, outlined in India ink and vermilion. * Published by T. Tegg (213) Sept. 20, 1813. Also quoted in Grego’s ““Rowlandson,” Vol. II, page 426, under the caption, “The following drawings have also come wnder the editor’s attention.” At the base, partly trimmed off, can be deciphered 1n Rowlandson’s writing, “Mrs. Shevi in a longing condition.” DOCTOR GALLIPOT placing his fortune at the feet of his Mistress. — A derisive drawing representing a kneeling medico laying before his inamorata the various implements of his profession, including his ~ affections, for the fair one’s acceptance. In the background, half concealed by a partly-open door, are seen two jeering spectators, evidently much amused at the gallant suitor. This original varies in some respects from the reproduction published in 1808, vide Grego, Vol. II, page 91, and reissued in 1810, Grego, Vol. II, page 198; being evidently from its dating (1804), the first conception, under the title of. ‘““The Apothecary in Adoration,’ Grego, Vol. II, page 419. Subsequently, the mortar and pestle was made less prominent, the box labelled ‘‘Love powders’ and the scissors dispensed with, the spinet replaced by a canopied bed, the attitude and dress of the central female figure changed and the girl in the doorway deleted. H. 1154; W. 93% | Water color, outlined in India ink and vermilion. Signed and dated, “Br left-hand corner, ‘““Rowlandson, 1804.” From the W. T. B. Ashley ollection. | 28 a 4 84 HUMOURS OF A RUSTIC INN A clever drawing, lightly sketched and washed in monochrome, showing a buxom maid in deshabille, screening the eyes of a newly- iH « arrived and bewildered traveller, who evidently has wandered into the wrong chamber; in the background his horse is being led away _} —by a hostler. H. 10; W. 8% | Pen and wash. India ink. Grego, Vol. II, page 425. Signed, lower right-hand corner, ‘“‘Rowlandson.”’ From Thos. Capron Collection. 85 A MARKET DAY An outline drawing of a country market gathering with over fifty | figures drawn and indicated, illustrating the various diversions and a nv humors incidental to arural assemblage. In the foreground two women ) dicker for pots, alongside an earnest group bargain for cattle and pigs, / — while another crowd of rustics, gaping open-mouthed, surrounds a travelling dentist exercising his profession. Further off, corn in sacks is being chaffered for, in the distance other groups are seated at tables feeding, horse dealing, etc. The whole represents a scene of great animation, remarkably well designed. H. 544; W. 7% Pen and ink. From the Lane Collection. 86 NYMPHS BATHING | A beautifully arranged group of eight female figures, entirely nude, ; on a river bank, six standing and two seated in graceful attitudes; a gnare with wonderful directness and ease. Size 554; W. 8% > — Pen and ink outline, lightly washed in monotint. Grego’s “Rowlandson,’ / Vol. II, page 417. From W. T. B. Ashley Collection. John Ruskin London 1819. Coniston 1900 87 WHILE ORPHEUS PLAYED A bearded male figure, seated, the head resting on the right hand, the left plucking at the beard; in the distance a rugged landscape; under- | neath, inscribed in Ruskin’s meticulous hand, a verse from Shelley. Oe Ruskin, whose fame rests more on his writings, never attempted to P assert his own artistic gifts, though he was an occasional exhibitor at the Old Water Color Society. He was an artist of real, though restricted, talent, and he himself confesses his deficiency of invention and design. What he claimed was only such skill as to prove that he knew the good qualities of drawing. It may be said that he was the most literary of artists, and the most artistic of critics. H.9; W. 714 Lead pencil and pen and ink. Sepia. On the reverse the entire poem of four verses in Ruskin’s writing. From Lane Collection. Robert Bremmel Schnebbelie London, N. D.-1849 88 NEWINGTON GREEN, ISLINGTON A brilliant and remarkable example of topographical drawing, exqui- f sitely detailed with absolute fidelity. A rare and careful delineation ] of a vanishing village. 29 89 90 Schnebbelie, the date of whose birth is unknown, inherited his talent from his father, Jacob, who was an antiquarian draughtsman of con- siderable merit. Robert, an occasional exhibitor at the Royal Acad- emy, was in much demand for illustration of such works as Wilkinson’s “Londina Illustrata’’ (1805-1825), Hughson’s ‘Description of Lon- don,’ and similar publications. . H. 4; W. 934 Water color. Signed and dated, right-hand lower side, R. B. Schnebbelie, 1840. George Shepherd London 1800-1830 VIEW OF OLD SMITHFIELD MARKET An excellent representation of Smithfield Cattle Market, and of great atmospheric quality, with the early morning sun slowly dispelling the faint grey mist. In the foreground, groups of passers-by and two ~ aaiie ee Ry loaded hay wains; beyond these the pens for cattle; the whole back- grounded by antiquated houses and the spires of St. Bartholomew's — Church, making a picture full of old-world charm. Shepherd studied at the Royal Academy, where he also exhibited occasionally. He achieved considerable reputation in his day as a topographical artist, painting views in various parts of England, but chiefly in the Metropolis. His work is found in many of the contem- poraneous publications of that nature, such as Clarke’s “Architectura _ Eeclesiastica Londoni,’’ Wilkinson’s “‘Londina Illustrata,” and “The CERF HVE 4 Architectural Antiquities of Great Britain.” H. 7; W. 10% © Water color. Thomas Stothard, R.A. | London 1755-1834 FIVE ILLUSTRATIONS TO “OSSIAN,” on one mount. (a) “Oithona,” a warrior in steel corselet, holds aloft, in his left hand, ; a severed head; the other grasps a naked sword; in the back- q ground fleeing figures. (b) “Fingal,” an armed youth, helmeted, with shield and spear, — wearing a kilt and plaid, stands beside a seated grey-haired man, cloaked, and holding a spear in his left hand; a hilly landscape ~ in the rear. (c) “Oma-morna,” a maiden grasps the hand of an armed man, while another in armor stands behind her holding a spear in his right hand; in the distance, a wood and hills. (d) “Temora,” an ancient, clothed in plaid and kilt, addresses a young man wearing a ’breast-plate holding a spear in his right hand; in the background, a figure prone on the earth. (e) “Carric-thura,” a standing figure in armor, kilted and plaided, wearing a crowned and plumed helmet, brandishes a sword and buckler; while in the riven clouds appears a flying form aiming a spear at him; in the distance, trees and hills. All five of these drawings are surrounded by decorative borders, with quotations enclosed in panels beneath. Stothard’s Illustrations to “QOssian”’ were made in 1779. It is claimed that he “‘illustrated almost the whole range of English Literature with a taste that seldom failed — 30 91 and sympathy that was often remarkable.”’ Nor did his talent stop at illustration, for he also designed the Monument to David Garrick, in Westminster Abbey, and exhibited his versatility by creating the decorations for the Throne Room, Staircase and Dining Room at Buckingham Palace, besides much artistic work in silver, of which the “Wellington Shield” is a striking example. H. 6; W. 4 (each) Wash. India ink. SIR JOHN FALSTAFF IN WINDSOR FOREST A quaint drawing full of humorous badinage, depicting the unwieldy blusterer armed with targe and broken sword, keeping vigil in the _ haunted glades of Old Windsor Forest. A fine piece of work, the “+ treatment of line being especially good and the characterization of 92 the figure excellent. H. 444; W. 4% Pen and ink. Charles Turner, A.R.A. Woodstock, Oxon 1774. London 1857 SCENE ABOARD A MAN O’ WAR An extremely interesting sketch of the deck of a war vessel evidently _ cleared for action, the gun crews at their stations, the commanding 7 officer in stiff high collar and stock, telescope under arm, speaking- trumpet in hand and hanger at side, alertly issuing orders; while at the bulwarks are two others on the lookout. In the distance, below the bellying mainsail, are visible seven other craft, possibly in convoy. Though unfinished, it is instructive to note the various details, now obsolete, that existed on board the ships of an earlier date; the shot ranged in order on the hatchway, the quaint glazed high hats of the crew, from which the officers are distinguished by a cockade; the /vheterogeneous garb of the sailors and the hammocks stowed away in their nettings acting as a rampart to the men serving the guns. Charles Turner was best known as an engraver, and when Joseph M. W. Turner projected his “Liber Studiorum” he entrusted the work to this artist, by whom the first twenty plates were engraved and published between the years of 1807-1809. A quarrel arose about this. _ time, but subsequently three more plates were executed by Charles 93 Turner, also several for “The Rivers of England.”’ Some good original portraits were engraved by Charles Turner from his own drawings, including, among others, those of Joseph M. W. Turner, Michael Faraday, and “Gentleman” Jackson, the pugilist. H. 8335; W. 11% Water color over lead pencil drawing. Signed in initials at centre base, C. T., and squared for enlargement. Joseph Mallord William Turner, R.A. BEN ARTHUR, SCOTLAND This drawing is the original for the plate described as ‘“‘Ben Arthur, 6 _ scotland.” London published, January 1, 1819, by J. M. W. Turner, Esq., R.A.P.P. Engraved by T. Lupton; and is found in L. S. 12, Plate LXIX, being evidently Turner’s drawing made for the guidance 31 94 of T. _ Lupton, who engraved four of the plates for the ‘‘Liber Studio- : rum.’ Ruskin places this etching among the four finest of the series. He praises the drawing of the rocks in the foreground (Modern Painters, — Vol. IV, page 315), and ‘“‘the indication of the springing of the wild stems out of the rents in the boulders.”’ Rawlinson, in “A Description — and a Catalogue of Turner’s Liber Studiorum,” thus describes Turner’s _ methods: “‘When he worked on paper the broad washes were first — given and the pen markings added at the last.’’ This coincides with — the execution of this drawing, being in general a reversal of the usual — system of most artists. He further states that “The plates for which no drawings are known are chiefly those engraved throughout by Turner himself and for many of these probably no sepia drawings © were made,”’ Introduction, page 8. He also says, “‘I have been able to” obtain no information of any drawing for this plate,” page 138, and on the same page gives an eloquent description of it in these words, — “A ravine between hills which sweep down in large curves on either — side; at its head it widens and is shut in by mountains in deep shadow - from dark thunder-clouds overhead on the right. A brook flows down — the ravine and is hidden by boulders in the foreground. Light clouds — on the left, some of which rest on the summits of the hills.”’ Rowlinson, moreover, writes: ‘This is the last great plate of the , published portion of the ‘Liber’ and I think it is not too much to say that, were all Turner’s other works lost, upon the strength of it alone © his pre-eminent fame as a landscape draughtsman might safely rest.” This is one of the fourteen missing drawings quoted in the catalogue | of the Exhibition of Turner’s “Liber Studiorum,” held at the Burling- ton Fine Arts Club in 1872, the others being all accounted for. Most of the originals are in the National Gallery, one is in the British Museum and a few others are in private hands. Careful comparison of this drawing with the reproduction of the etched _| outlines shown in No. 27 of Mr. Charles Eliot Norton’s “Fac-simile of — | thirty-three etchings by Turner for the Plates of the Liber Studiorum,” and with proof copies of the finished mezzotint, show distinct though slight variations in the cloud treatment, in details of the rock forms in the foreground and in the bed of the stream, also, more particu- | larly, in the tree stumps as well as places in the mountain tops. This interesting and rare example was acquired by the present owner — in this country and it is possible that it lay so long lost and unrecog- nized owing to the majority of Turner’s originals for the “Liber” — having been drawn in sepia; Rawlinson, however, mentions that some — of Turner’s drawings were “‘sold to an American purchaser.” H. 73; W. 1075 @ Pen and ink outline, stumped in with charcoal, lights erased, on blue- — he RF Ne [SEE ILLUSTRATION] A PICTURESQUE ITALIAN VIEW A poetical rendering of aerial effect, brilliant in color, a vibrant . quality of atmospherical definition permeating the entire picture. From the grotto-like entrance overhung by a huge rock, with others piled at the left, over the pellucid waters whereon an empty gondola | lies, is seen a marble palace rising on the further shore. At the right, a stately figure stands alone, framed in a trellised arch near a doorway ~ 32 ae Z = = b Ss bs) Z om a es 4 x = = S ey ash [NUMBER NINETY-SIX| J. M. W. TURNER hewn in the massive stone. Asa demonstration of the peculiar proper- ____ ties of light traversing the air, it is exceptionally fine and this appears to have been the primary achievement to which the artist aspired. Water color. : H. 434; W. 74 ; 95 CAERNARVON CASTLE ? A singularly clear and beautifully painted water color, displaying fine aerial perspective and an atmospheric quality delicate in tone and extremely harmonious in unity of purpose, peculiarly fascinating in its comprehensiveness of view and natural effect. The representation of soft light pervading the atmosphere and mellowing the local color, transmits a sense of decorum to the judicious eye, which the skillful ranging of the demi-tints in the foliage serves to emphasize. On the summit of a high bank rising from the pellucid waters at its base, __ stands the scarcily defined Castle, behind which rises a distant moun- 4) “tain; the banks of the stream are clothed in arboreal masses whose reflections and shadows color its waters, the arrangement and treat- _ ment of the trees being in Turner’s earlier manner. A feeling of calm and peaceful sentiment radiates from this chaste and simple concep- tion. | ‘HL 614; W. 9% _ Water color. On the reverse is an unfinished variation of the same land- scape. From the Lane Collection. 96 AMERSHAM, BUCKS | A earefully-detailed drawing in pencil of the main street in the quaint / _“old town of Amersham, Bucks, drawn with extreme precision, / delightfully balanced in composition and manifestly picturesque. An “unusually good example of this medium in Turner’s earlier manner. Lead pencil. | H. 514; W. 834 {SEE ILLUSTRATION] 97 FISHING BOATS OFF THE MOUTH OF THE THAMES A spirited drawing, full of movement and action. A rising breeze drives the overcharged clouds across a rainy sky, filling the straining sails of the fishing smacks as they round the wave-worn pier of the little hamlet, whose roofs and peaceful church spire are silhouetted against the distant haze, and lifting the tossing rowboats on the crests _of the swells. Beyond the sailboats lies a dismantled hulk and further A) “off on the horizon various other craft are discernible. The whole scene is moist with the driving wet wind; the expression of mysterious light and atmospheric motion being most effective. H. 514; W. 734 Wash. India ink. 98 CHRIST CHURCH, HAMPSHIRE An admirably executed sketch of. an ancient church of late Gothic period; the architectural details and ornament carefully delineated. The square tower with its lancet windows and crenelated top gives , dignity to the structure, while at the more embellished eastern end ( “the delicate traceries of the diamond-paned lights are indicated with simple directness and truth, making of this drawing a veritable record of antiquarian value. H. 77%; W. 103% Lead pencil, lightly shadowed with sepia wash. 33 99 ST. ALBANS ABBEY _ \ A wes 100 THE WATERSIDE AT MILBANK 101 102 ey heme a An interesting view of one of England’s most ancient ecclesiastics al edifices, drawn with considerable freedom and a fine sense of pe tive, defining with fidelity the simple, yet adequate, solidity of fora ™m of this historical structure, famed as the place of interment of some of the early British monarchs. H. 414; W. TY Lead pencil and sepia wash. William Turner, of Oxford Blackbourton, Oxon 1789. Woodstock 1862 A broadly handled study of the waterside at Milbank, orate and effectively sketched, exhibiting ease and freedom both in soe and tonal values. This artist, known as Turner of Oxford, to dis tinguish him from his greater namesake, studied under Varley, from m whose window this sketch was made. His later life was passed in the vicinity of Oxford, painting many of its streets and suburbs. 4 ‘ H..7 2%; W. 10% Water color. On the reverse is a lengthy inscription comparing Turner’ work favorably with Varley’s. From the Lane Collection. John Varley Hackney 1778. London 1842 A COUNTRY LANE An effective, though rapidly sketched, rural scene with a country road curving past a cottage on the right. On the opposite side are two donkeys, one standing and the other lying down in the shadow of a spreading tree, with a leafy copse forming a background. Varley was one of the coterie of young artists who worked under Dr Monro’s auspices and has been acclaimed as one of the Fathers of English water color painting. He was considered an extremely effi- cient teacher, several of his pupils becoming eminent in art. In 1830 he published ‘‘Observations on Coloring and Sketching From Nature,” and was also the author of “A Practical Treatise on Perspective.” He was an intimate of William Blake, who drew for him his well-known “Ghost of a Flea,’”’ which Varley engraved in outline. Like Blake, Varley was a visionary, but his leanings were towards astrology, his claims to occultism being accepted by many of his acquaintances. — These chimerical ideas differed from Blake’s. set a as Boe never appear to have influenced his art. TM; W.9% Water color. : ‘ i a, Dan tet Bs: VIEW FROM MY WINDOW A sketch of the buildings overlooking the rear of Varley’s house af Milbank, laid in with flat tones of local color, which by their simplicity — produce a characteristic interest in an ordinarily commonplace theme. _ H. 8; W. 10 4s : Water color, on light grey paper. From the Lane Collection. | 34 [ eat op) ie ae AS seh ae < ff re Pie Sy a 2, ar ce — TM | Sir Benjamin West, P.R.A. ‘oa Swarthmore, Delaware Co., Pennsylvania 1738. London 1820 | 108 ALLEGORICAL WINGED FIGURE A draped figure with extended wings and the right arm elevated, clothed in flowing drapery, surrounded by clouds; instinct with action and indicating unusual facility of execution. _ This artist, starting from the most unpropitious beginnings, after ____ several years of study in Italy took up painting in England, where, ___ having executed some portraits and historical scenes, he received a commission to paint “The Death of General Wolfe.” It is hard to realize in these days of realism that this picture was revolutionary toa degree, for it was the first in which a modern battle was represented in other than classical costume. West insisted that “the same truth « _ ante gives law to the historian should rule the painter.”’ Reynolds \ ~ backed him in this decision and the result was a triumph. West was the acknowledged founder of historical painting in England and on the death of Sir Joshua Reynolds, the first President of the Royal _ Academy, West was elected his successor. H. 1034; W. 734 ga heightened with white oil color. [SEE ILLUSTRATION] ‘z ig = Francis Wheatley, R.A. London 1747-1801 104 CUPID UNVEILING VENUS A nude female figure, reclining at full length, the lower portion of the body turned toward the spectator, while a winged Cupid lightly lifts the scant transparent draperies which emphasize rather ; conceal the form. To the right, a curtain draped from a branch » ekgrounds the figures, beyond it, between the trees, distant moun- y tains rise from the tranquil waters of a lake. _ Wheatley foolishly lowered his capabilities to that mere prettiness of le prevalent when stipple engraving flourished, and in company with Angelica Kauffmann, Cipriani, Lady Diana Beauclerk and others of that ilk pandered to the popular taste, though his work exhibited cient merit to have freed him from such association. His ‘Cries of London” are justly celebrated for their pictorial quality, and while in Dublin his painting of the Irish House of Commons added to his reputation. In illustration he was extremely successful, some good examples being found in Macklin’s ‘Poets’ Gallery,” likewise in Boydell’s “Shakspere,’”’ to which publication he contributed no less than twelve pictures. This drawing, the joint work of Richard Cosway, R.A. (to whom the composition is credited), and Wheatley, whose painting it is, was engraved in stipple by A. Cardon and published in color by R. Ackerman, dated May 15, 1800. In the print several slight variations from the original are noticeable, such as the elevation of the right arm and hand; the introduction of a leafy flowering plant below Venus’ foot and tall flowers and leaves at the right lower corner; the raising of the entire picture from below; the addition to the earthy bank between the tree trunks in the background (which is suggested in the 35 105 - dity of his imagination, and perception of character, that he might 106 COMMERCE original by a faint wash) and the commuted coloring of the flowers behind the figure, as also the ribbon in Venus’ hair and the cord from _ which Cupid’s quiver is suspended. The tint of the curtain draperies also is altered to a harmonious brown tone, materially i improving the 7 consonance of the composition. Water color. - Ee ay 10 | George Moutard Woodward Stanton Hall, Derbyshire 1760. London 1809 A JESSAMY A subtly humorous drawing, brushed in flat tones, of a standing figure in eighteenth century costume, one hand in the capacious vest pockets then worn, the other lightly handling a cane. Beneath in Wood- ward’s writing, ‘““Among the simple ones, I discovered a young man void of understanding. Proverbs, Chap. 7th, verse 7th.” , Woodward’s life ended in a state of destitution at a Pot-house in Bow street. Grego, Vol. I, p. 81, says: “Had this low humorist studied drawing and been temperate in his habits, such was the fecun- have rivaled even Hogarth.”’ Captioned as “Addendum to the chronological summary of Rowland- son’s caricatures,” Grego, Vol. II, p. 407, under date of December 1, 1790, among those listed as “A series of simple figure subjects, designed by Woodward and engraved by Rowlandson.” The second © example is entitled “A Jessamy.’ H. 1414; W. 93% Water color, outlined in India ink. On the reverse in the same hand a shrewd satire on the Fops of his day, fully applicable to modern times. Signed, in lower left-hand corner, G. M. Woodward, Delin. | Antonio Pietro Lucchi, A.R.A. Venice 1726. Rome 1795 A seated female figure in classic costume supporting her head on her left arm which rests on the rudder of a Greek vessel; beneath the prow, on the ground, is a chart and compass. A well-arranged composition, — freely rendered, evidently intended to serve as design for an ornamen- i: decoration, ‘applied in relief or painted in monochrome to me ate it. & Lucchi’s earliest productions were historical pictures in oils, but he subsequently devoted himself to landscape and decorative work. In~ 1754 he accompanied Robert Adam, the architect, in his travels i through Italy and some of his drawings were engraved in Adam’ e | “Ruins of the Palace of Diocletian’ (1764). In 1776 Lucchi was invited © to England by Adam, who employed him on the interior decorations | of many of the great mansions he erected or altered, including Luton — House, Syon House, Osterley, Caen Wood and the Adelphi, London. | In this work he was assisted by Angelica Kauflman, ue later became his wife. 834; W. 8 1 Wash. Sepia, heightened with white. | 36 | —— - Z 107 TRADE A seated male figure in classic costume holding in the left hand a money bag, resting amidst bales of goods and rolls of materials; a sheaf of wheat being shown behind. ,.This drawing is the companion | l piece to the previous item. H. 814; W. 73% ip ~ Wash. Sepia, heightened with white. DUTCH SCHOOL NUMBERS 108-170 Theodore Bernard alias Dirck Barentzen or Barentz Amsterdam 1534-1592 1108 DELEGATES FROM A VANQUISHED CITY pleading for lenity from the victor. An admirably conceived drawing with the grouping artistically _{__- balanced, showing, to the left, two figures in suppliant attitude before “~~ _aroyal personage attended by pages and men-at-arms; to the right, | mounted soldiery scour the streets of a city, whose colonnades, forti- fications and tall towers are visible in the background. This artist, reputed in his time to be the ablest of his country, studied in Venice and was a favorite pupil of Titian, under whose tuition he spent seven years. Returning afterwards to his native land, he - achieved great success as a portrait painter. He also executed for the Great Church at Amsterdam an altar-piece, representing the Fall of Lucifer, subsequently destroyed in the religious troubles under the Spanish domination. H. 654; W. 9% Pen and ink outline, washed with sepia. Signed, lower left-hand corner, Theodor Bernard. Watermark, The Crosse or Crozier of Basle, within a crowned shield. Abraham Bloemart Gorkum 1565. Utrecht 1658 | 109 ST. JAMES INVOKING PROTECTION FOR A PATRONESS A splendid drawing, replete with religious feeling, representing the | Saint wearing a capacious cloak, seated in the midst of clouds with a | guardian hand on the shoulder of a kneeling penitent, clothed in a * wide ermine-collared garment, one hand raised in inspiration, a radiant nimbus surrounding his head, while a blaze of glory illuminates both figures. At the right is seen an attendant winged cherub, bearing the Pilgrim’s staff, which emblem is also shown crossed, with the palmer’s scallop shells in between, on the collar of the Saint’s outer garb. Underneath is a suggestion of a rocky castle-crowned eminence rising out of the surrounding landscape. This original was probably drawn with a view to execution in “Chiar- oscuro” engraving, which branch of art Bloemart practiced with considerable success, differing from the Italians by etching the key plate on copper in lieu of using a wood-block. H. 1054; W. 714 Pen and wash. Sepia, heightened with white on light brown tinted paper. Watermark, Crossed Keys. 37 110 le i rae / eae Gerard Ter Borch Zwolle 1617. Deventer 1681 MAN IN XVII CENTURY COSTUME A distinctive study of a seated male figure drawn in a spirited man-— ner, indicating all the traits of a model oft repeated in Ter Borch’s paintings. Gerard Ter Borch, who studied under Pieter Molyn, | visited England and Italy, returning to Amsterdam in 1641. His painting of small-sized portraits, with most lifelike feeling, attracted considerable attention. From Amsterdam he travelled to Munster; the Spanish Ambassador, becoming his patron, induced him at the conclusion of peace to journey to Spain, where he was received m hospitably by Phillip the Fourth, who later conferred upon him a patent of nobility. It is interesting to note that these transfers are not uncommon. In the Vasari Society’s “Reproductions” are two, in the possession of Charles Ricketts, Esq., transferred in the same manner from drawings by Watteau. There will also be found another by Boucher, in the present collection. They were possibly pulled to be of assistance to. the engraver, being in reverse, as the bee on the plate itself would appear. H. 6%; W. 5% irregularly 3 Transfer from a brush drawing, touched with chalk (Sepia). Jan de Bosch Amsterdam 1718-1785 SCENE FROM DANTE’S “PURGATORIO” A carefully finished drawing of a rocky landscape, the trees in thel foreground well detailed; to the left, two upright figures in conversa- tion and two others in the middle distance, backgrounded by a range > of hills at the foot of which is seen a flat roofed paste | and on the right a well-wooded eminence. H. 134%; W. 20% Wash. India ink on buff-tinted paper. Signed on reverse, J. de Bosch, fecit. From Henrice Hamal, Henry Money and Dr. F. G. Martin | Collections. 112 SCENE FROM DANTE’S “PURGATORIO” A wooded landscape with rocks and hills; a seated figure beside a fallen tree trunk, at the left, a stream cascading over the boulders, two standing figures in the middle ground, behind them at the base of the distant rise is an aqueduct on arches with towers, and to the right a rugged slope in front of which are the sturdy trunks of the a | spreading trees. This drawing is the companion piece of the preceding - one. H. 1814; W. 20 Wash. India ink on buff-tinted paper. Signed and dated on reverse, J. de Bosch, fecit 1714. From Henrici Hamal, Henry Money and Dr. F. G. Martin Collections. 38 : Pieter Breughel the Elder Breughel near Breda 1520. Brussels 1569 3 ITALIAN LANDSCAPE WITH BUILDINGS 7 a.) A facile drawing of a rocky, tree-clad eminence surmounted by a ch’ 7 _ turreted and fortified castle. Below in the valley, to the left, is another ue _ group of edifices with a tower rising therefrom overshadowed by i i 4 “massive rocks; at the right stands a thatched building adjacent to a tai) ruined arch surrounded by trees. I () Pieter Breughel, the elder, surnamed “the Droll,” after studying in 7 France and Italy, where the wild scenery of the Alps appealed to him, ity returned to Holland, painting principally genre subjects, such as hap sies, banditti, ‘peasants and rustic merrymakings, in which he was 7 on y surpassed by Teniers. H. 5; W. 6% _ Penand ink. Sepia. Signed, lower right-hand corner, p. Breughel. tt ie . re 7 , Jacobus Buys p Amsterdam 1724-1801 i jis FEMALE FIGURE IN CLASSIC COSTUME _A charming drawing, delicately colored, of a female figure seated on a rock beneath a tree, bidding adieu to a man habited in Roman costume holding a spear in his left hand, the other resting on the woman’s shoulder. Beside her is an attendant cupid holding two hounds in leash, the whole scene backgrounded by trees and foliage. The color- - ing and composition of this dainty picture are excellent, the tints being most harmonious and the drawing both correct and free. Buys, a pupil of Cornelius Pronk, Jacob de Wit and Cornelius Troost, was a painter of portraits and historical subjects, a designer of tapestry and theatrical decorations as well as a draughtsman of vignettes for illustration, ultimately becoming Director of Drawing at the Academy of Amsterdam. H. 5%; W. 4 Waiter color, outlined in pen and ink. Sepia. From the Lane Collection. THE MESSENGER OF LOVE A seated, semi-draped classic female, holding in her right hand a sickle, listening to an old woman, who is leaning on a crutch-handled staff. Above her is seen a cupid carrying a bow and arrow, preparing to discharge his dart. Outlined against the sky are the tree tops, at the base of which sits the principal figure with gathered fruits beside her. This drawing is the companion piece to the preceding one. . 514; W. 4 tg Water color, outlined in pen and ink. Sepia. From the Tae Collection. Jacob Cats Altona 1741. Amsterdam 1799 ” 116 PASTORAL SCENE A particularly fine example of this artist’s draughtsmanship; drawn i with an uncommon delicacy of feeling and sentiment; fully as fine . fe as any production of Nicolas Berchem’s. The beauty of the sky and the natural grouping of the animals are remarkable; the details, with- rl out being meticulous, show in this picture to a greater extent than | in any other of his creations. | } 39 | Jo- ; ‘ ~~, ONY . DP af Je 117 A RIVERSIDE VIEW 118 SAINT HUBERT AND THE STAG 119 A RIVER FETE of flag-bedecked fishing boats whose numbers stretch away into the far © Jacob Cats, an excellent draughtsman, who also painted and etched, | was justly celebrated for his landscapes with animal accessories, his — works being original and marked by a poetical rendering of nature. ] i ; Wash. India ink. Signed and dated, on reverse, J. Cats, inv. et fee. | 1799. A delightful drawing, carefully executed, showing a group of men fish ing in the shadow of a spreading tree. Across the limpid waters on the river’s bank stands a windmill amid verdure, reflected in the stream, while further off the spire and roofs of a distant village are glimpsed; on the right, above the unseen roadway on a rising slope are visible the tower of an old church and part of a cottage. This little picture is” permeated with the poetic quality of stillness and PEDO 7 Wash. India ink. H. 344; W. 67% | Aert Claessoon (Aertgen de Voller) Leyden 1498-1564 Saint Hubert, in slashed doublet and trunk hose, wearing a feathered cap, is kneeling with hands joined in prayer, before a stag, miracu- lously bearing a crucifix between his antlers, which is standing upon a rocky ledge beneath a shady tree. At the left, is a horse leisurely cropping the herbage; further on are two dogs, one running, and in ~ the background a wide landscape with a building at the side; on the 9 right, another hound, half crouching as in fear, looks up at the super- 4 natural vision. H. 5384; W. 944 Pen and ink. Sepia. Watermark, a dwarf over the letters A. C. Albert Cuyp Dordrecht 1620-1691 An unusually good drawing, full of atmospheric quality, depicting a ceremonial twelve-oared barge passing between the drawn-up rankall horizon. On the right, the roof and dome of a cathedral loom over all. This drawing apparently represents a solemn function, such as the © Annual Blessing of the Fishing Boats, and though small in size | possesses such correctness of design and comprehensive view as to produce a satisfying effect of distance combined with a subtle ordon- nance of the animated ensemble. Few artists’ work has been more admired than Cuyp’s. He was exceptionally versatile and perhaps no artist ever surpassed him in the _ purity of his aerial tints, while in harmony of color, he seemed incapa- ble of a discordant tone; in fact, he may be termed the most universal painter of the fertile school to which he belongs. Such rare genius makes even a drawing like this radiant with a sense of color. : H. 444; W.6% | Pen and ink. Sepia. Signed, lower left-hand corner, Cuyp inv. 40 ee Te eee 120 122 es Eee a FF i | Se "At 128 124 4 Abraham Diepenbeck , Herzogenbusch 1607. Antwerp 1675 THE SEAT AND POSTURE OF THE MANEGE A mounted cavalier, booted and spurred, exemplifying the correct osition of a rider on a horse. This is one of the original drawings by iepenbeck, made while in England to illustrate the Duke of New- _-~castle’s book on ‘‘Horsemanship.”’ 4 — Diepenbeck’s first essays in art were as a painter on glass and many of the finest windows in the churches of Antwerp are his productions; this work he gave up, entering the studio of Rubens, afterwards travelling in Italy and eventually passing over to England, where his painting was much esteemed. At this period his principal works were historical and religious subjects; later, however, he undertook illus- tration and was much employed in designs for the publications of his time. H. 84; W. 64% Wash. India ink. THE HORSE TAKING THE HALF VOLTE A cavalier on a horse in action, illustrating the taking of a half volte. This drawing is the companion piece of the preceding item. Wash. India ink. : H. 8144; W. 644 SAINT MICHAEL OVERCOMING LUCIFER The Archangel, wings extended, holding in the right hand a flaming bolt, his left arm guarded by a shield, standing astride the prostrate and contorted form of the Fiend, around whose left arm a serpent is entwined. Obviously a design for a stained glass window. | | H. 9; W. 6% Black chalk and sepia wash. Watermark, a fleur-de-lys within a crowned escutcheon. Johannes Van Dreght Amsterdam 1737-1801 DECORATIVE COMPOSITION A classical design of two nude female figures and an attendant cupid, drawn with grace and freedom; the quality of the modeled line being especially good, the accessories well detailed and arranged in har- monious relation to the principals. Dreght specialized in the designing and painting of ornamental grisailles and bas-reliefs, also in decorations for theatres. H. 1134; W. 1634 Pen and ink. Sepia. Signed and dated, lower right-hand corner, Johannes Van Dreght, inv. et delineavit, 1779. Karel Du Jardin Amsterdam 1625. Venice 1678 STUDY OF A BULL A well-drawn study of a young bull, facing to the right. Du Jardin was one of the ablest pupils of Nicolas Berchem; subsequently study- ing in Italy, he devoted himself on his return to Holland to landscape Al zy Aa a ?} vu painting, decorating his pictures with groups of cattle which compare ) oil ;j favorably with those of Paul Potter. Later he lived and Ron in Italy, — where his work was held in much esteem. ; W.6 Red chalk. | Karel la Farge The Hague 1742-1785 125 A COUNTRY ROAD A peaceful rural scene. The tile-roofed house on the left surmounted q by a vane in front of which stands a man smoking, while his dog — barks aimlessly, is balanced by the leafy trees, the group of wayfarers ~ and in the distance a winding road. At the right, is a meadow with cattle grazing, and beyond a suggestion of a far-off city. . 614; W. 814 a | Wash. Indiaink. Signed, lower right-hand corner, Karel la Farge, ft. Aerent de Gelder Dordrecht 1645-1727 126 STUDY OF THE HEAD OF AN OLD MAN A powerful drawing, well handled and full of expression, showing an | old man with flowing beard, facing three-quarters to the left, eyes uplifted and the mouth partly open. Drawn with a vigorous and definite direction of stroke in an almost Italianate manner. De Gelder studied under Rembrandt, becoming one of the most successful imitators of that great colorist’s style. He painted por- traits and historical subjects and was most dexterous in portraiture, _ displaying such admirable feeling for light and shadow that some of ~ his productions have been attributed to his celebrated master. — 954; W.7% Red chalk. Signed, lower right-hand corner, Aerent, f. Jan Griffier Amsterdam 1645. London 1718 127 A RHINE VALLEY SCENE & A good example of landscape composition, depicting the winding river flowing between rising slopes on which stand turreted castles visible above the surrounding trees. To the left, in the middle distance, q stands a noble pile of castellated buildings foregrounded by a lofty tree, beneath which a group of travellers are preparing to embark on the stream; to-the right is seen another band of wayfarers, accom- panied by a mule carrying a woman and child and driving a couple of sheep; in the background rocky heights raise their stately summits to the clouds. Griffier affected Ruysdael’s style, producing many excellent landscapes and views of the Rhine. Settling in England in 1668, he met with great encourpemneys and painted many river scenes on the Thames. — H. 734; W. 94% Wash. India ink. On the reverse is another faintly outlined Rhine view. 42 A a a oo St eee Mi eee 4 a Sal 5 TE OP HT For aa LUCAS VAN LEYDEN 29 NUMBER 1 [ f Jan Hackaert Amsterdam 1635-1699 “198 A CLASSICAL LANDSCAPE ; A well-designed classic landscape, rendered with unity of purpose and technical efficiency. Hackaert, one of the ablest landscape painters of the Dutch school, excelled in picturesque rendition of sunlight piercing through rocks ~ and foliage. The figures and cattle introduced in his pictures were executed by his intimate friend, Adrian Van de Velde. Fe H. 54; W. 7% FE Pen and ink outline, wash. Sepia. Signed, upper left-hand corner, J. \¢ Hackaert and initialed in the lower, J. H. id ! | F | Lucas van Leyden Leyden 1494-1533 129 THE JUDGMENT OF SOLOMON A magnificent example of this great master’s work, rarely found in this size and in such superb condition, representing King Solomon seated in the center of the picture on a richly ornamented carven throne, | oe which stands on a circular-fronted dais, beneath a decorated canopy ~ © “with pendent fringe and tassels. In the foreground, to the left, in EB prayerful attitude, onemotherappealingly holds out her hands, while on E the opposite side is the standing figure of the other; near the kneeling - woman is a soldier holding at his side a naked infant and drawing his sword from its seabbard. In the middle of the lowest step lies the dead disputed child. Flanking the seat of state are groups of courtiers, in various poses expressive of debate, habited in carefully detailed con- temporaneous costumes, which impart to this drawing archeological value, the whole being backgrounded by well-arranged architectural accessories. There exists no print made of this subject by the artist, though an eighteenth century catalogue refers to a drawing of the same subject in the collection of the Archduke Charles in Vienna. It must, therefore, i be concluded from its shape and treatment to have been a design for | a painted glass panel, Lucas having practiced this art considerably. Lucas van Leyden displayed unusual precocity, which his father, an artist also, carefully nurtured, placing him as a pupil with Cornelius Engelbrechtstein. At twelve he astonished the artists of his time by the excellence of his picture of Saint Hubert. He worked in oil, distemper and on glass, achieving equal success with historical sub- jects, landscape and portraiture, his paintings exhibiting freshness and - clarity of tone, his drawings delicacy and finish, his engravings neat- ness and clearness and his wood-cuts a spirited ‘mastery. For many years an intimate friendship and correspondence existed with Albert Durer, arousing a noble spirit of emulation in the efforts of both of these great artists, though a certain Gothic mannerism per- meating Lucas’ work may be attributed to the predominant taste of his country. H. 15; W. 114% Pen and ink outline, wash. Sepia. India ink. Signed at central lower base, L. Watermark, a crowned eagle display within an oval escutch- eon. ? yy dq J 4 If [SEE ILLUSTRATION] 43 180 THE MILKMAID Bartsch, Vol. VII, p. 422, under caption of No. 158, La Laitiere, chug describes, i in the translation that follows, the engraving of which this _ drawing is the original: “A country maid holding her hat in the left hand and carrying a pail in the other appears advancing on the right to milk a cow standing across the centre of the engraving, its head towards the left, where a peasant is restraining it by a rope attached to the horns. Two more | left, a tablet with the letter L and the date 1510 is in the centre of the — | cows are seen in the background, one to the right, the other at the 0 ra ‘, SG * base. This example is very rare and there are few specimens of — Lucas’ work which are as well drawn as this. Most admirable is the figure of the milkmaid, whose attitude expresses so well the effect of the weight she is carrying.’”’ The variations from the drawing are noticeable, the plate being so much smaller, necessitated abbreviation — on all four sides, consequently, at the left a tree trunk is eliminated, the barn brought closer in to the male figure, the irregular thatched roof shown straight and lowered. The man is more erect, as also the tree behind him, the forking of its branches being slightly altered. On the right side a tree trunk is taken out and the contour of the maid’s hat becomes more regular, while the stakes supporting the fence rail are more erect and one shows fewer branches. In the fore- ground, the bank with its solitary plant disappears entirely and the loose stones scattered about are additions. It is interesting to note, as a proof of authenticity, the fact that the building in the engraving is brought forward; a cone enlarging would extend the same outward from its original lines. H.744; W.9% Pen and ink. Sepia. Willem Van Mieris Leyden 1662-1747 131 PORTRAIT OF MARGARETA BAS, SENIORI THEODORI A half-length female figure, nearly full-face, the body turned slightly — to the left, holding a fan in the right hand, the other resting lightly on — “the wrist. Exquisitely painted with all the picturesque delicacy of a miniature, the rendering of the lawn cuffs and collar and of the hands — is exceptional. This and the succeeding six numbers are remarkable © specimens of dexterity and finish, essentially lifelike in representa- — tion, achieving a fidelity to detail typical of the best work of the Dutch school. Mieris studied under his father and his productions exhibit much of © his master’s style and quality in his rendering of genre subjects, inte- riors and portraits. H. 1244; W. 934 © Wash. India ink. Cartouche in plumbago, on vellum. [SEE ILLUSTRATION] 182 PORTRAIT OF MARGARETA BAS, JUNIOR THEODORI A half-length female figure, nearly full-face, holding in the right hand © Lo ~ a fan, the other resting on a chairback, surrounded by a decorative ~ cartouche. eis portrait is that of the daughter of the preceding — number. H. 1214; W. 93% © Wash. India aE: Cartouche in plumbago, on vellum. Signed, lower | | right-hand corner, Willem Van Mieris. 44 entre SRT E WILLEM VAN MIERIS i [NUMBER 131] —— mS I nee renter 3 : PORTRAIT OF PETRONELLA KERCKRINCK, GOTSARDI _A half-length female figure, facing to the left, holding a fan in the left hand aes by the other. H. = goonies W. 9% 134 PORTRAIT OF WILHELMUS KERCKRINCK, GOTSARDI bd A half-length male figure, facing to the right, wearing a voluminous . cloak, a broad linen collar and a skullcap, one hand on his breast, the ft fo- other. resting on a balustrade, holding a pair of aokes . H. 124; W. 914 Wash. India ink. Cartouche in plumbago, on vellum. Signed, lower ___ right-hand corner, Willem Van Mieris. This portrait is the companion _—-— prece to the preceding number. | +185 PORTRAIT OF CLARA HUNTHUMS, ARNOLDI a) A half-length female figure facing to the left, Betne in ue left hand 4 ~ a fan, the other resting on her hip. 124; W. 9% Wash. India ink. Cartouche in plumbago, on oe Signed, lower _ right-hand corner, Willem Van Mreris. ~ 186 PORTRAIT OF WILHELMUS VAN LOON, JOANNIS Bust es of a bearded man in a ruff, facing three-quarters to Be the right H. 12;4% W.9% Wash. Teabn ink. Cartouche in plumbago, on vellum. Signed, lower right-hand corner, Willem Van Mieris. _ 187 PORTRAIT OF CORNELIA HESSELS, JUSTI A half-length female figure facing to the left, the right hand extended ae on the back of a chair, the other grasping a ‘fold of the skirt. Wash. India ink. Cartouche in plumbago, on vellum. Signed, lower __- right-hand corner, Willem Van Mreris. H. 12%; W.9% (28? Aert van der Neer Amsterdam 1619-1683 | 1388 AT THE FERRY A moonlight scene on the bank of a river, with five Pee ices awaiting | transportation; behind them on the left, a man seated on a horse | by towing a barge. A cloaked form in the centre hailing for the ferryman; i) - at the right are two officers in uniform, one with his hands in a muff, and on the opposite side a woman leaning on a stick talking to a male companion. In the background, trees and a cloudy sky, the unseen moon diffusing a soft light. . Van der Neer excelled in painting views in Holland by moonlight, representing banks of rivers or canals with boats and figures, with a perfect mastery of the chiaroscuro and picturesque effect, as well as winter pieces with persons amusing themselves on the ice, much in the style of Albert Cuyp. H. 844; W. 6% . Water color, on blue-grey paper. Watermark, a seated female figure | carrying a halberd. I 45 ms J 189 A WOODED LANDSCAPE, seen through a natural arch. 140 142 - Cornelis van Noorden Haarlem 17381-1795 . An arch on which are growing trees, spanning a roadway. Through gg the opening is visible a hilly landscape with woods advancing into the middle ground; in front of the arch is seen a shepherdess leading her flock; the whole surrounded by a decorative arrangement. ‘ Noorden practiced painting, drawing, engraving and wood-cut with equal efficiency and became Professor of Drawing at the Haarlem Academy. H. 934; W. 734 Wash. India ink, outlined with sepia. Signed, right-hand corner of mounts, C. v. N oorden. Watermark, a fleur-de-lys. | Lambert van Noort Amersfort 1520. Antwerp 1571 THE RESURRECTION OF CHRIST An admirably composed rendering of the Resurrection, in whielle Christ, bearing a cross from which a banner floats, is seen surrounded ~ by clouds, i in which appear two cherubs. Below is seen the tomb and in front three Roman soldiers; one, in an attitude of defence, another, falling backward in surprise, while the third gazes in alarm; the © figures well drawn, the anatomy correct and the whole picture well balanced and executed with freedom. Van Noort was a pupil of” Francis Floris and practiced architecture as well as oe 11144; W. 94% Pen and ink outline, washed in blue-grey tint. Signed, at left base, L.V. N. Watermark, a pitcher surmounted by a crown and flower. 4 Collector’s mark, a coat of arms within an oval, unknown to Fagus P on reverse, lower left-hand corner. Adrian van Ostade THREE FIGURE SKETCHES, on one sheet. Three agricultural sketches; the central one representing a yoke of — oxen, led bya woman, drawing a harrow; on the left, a man sowing, and on the right, a man swinging a scythe. Cleverly drawn with simple — and characteristic treatment. > Adrian Van Ostade, a pupil of Franz Hals, painted admirably the © grotesque humor of the lower classes of Holland, infusing into his pictures so much lively and natural spirit combined with a rich, clear — and glowing coloring that the vulgarity of his subjects is forgotten { in the truth and finesse of his representations. H. 354; W. 5% © Two in pen and ink and one in black chalk. On the reverse is a slight © outline of a yoke of oxen facing front. | TWO MEN FISHING i An effective study of two fishermen, one standing in the stream wield- ing a long-handled ground net, and another, leaning over the side of a © boat, engaged in like occupation. Well drawn and expressive in | action. H. 314; W. 4,5 Pen and ink. Sepia, lightly washed. Traced through on reverse. 46 ” Paulus Pother Enkhuysen 1625. Amsterdam 1654 | 148 CENTRAL GROUP FROM “THE YOUNG THIEF” A drawing of a milkmaid and cows, an arrangement utilized in the oe of “The Young Thief,” at present in Buckingham Palace, ndon, engraved as a separate subject by Pieter de Mare, the plate | showing, among other slight variations from the original sketch, )% —the elimination of the foreleg of the recumbent cow and the addition f of the sheep and fence. Paul Potter was the son of an artist, from whom he received his instruction; his principal works are cattle scenes in which the landscape is subordinated, the animals being rendered with great fidelity to nature. He excelled in brilliant sunshine effects and his pictures, though carefully finished, are usually broad in conception. H. 534; W. 954 Black chalk. » 144 CATTLE RESTING £ A composition consisting of two cows and a horse with a sleeping ea herdsman and dog grouped on a rising ground; in the distance is a herd of cattle and beyond the suggestion of a town. Drawn in with _ great freedom of technique and simple modelling, evincing a sense of - great spaciousness. H. 113%; W. 18 Pen and ink. Sepia. 145 STUDY OF A COW A fine drawing of a cow facing to the right, well modelled, showing a | splendid handling of the shadows, combined with a natural poise and i good animal characterization. H. 534; W. 7% | Black chalk. Abraham Rademacher Amsterdam 1675-1735 146 RIVER LANDSCAPE WITH A MILL View of the curving bank of a river from which rises a wooded slope; on the crest a windmill with outbuildings stands out against the sky. - Below, set among the copses, is a farmhouse with a long, slanting roof; i to the left, a vessel with spreading sails is seen rounding the bend of the stream; beyond it the distance stretches out illimitably. The drawing evinces facility of execution combined with a sense of atmos- pheric values. Rademacher’s reputation as a landscape artist was high and his work has been commemorated in a series of plates, engraved by him in 3 masterly style from his own designs. H. 934; W. 14 : Pen and ink outline in light brown, wash. India ink. 47 147 Cs 148 149 Jacob van Ruysdael Haarlem 1630-1682 TREE BESIDE A STREAM An exquisite, picturesque drawing, delicate yet effective in the delinea- ~ tion of foliage and vague distance, admirably composed. The centre of the picture is filled by a delightfully drawn tree; a little behind is seen the roof of an embowered cottage; in the foreground, a narrow - foot-bridge spans a limpid brook, edged with low bushes and reeds, — while in the far background is a group of buildings visible beyond the — leafy growth at the right. The peace and charm, combined with ~ absolute truthfulness, is only equalled by the precision of touch. Jacob van Ruysdael, one of the greatest of Dutch landscape painters, was a pupil of Allart van Everdingen. He was a member of the guild ~ of St. Luke of Haarlem; but-in spite of the appreciation of his fellow- 7 artists, died in. poverty. His poetic nature and genius is shown in his penetrating and sincere interpretations of picturesque scenery. H. 1034; W. 8% © Wash. India ink. Watermark, a fleur-de-lys, within ¢ an escutcheon, surmounted by a crown. A LANDSCAPE WITH TREES ~ | A remarkably well-drawn group of trees is the principal feature in this - picture, beneath whose shade are seen two figures. The foreground is © occupied by a rush-bordered pool and at the left is the edge of a wood, behind which stretch low distant hills; and over all a soft, glowing sky banked with masses of faint clouds. —«x#. 67%; W. 534 Wash. India ink. Watermark, a fleur-de-lys. Solomon van Ruysdael Haarlem 1600-1670 A VALLEY SCENE A winding stretch of well-wooded valley with precipitous slopes, from — whose rocky heights a waterfall cascades; in the foreground, standing — knee-deep in the stream, are two cows, the herdsman leaning on his staff at the brink. Tall trees with luxuriant foliage frame both sides of — the scene, which presents a picturesque medley of water, rocks, sky — and trees, handled with manifest breadth. 3 Solomon Van Ruysdael was a painter of great merit. His freedom of @ treatment and originality is seen in his landscapes, his favorite sub- jects being the banks of rivers with figures and animals introduced; ~ these are rendered with much truthfulness, giving an individual note — ; to his compositions. H. 1014; W. 1334 | Wash. India ink. Watermark, an open crown. [SEE ILLUSTRATION] 48 gg 9 acme hums ® nSm_ _m_ ShMre- IR gg RSS rs STS >> ge uh S ATRST™" su . gen gam iT se gsa™t mililaRahe dmma a , = -— a a —— [I6PL WaaWAN] THVGSANY NVA NOWO'TIOS = = — Se ee F Cornelis Sachtleven Rotterdam 1606-1682 1 50 THE SMOKER A clever study of a contemplative peasant seated in a rush-bottomed chair with one foot resting on a box and holding in his left hand the | stem of a long pipe which he is smoking; on the floor beside him is a ny broken pipe and a paper of tobacco. Well drawn and forcefully ti — handled, the facial expression being deftly indicated. ba Cornelis Sachtleven acquired considerable reputation as a painter of peasant life, interiors of farm houses and the recreations of vil- lagers, his work being well composed and boldly designed, though less ___ meritorious than that of Adrian Brouwer or Teniers, pe Dae he followed. 814; W. 6% — _ —Red chalk. Signed and dated, to the left, C. S., 1659. Hendrik Spilman Amsterdam 1721. Haarlem 1784 151 A RIVER SCENE A brilliant drawing of an arched bridge crossing a stream, on the banks | of which are shown trees and houses; three figures are indicated, one . fishing; beyond and through the opening the masts and sails of boats Cc are visible. This sketch is vivid yet simple, the entire scene drawn - with rapidity and freedom. H. 334; W. 64% Pen and ink, sepia, tinted in colors. Watermark, a seated figure of _ Taberty. Abraham Storck Amsterdam 1650-1710 152 FISHING BOATS ON THE AMSTEL A rapid sketch drawn in a distinctive manner of fishing craft lying near a wharf on which a building with high-pitched roof and turreted tower occupies a prominent position. In front, a laden rowboat _ -approaches the shore, while on the horizon, to the left, the spires of / | Amsterdam are seen. Abraham Storck usually painted views on the Amstel near Amsterdam | _-with a variety of boats with figures. His pictures are ingenuously grouped and drawn with precision, clear and transparent in coloring; the sky and water particularly good. H. 75; W. 11% Pen and ink and wash. sepia. Watermark, a seated figure of Liberty within a palisade. Johannes Swertner & Haarlem 1738-1815 153 FISHING BOATS IN A BREEZE A spirited drawing of fishing boats lying off a windy shore; at the right is a vessel at anchor with furled sails, behind which, heeling over A in the breeze, another is passing, while more are to be seen beyond, making for land at the foot of a tower. This sketch achieves a ite of movement and vigor. H. 5; W. 8% Pen and ink and wash. sepia. Watermark, a figure of lea within a crowned and inscribed band. 49 ’ af i ¥ } Anton Ter Himpel | Amsterdam 1634 154 FISHERMEN ON THE BANKS OF A STREAM - An effective sketch of a river bank, with a thatched house and out- B _- _ buildings on a wharf jutting into the water; nearby is a man in a boat lp and in the foreground a fisherman seated beside a branching tree. Implied throughout is a feeling for atmospheric verity. | Black chalk, washed with sepia. From the Collection of Wm. prim Esq. Watermark, G.R., surmounted by a crown. 155 A COUNTRY ROADSIDE A charming little drawing of a road between sloping banks on the ~ crest of which on the right stands a lofty tree in full foliage beside a rude fence. A wayfarer and his dog are in the foreground and at the © ) .- bend are seen two more travellers; beyond, the houses and spire of a / / distant town top the wooded landscape. H. 444; W. 85% © Wash, india ink, outlined in sepia. Signed, on reverse, A. der Himpel. & Jacob van der Ulft — Gorinchen 1627-1688 156 VIEW OF AN ITALIAN TOWN This drawing is the original sketch for No. 2388, in the catalogue of _ the Rijks Museum in Amsterdam, in which it is described as “View _ of an Italian town. High antique buildings, behind which a dome — rises aloft. From the cabinet van Heteren, 1809.” 4 Jacob van der Ulft, a pupil of Jan Both, travelled in Italy painting — landscape and archeological subjects; his drawing and coloring were | considered very good. On his return to his native town he was elected — Burgomaster. Van der Ulft was known as one of the best painters on glass of his time and also as an engraver. H. 6; W. 734 — Wash, sepia. Watermark, letters L.B.M. 157 ITALIAN RUINS /// ~ _4An ancient arched and columned portico surmounted by statuary, _ | flanked by an ornate building decorated with figures, in front of which © stands a memorial shaft topped by a statue. At the base is a group of persons and in the distance other ruined remains backgrounded by remote hills; the whole depicted with a well-balanced epi of chiaroscuro. H. 644; W. 8% Esais van de Velde Amsterdam 1590. Leyden 1652 158 LANDSCAPE WITH FIGURES A boldly executed drawing of a rocky eminence overlooking a river, spanned by a stone bridge with arched openings connecting the two parts of a town, whose square-topped edifices and towers line the — banks. Beyond, at the right, rise verdant slopes dotted with trees and houses; and on the left stands a building, at the side of a descending 50 roadway, along which are travelling animated groups of figures and : wares the boulder-strewn foreground, past the fallen trunk of a The composition is most effective and full of life and motion; the treatment broad yet simple and the general effect satisfactory. H. 1034; W. 1654 cae chalk. Signed and dated, lower left-hand corner, E. V. Velde, Jan van de Velde Rotterdam 1598-1665 1 WINTER SCENE ON A RIVER Animated groups of figures, some skating on the frozen surface of a river, on which a tent has been pitched beside a boat embedded in the ice. On the right is a vessel in the same plight, lying off a tree-clad point on which stands a house whose snow-covered roof is seen beyond the wharf; alongside of this, a man is seated on a bench, having his skates adjusted; the entire drawing full of natural effect and comprehensive _definition. _ Jan van de Velde, younger brother of Esais, achieved recognition for his pictures of landscapes, merry makings and familiar activities of the masses; but distinguished himself more as an engraver than as a painter. H. 334; W. 534 Wash. Sepia. Signed, lower left-hand corner, J. van de Velde. Willem van de Velde . Amsterdam 1633. London 1707 1160 THE DUTCH FLEET AT ANCHOR _ A superb rendering of atmospheric effect treated in a masterly man- ner, drawn with simplicity and directness. The stately fleet of war " mcpaa their sides bristling with cannon, raise their lofty poops and | wering masts high above the water and, proudly flaunting broad y) F “ensigns, swing lazily at the cables. The formidable array spreads i's away to the horizon, a shadowy forest of tall spars spearing the dim OF by} Only an artist with absolute command of his medium could have pro- of duced such a semblance of the vague movement of a calm sea; and the 1) elaborate ornamentation on the sterns, though mere indications, con- veys an impression of detail. Willem van de Velde studied under his father, later becoming a pupil of Simon de Vlieger, and Bryan, mentioning this, thus eulogizes him: “His progress under that master was extraordinary, and he not only surpassed his instructor, and all his contemporaries, but he arrived at a perfection in the particular branch to which he devoted himself F _ which is universally allowed to be unrivalled.” H. 6%; W. 1538 i Pencil and wash. India ink. From Wm. Mayor, Esq’s., Collection. ; Collector’s mark, Fagan No. 601. Lower right-hand corner. [SEE ILLUSTRATION] / 51 Kt A 4) og St. George Ensign, and to the right, a Dutch trading brig i in full sai hog | / TU /, 166 THE EDGE OF THE WOOD Sid Cae triumphant over her lowered flag; her captor with all sails set is 161 THE BRITISH FLEET OFF DOVER A graphic illustration of ‘“‘England’s far-flung battle line” of forme r days, with the castle-crowned ‘White Cliffs of Albion” at the left. The flotilla ranged in orderly sequence is seen, putting out to sea, the vessels in the bay maneuvering to their places i in the ranks. The centre is occupied by a well-drawn ship carefully detailed, flying the is heading in the opposite direction. An interesting drawing, full of animation and movement. H. 8%; W. 1034 Pen and ink, and wash. India ink. Signed, lower left-hand corner, W.».d. V. From the collection of Wallkam II of Holland. Watermark, a fleur-de-lys within a crowned escutcheon. : 163 A NAVAL ENGAGEMENT An admirable commemorative drawing in the centre of which is seen. a captured first-rater, dismasted, the standing and running gear of her main and mizzen shot away, ‘the foresail and foretopsail hanging loose and tattered, while at the stern the cross of St. George floats towing the vanquished vessel to a safe berth. At the left, another English man-of-war is engaging the fleeing Spaniards and in the dis- tance the rest of the fleet is bearing up to participate in the attack.” Freely and spiritedly drawn, the indication of strength and activity, combined with good composition, demonstrates this ze Re a record of an actual incident. 1054; W. 1654. Wash. India ink. Watermark, a horn within an Pei escutch- eon, crowned; below under the name L. V. Gerrevin, a bell decorated with the letter S. | [SEE ILLUSTRATION] 164 MARINE A representation drawn with careful detail, of a boat containing thred men rowing out to a naval vessel, coming to anchor at the right, while J another craft, with sails set, is approaching her; peg and to the left, more ships are faintly perceptible. H. 934; W. 73% Pen and ink, sepia, wash. India ink. Signed (almost fis able) at lower left-hand corner, W. v. d. Velde. From the collection of King William IT of Holland. | 165 A NAVAL COMBAT A spirited sketch of two contending fleets approaching each other in | » _ battle array, partly obscured by the smoke from the belching guns, p ia Drawn with extreme vigor and boldness, the two leading vessels, ; defined more powerfully than the rest, with a fine sense of ae foi so small a conception. H. 2; W. 514 ren and ink, sepia, wash. India ink. Signed, lower iefichand corner elde. Anton Waterloo Utrecht 1610-1670 A delightful drawing full of the sentiment of nature; the foliag rendered with great deftness, the chiaroscuro defining the planes a 52 ue | [NUMBER 163] 05 UF mT WILLIAM VAN DE VELDE \ nf cl SRC a yo «zt : > =: aD ve E it eyed ____ vision, which gives‘a clarity of atmosphere to the whole. The gently _____ flowing stream, shaded by the luxuriant growth overhead, reflects the ____ clear sky, and makes a pleasant note which the rugged beauty of the gnarled tree trunks serves only to accentuate. The technique is ____ elear and direct in manner, giving a distinct quality to the massing of the leaves and the play of light and shade. Anton Waterloo, an engraver as well as painter, produced landscapes which are characterized by the most interesting simplicity and truth to nature. H. 534; W. 83% Pen and ink, sepia, wash. India ink. a Jacob de Wit | eet | Amsterdam 1695-1754 Pus 167 TWO HEADS OF WINGED CHERUBS A charming drawing of two heads, one in profile facing left and the . other alongside nearly full face, both looking downward; beautifully | drawn, suggesting the sweetness and fascinating spirit of childhood; ag gracefully composed, and imbued with a poetic sense of action and movement. _ Jacob de Wit was famous as a painter of altar-pieces, also for his allegorical and emblematic decorations for ceilings and sumptuous a ents, and was particularly successful in his representation of children, which he was fond of introducing into his pictures. His decorative paintings of infants sporting, done in chiaroscuro, are re- _ markably fine and are held in the highest esteem. H. 754; W. 1034 Black chalk, heightened with white chalk, on light grey paper. Signed, lower right-hand corner, J. de Wit. 168 CHILDREN SPORTING An attractive, well-balanced design for a panel in chiaroscuro, com- bo -prising an animated group of eight infants in varying attitudes play- : ing around a pedestal; replete with action and drawn with decision and ease. H. 233; W. 12% Pen and ink and wash. India ink. Signed, on reverse, J. de Wit. Philip Wouverman Haarlem 1619. Amsterdam 1668 169 SOLDIERS DISPUTING Three soldiers grouped around a drum, outside of a tent above which | [ _ a flag hangs, one lying on his side, another kneeling, his hand raised to his head, the third standing with a halberd in his hand, the right pointing downward. The quaint expression of dismay exhibited on the face of the kneeling figure contrasting with the dictatorial attitude of the | man standing over him lends a humorous touch to this sketch. | Wouverman, whose painting of military subjects and groups of riders | ean be identified by the white horse he usually introduces, studied | under Johan Wynants. Drawings by him are rare, and a tradition exists that he was so poorly recompensed for his labors that he burnt all his sketches, shortly before his death, for fear that his son might follow in his footsteps. H. 654; W. 5% | Brown chalk and plumbago. 53 + ear 170 LANDSCAPE WITH TREES Pe wal a / 172 THE RESURRECTION OF CHRIST Y a - bushes; the entire picture being drawn with delicacy and nat Johan Wynants Haarlem 1625. Amsterdam 1682 A carefully finished drawing of a landscape with two gnarled tr oe. trunks on the rising bank of a river; at the right is a pollard willow and behind it rushes and distant fields; at the left is a clump o of perception. q Johan Wynants was one of the most distinguished artists of his time. He established an academy which has produced some of the ablest painters of the Dutch school, including Adrian van der Velde and Philip Wouverman. His pictures are faithful transcripts of the scenery of his country. H. 6144; W. 8% Wash. India ink. From the collection of William Mayor, Hs initialed on reverse, W. M., 1845. Watermark, a Mende sah? j FLEMISH SCHOOL NUMBERS 171-196 Adrian Francois Baudwyn (Boudewyns) Dixmude 1644. Paris 1700 CASTLE IN A VALLEY A representation of an extensive castle with battlemented towers and walls, situated in a deep valley from which on the left rises a pre- cipitous slope. The foreground is occupied by two leafy trees; under © these are two figures, one seated, and beyond, a third; the composi- — tion is well arranged and cleverly drawn. Baudwyn, after studying painting under F. A. van der Muelen, devoted himself entirely to engraving, executing many successful ~ plates, principally landscapes with figures. H. 844; W. 105% — Black chalk, heightened with white on blue-grey paper. _ Signed, lower right-hand corner, Adrian Baudwyn. Hans Bol Mechlin 15384. Amsterdam 1593 A remarkably fine composition, admirably drawn, showing the figure © of Christ, arm extended and pointing upward, holding a banner flying © from a cross. Surrounded by clouds it floats heavenwards from the ~ entrance to a cave in the rocky side of the tree-clad eminence. On the stone, which previously closed the opening, sits an angel and below — is a group of soldiers in attitudes of surprise and fear. The arrange- ment of this design is excellent, due value being given to the unity of - purpose of the different figures, a proper sense of proportion being - well indicated. H. 10%; W. 3% Pen and ink, wash. India ink. Signed, in central base, H. Bol. 54 ' Adrian Brouwer aa Ondenarde 1605. Antwerp 1640 Fr 173 A GATHERING OF CHAFFERING MARKET WOMEN t A dexterous drawing evincing a shrewd insight into the characteristics | of the lower class, each figure perfect in its exemplification. The J ~ simplicity of treatment is equalled by the natural truth of the attitudes and typical pose of the entire group. Brouwer was a fellow-student with Adrian van Ostade under Franz Hals and became an intimate of Rubens, but fell a victim to his intemperate habits at an early age. His drawings are very scarce. H. 534; W. 113% Pen and ink and wash. India ink. Watermark, a Jester’s bauble. Dionysius Calvart Antwerp 1545. Bologna 1619 174 CLASSICAL SUBJECT A drawing of a male figure in Roman costume, menacing, with drawn sword, a nude woman whom he grasps by the throat, thrusting her backward onto a richly ornamented and canopied bed; drawn with { considerable vigor and decisive action. | | / ~Calvart, with some reputation as a landscape artist, came early to Italy, becoming a pupil of Sabbatini, whom he assisted in his paint- _ ings in the Vatican. He subsequently established a school of great merit in Bologna, where Albarro, Domenichino, and Guido Remi received their first instruction in art. His own paintings were held in great esteem and are to be found in many of the Bolognese churches. H. 7144; W. 105% Pen and ink. Sepia and Ae India ink. John Baptist Gaspars Antwerp 1659. London 1691 175 HEAD OF A DOG A well-drawn head of a dog exposing his fangs, ably handled, display- | ing good direction of line and facility of execution. | a Gaspars was a pupil of Bosschaerts and subsequently visited England, | becoming assistant to Sir Peter Lely and later to Sir Godfrey Kneller; he was a good draughtsman and excelled in making designs for tapestry. H. 734; W. 954 Red and black chalk. Signed, lower right-hand corner, Gaspard fecit. Watermark, a fleur-de-lys. Abraham Genoels | Antwerp 1640-1723 176 A MOUNTAIN GORGE A dashing and brilliant sketch, showing on the right a towering mass 4. of rock lifting its verdure-topped pinnacles to the skies, a-solitary fir tree standing out conspicuously against it. Below, a rustic bridge 55 177 178 conception, ceil and adequately rendered. Genoels, who may be ranked among the ablest landscape artists of his country, visited Paris, where he was engaged in designing tapestries and also collab- orated with Lebrun in his “Battle of Alexander,”’ later ee elected a Member of the Academy. H. 1614; W. 734 Pen and ink. Sepia wash, and India ink. Signed, at base, A. Genolos. Watermark, a fleur-de-lys in a decorative escutcheon heals by a crown, beneath, the letters L.V.G. : Jacob Jordaens Antwerp 1593-1678 HEALING THE LAME A notable drawing by this master, manifesting his fertility of composi-_ tion and individuality of execution. A splendid example, probably one of the series of which another design is found in the Charles Fair- fax Murray Collection (since acquired by the late J. P. Morgan), catalogued as No. 168, and described as ‘‘Design for one of the Works of Mercy, purchased from Mariette.” ' In front of a building with columned portico, from the open door of which issues a robed ecclesiastic, sits a male figure, possibly one of the Apostles, addressing a man who is removing a bandage from his leg; ~ behind and to the right is a concourse of wondering and surprised figures. In the foreground is a seated woman, another leaning over — her, both holding books in their hands and a filled basket of the | same alongside; nearby is Jordaens’ inevitably introduced dog. This is a strikingly recognizable specimen of Jordaens’ work. Jordaens was a pupil of Adam van Noort, whose daughter he married. He collaborated with Rubens in a set of tapestries made for the King © of Spain and was considered second only to that master in brilliancy of coloring and artistic performance. H. 1444; W. 1714 Red and black chalks. Watermark, the Arms of Holland, supported by — two lions, guardant. 4a [SEE ILLUSTRATION] SAINT ANTONY OF PADUA A well-arranged drawing of Saint Antony holding a stem of lilies in” his left hand, standing on a decorative pedestal with winged cherubs — at his feet, raising his right hand in benediction towards a kneeling — mother appealing for her infant’s welfare; immediately above herisa _ sinking ship with a vision of the saint. On the opposite side is a build- — ing in conflagration, and below, a man handling two bodies dead of the _ plague; behind him, two others raising their hands in entreaty, while beyond are seen two more bearing a corpse on a stretcher. In the upper corners are winged cherubs bearing escutcheons, in the right-_ hand one, a sick person and on the left-hand one, four arms with upraised invocating hands. H. 114; W. 85% Pen and ink. Sepia wash, blue-grey tint. Signed, lower left-hand corner, J. J. fac. Watermark, a fleur-de-lys. : 56 JACOB JORDAENS [NUMBER 177] AL fs RTD SA RB SS la Maa ee ates Lae ‘ Gerard de Lairesse » Liege 1640. Amsterdam 1711. 7179 A GROUP OF ROMAN WARRIORS An interesting drawing of a warrior in classic costume, bearing a shield on his left arm, the other being outstretched and pointing, addressing another helmeted and plumed figure, while behind are : seen three more; cleverly drawn with careful detail. 4 —Gerard de Lairesse was considered the greatest historical painter of = his time and was an attentive observer of proper costuming. He ____ painted with extraordinary facility and enriched his backgrounds with architectural accessories, the principles of which he perfectly under- stood. H. 61%; W. 33% ee ~Penandink. Sepia wash, blue-grey tint. In the lower left-hand corner ___ of the mount 1s a collector’s mark, unknown to Fagan, and on the opposite side, on the drawing, the mark of Queen Christina of Sweden, Fagan No. 71. On the reverse of the original mount is another mark, in script, also unknown to Fagan, and an inscription in Italian. 180 THE LAST SUPPER '_,. A masterly composition, classic in manner, delicately drawn with ' / anuch dignity and appropriate action, curiously combining the reli- ¥# gious veneration of the earlier Italian artists with the luxuriance of the ’ later Venetian school. The ordonnance of the grouped figures, enhanced by the decorative quality of the architectural adornments, is remarkably effective. The exalted bearing of Christ contrasted with the lowly humility of The Magdalen, the varying attitudes and expres- sions of the Apostles, and the bustling activities of the attendants, all unite in forming a production of the highest pictorial merit, combining grace and feeling with simple and dexterous execution. H. 914; W. 20% Wash, in grey tones. Signed in monogram, G. L., on circular vessel in lower right center. Watermark, a fleur-de-lys within a crowned escutch- eon. ‘bo Jean Baptiste Madou 181 LANCERS CROSSING A FORD Drawing of two mounted soldiers entering a stream; on the banks | under the shade of a tree is a seated goat-herd with two goats nearby. _2-Madou, besides painting, practiced engraving and lithography, his | work as an illustrator being in great demand. As an artist his merit was recognized by the King of the Belgians, who created him an officer of the Orders of the Lion and of Leopold. H. 334; W. 434 Wash, India ink. Sir John Medina . Brussels 1660. Edinburgh 1711 | 182 SELF PORTRAIT An able and candid study of Medina for his own portrait, in the / / ~ Uffizi Gallery in Florence, indicated with true sincerity. ' Sir John Medina was a scholar of Francis du Chatel and followed Rubens’ style. Coming to England at an early age, he achieved success 57 183; UNIDENTIFIED PORTRAIT OF A COURT LADY. é 184 STUDY OF A LADEN ASS ie / 185 A CLASSICAL WOODED LANDSCAPE i 5 Oe A Oe OS ee 4 - ; 2 © as a painter of portraits as well as of history Sa lan decane Visi ing Scotland later he was commissioned by most of the Scottish nobility The picture, of which this is the preliminary sketch, was ra 0 the Grand Duke of Tuscany by the Duke of Gordon. H. 634; W. 5% Black and red chalks, touched with white, on blue-grey paper. 2 e reverse ts a clever study of an arm and hand done in black chalk, i ut ened with white chalk. : Three-quarter length drawing of a lady, standing nearly full-fac ce holding a drapery in her left hand; backgrounded by an overhanging tree and a landscape. Drawn with much deftness and facility. . Wash. India ink, heightened with white, on grey paper. Signed, on reverse, Medina ft., Bruxelles. H. 754; W. 6% Jan Miel (Giovanni delle Vite) Antwerp 1599. Turin 1664 A skillfully drawn study of an ass from whose back is suspended 4 pannier containing two lambs. Bold and correct in drawing with good animal action and well-distributed light and shade, evincing an ant sense of natural effect. Miel was one of the ablest disciples of Gerard Seghers. He traveled an id studied extensively in Italy, where there are many religious paint- ings of his in various churches; though his genius was more inclined to genre subjects with which he adorned the Chateau of the Vennerie of the Duke of Savoy, who bestowed upon him the Order of Knight- hood of St. Maurice. H. 3%; W. 3Y%4 Pen and ink, and wash. Sepia. Francis Mile Antwerp 1644. Paris 1680 A beautiful drawing, showing a lake in the centre, on the edge of which a building is half hidden by the adjacent foliage, which culminates in an elevated peak on the left. A winding roadway, on which is a soli- tary traveler, leads away from the foreground; to the right is a well-defined tree and nearby are two figures, one being seated on the bank of a pool at the foot of a rocky eminence flanked by a group of luxuriant trees, a seated figure seen outlined within their shadow. The whole picture composed with due regard to proper Nak and displays ing a fine sense of aerial perspective. Francis Milé, studying under Laurent Frank, soon surpassed his master. Subsequently visiting Paris, he first painted historical sub- | jects; but was more successful in landscapes adorned with feurel | exhibiting a grandeur of scenery almost equal to Poussin, and rarely | approached by any artist of his school. H. 934; W. 13 |) Wash. India ink. From the collection of Count Moriz von Fries. | Collector’s mark, lower left-hand corner, Fagan, No. 570. Wateranaa 1 a bunch of grapes. 58 PETER PAUL RUBENS NUMBER 186] $ aie : Peter Paul Rubens es Siegen 1577. Antwerp 1640 § STUDY OF TWO FEMALE HEADS An exquisitely fine drawing, combining delicacy of touch and deft- _ hess of line with vigorous simplicity, each stroke handled with a master’s feeling for intuitive expression; in addition, exhibiting le _ characteristics whose counterparts are discernible in many of Rubens’ drawings, notably the modelling of the lips and the distinctive atti- ‘ tudes. The absolute knowledge displayed in the clarity of method and bd direction of the shading, the ease and grace of the technique, identifies this fully to those familiar with the productions of this great master. _ Little can be added to the general information possessed by all art _ amateurs concerning this great genius. Artist, diplomat, grand _ seigneur, he shone pre-eminent in each réle. H. 7; W. 844 Pen and ink. Sepia. [SEE ILLUSTRATION] ae ae | 81 ATALANTA AND MELEAGER ay composition representing a hunting scene, well designed and replete with action, which has been engraved by Theodore van Kessel and illustrated in Max Rooses’ “Rubens” No. 638, Plate 197, Vol. III, _ p. 117, where it is described minutely. There are, however, noticeable variations between the plate and this original: the figure on the left ) _ is brought nearer to the centre, likewise the horse on the right and the upper part of the picture is raised, allowing more of the trees to be ) seen; the arrangement of the same in the background is distinctly “ _ different, the foliage being much more luxuriant on the left than in the painting, filling up the sky space to a greater extent. Alfred ad “Catalogue of Rubens’ Paintings and Drawings” mentions ~~ five exemplars of this subject; one, in the Imperial Gallery at Vienna, the landscape by Wildens, and the animals by Snyders; a second, ~ mentioned in the sale of Rubens’ effects; a third, slightly different in composition, engraved by Earlom; a fourth, in the possession of Lady Stuart, being No. 181 in the posthumous sale of Rubens; and the fifth, the same subject, an analogous composition to the one in Vienna, engraved by Van Kessel, of which this drawing is the original. ! H. 7%; W. 10 Black chalk wash, india ink. Inscribed, on reverse at top, Peter Paul Rubens. Watermark, a beehive, and beneath the word Monbron. From Money and Martin Collections. 88 CIMON AND PERUS A splendid creation in which the figures are well massed and arranged | with proper ordonnance, duly adjusted to the sentiment and feeling of the subject. Drawn with an intense rapidity of execution visible in ) “ the impetuous and facile pen technique. The incident illustrated is taken from Valerius Maximus’ “De Pietata erga Parentes’” and Max Rooses quotes nine replicas, those still extant varying, however, considerably from one another. Alfred Michiels in his catalogue cites five examples: One mentioned in the 59 t~ “190 STUDY OF A SEATED HOUND 191 HEAD OF A DOG dispersal of Rubens’ works at his death; a second, in the Galler y a The Hague; a third, in the Hermitage Palace at Petrograd; a four in the Marlborough Collection at Blenheim, and a fifth preserved ir the existing engraving by Paneels. | This drawing is evidently the parent design, the entire execution bel nf undoubtedly from the hand of Rubens; the portrayal of Hele Fourment as the devoted daughter is clearly manifest and the boy i unmistakably the artist’s son, Nicolas, both being remarkably goc te likenesses. It is conjectured that most of the painting on these pictures is th ie work of pupils, amplified and finished by the master, and in most cz sé the virility and charm shown in the faces of the original are lost, th composition being far less effectively artistic and expressive than i this striking record of Rubens’ individuality. None of the painting display the grace of attitude of the woman’s form or the infantil vivacity of the child peeping so archly over her shoulder. As is oftet the case, the artist’s inception is more satisfying to the discriminatin than the finished product. H. 8; W. 103 Pen and ink. Sepia. Collector’s mark, on lower left-hand corner, Fagai 241, Guiseppe Vallardt. From Vallardi, Money and Martin Collections Watermark, undecipherable, apparently a hand holding a stem of ele Squared for enlargement. 4 Francis Snyders Antwerp 1579-1657 STUDY OF A DOG LOOKING DOWNWARDS A capable sketch of a dog seated, drawn with considerable freedom and anatomical knowledge, the simplicity of treatment denoting absolute | proficiency of animal delineation. Snyders, pupil of Henry van Balen, } early attracted the attention of Rubens, who frequently entrusted to | him the painting of animals, fruit, etc., in his pictures. His coloring | and spirited touch were so excellent that it is difficult to distinguis h| Snyders’ work from Rubens’. ; | The vigorous action exhibited in his designs of animals displaying } ferocity was remarkably good; his fruit and game pieces also are} admirable in color, clear and chaste. To these achievements must be added his etchings, which were executed in an one and masterly style. H. 544; W. 6% VY, Black chalk, heightened with white chalk, on grey-tinted paper. A vigorous sketch, full of action, of a dog scratching; freely and boldly drawn, expressing with fidelity natural movement and distinctive pose, every canine trait deftly featured. H. 5%; W. 57 Black chalk, heightened with white chalk, on grey-tinted paper. | A clever and brilliant sketch of a dog’s head looking towards the left. Drawn with great dexterity, evincing fidelity to nature, and chara indicated in the simplest possible manner. H. 634; W. 4% yy Black chalk, touched with white and red chalks, on buff paper. 60 . ‘ ee ar AN ent RRA HE LS Om SI imeem omens ie 2 ett ce ts le a DI as wi ne Na et a i eric ANTHONY VAN DYCK [NUMBER 192] tye ! } he eu ‘7 > Ne 1 | 92 a ;| 1 2 + , fl | f { } , ow Yast [= “ Sr ee a ae ee a % ) Se PO ee | { » { ie 9 Sir Anthony Van Dyck Antwerp 1599. London 1640 PORTRAIT OF CORNELIS SCHUT A virile preliminary sketch for the portrait of Cornelis Schut, engraved by Lucas Vosterman for the “Series of Eminent Artists,” produced by Van Dyck. A second and more detailed drawing, finished in black ey chalk and washed in india ink, probably for the use of the engraver, exists in the collection of M. Dutuit and is illustrated in Guiffrey’s “Van Dyck,” p. 114, in which differences, though not material changes, are perceptible, i.e., ‘the chin is not so full below; the space above the head is less; the ear is more covered by the hair in front, the arrange- ment and treatment of which differ in details; the lower lip is less pendent and the goatee does not straggle; the shape of the nostril is not quite the same, the opening being lower at the wing; the tip of the nose is less abrupt and the forehead is smoother and less retreating. The right side of the collar ends in a point, extending further than the original, and the lining of the cloak is closer to the buttons, much more even in the folds, which throughout are all much simplified : the third _ finger of the hand not so visible, neither is the little finger, and the _ euff on the lawn sleeve is different in shape. This original betrays more character and individuality than the Dutuit drawing, which appears labored in comparison. w* £ 193 The career of this great portraitist is too well known to need exploita- tion here, but it is interesting to note that this series of inimitable portraits of the eminent artists of his time has perhaps never been equalled for the admirable variety of attitudes and the characteristic expression of the heads. They were engraved by the ablest exponents of that art, several of them being etched by Van ee Ww. : 29 Pen and ink. ie shaded with India ink. Watermark, three mounts bearing a cross. Titled in the artist’s handwriting, below, Cornelis — Schut, Pitt. Se. [SEE ILLUSTRATION] THE OLYMPIAN HEIGHTS A fanciful conception representing a multitude of nude female figures assembled in the fore and middle grounds, beyond which is a lofty eminence on whose sheer sides are suggested trees and groups wander- ing amid them. In the centre are wrestling forms and nearby a circle _- ot dancers, while immediately above a musician plays to an admiring _ audience. The individual gatherings, simply and broadly rendered, exhibiting the variety and disposition of the masses, combined with grace and freedom of action, impart a picturesque airiness to a poetic creation. In the centre near the top and at the left side are some undeciphered writings. H. 11; W. 83% Pen and ink. Sepia. Signed, at lower left base, Antoni van Dyck, F. From the Money and Martin Collections. 61 Tobias Verhaeght Antwerp 1566—1631 194 AN ITALIAN LANDSCAPE A well-drawn view, executed in an individual manner, of a diate valley dotted with fortified, castellated buildings, fercsvanndana 0] the right by precipices on which are a cluster of pines. A picturesque roadway traverses the brook on rustic trestles, zigzagging over stone } ie arches which cross the main stream, eventually losing itself among the : foot-hills;_ a broken fir tree, near which are two travelers, droops towards the cascade in front. . Verhaeght was Rubens’ first master. He acquired éelebrity as aland 1- scape painter, working in Italy under the patronage of the Duke of Tuscany. His scenery is usually grand and impressive and display; greater feeling for aerial perspective than most of his contemporaries. 10144; W. 18 Pen and ink and wash. Sepia. Watermark, an elephant. Giacomo Du Vivier Liege 1687. Paris 1761. 195 DESIGN FOR DECORATIVE ARMORIAL BEARINGS A nicely finished design in the rococo style, enclosing the conjoined . » arms of two families, recording the union of Abraham Jacomo van / 0 Halmaal and Helena van Gorp. A rather typical example of the orna- | mentation of the Louis XV period; a pleasing arrangement neatly drawn. Du Vivier settling in Paris flourished as an engraver notably - in armorial design and dies for medals. There are also some creditable plates by his hand. H. 11; W. 83% Wash. India ink. Signed, 1n monogram, lower right-hand corner, | G.D.V., invt., and dated on left base of ornament, 1761. : ; Martin de Vos Antwerp 1581-1628 ~ An extremely interesting drawing, probably made for engraving or 4 Z designed for a tapestry panel, showing Marie de Medici seated and beside her the Goddess of Plenty, bearing an overflowing cornucopia and holding a sickle in her hand. Beyond, seen between the two figures, is a bear, and at the right, within a pillared hall, guests are” sitting at aladen table. The portrait of the queen is well drawn and the - composition arranged in a manner frequently met with in prints of the period. Martin de Vos studied under his father, who was also an artist, © and subsequently with Francis Floris. Deciding to go to Italy, hal visited Venice, where he became acquainted with Tintoretto, who not only instructed him in the best principles of coloring but employed — him as coadjutor to paint the landscapes in his pictures. De Vos” eventually acquired such reputation as to be employed in painting the - / 196 AN ALLEGORY » portraits of several of the Medici family. H. 634; W. 9% Pen and ink and wash. Sepia. Watermark, a bugle surmounted by 4 a@ cross. 62 - FRENCH SCHOOL NUMBERS 197-827 Jean Berain Paris 1630-1697 7A SHEET OF TEN GROTESQUE MASKS A page of skillfully drawn fantastic heads, three of them human, the upper one surrounded by a tasteful frame; freely and cleverly ren- “dered. The decorative qualities of the fanciful distortions imply a ~ sense of ornamental application combined with a knowledge of animal a and human expression. a _ Berain, specializing in this field of art, etched several series of plates, _ mostly from his own designs, of quaint and bizarre devices and ri 4 embellishments, which were received with favor. H. 8; W. 5144 rene. Pierre Nolasque Bergeret Bordeaux 1782. Paris 1863 08 § DESIGN FOR BAS-RELIEF ON THE COLUMN VENDOME at aris. ta [a spirited and capably executed pomocetion commemorating Napo- leon’s conquest of Italy. The laurel-decked victor triumphantly crowns a seated figure of Italia, at whose feet a winged cherub pours from a cornucopia a plenteous abundance; while Fame bestowing a wreath of honor hovers above heralding the hero’s glory on a trumpet from which waves a banner inscribed, Marengo. At the left are three oth soldiers of the Old Guard in their bearskin shakos, carrying standards; ‘) while in the background and scattered under foot are captured ™® military trophies, amidst which are three Amorini, one, seated in the ' foreground, holding a club emblematical of Force; the others, behind, ’ one bearing a palm of Merit and one the scales of Justice. The whole ' subject painted in harmoniously varying monotone, reproducing the effect of bronze and shaded in simulation of relief. Bergeret, a pupil of David, was a distinguished painter of landscape , and historical subjects, many of his pictures being in the Luxembourg. vt _ Besides the bas-reliefs on the column in the Place Vendéme, he fur- a) Oished designs for the medals struck at the Mint, and his talent as an illustrator is preserved in the splendid editions of Boileau, La Fontaine and other French Classics. H. 634; W. 9 - Gouache. Jean Jacques Boissieu Lyons 1786-1810 ‘| 9 RIVER VIEW WITH A FORTIFIED BRIDGE ge A carefully finished drawing of a stone bridge on arches, guarded by { _ruined citadels at either end, spanning a stream flowing smoothly | ~ between the jutting buttresses; with a laden barge and boat at the Oy Bore, on which are seen groups of seated and standing figures and on i _ the sloping rise of the roadway are wayfarers, one mounted on a mule. a The farther bank shows trees and a house, backgrounded by rolling 63 an hills. Well composed, drawn with exceptional precision, exhibitin a fine sense of chiaroscuro. De Boissieu was a landscape painter, bu he is principally known by his charming etchings of scenery and othe subjects from his own drawings, as well as after other masters. . 1354; W. 103 Y Wash. India ink, heightened with white, on light bron paper. Cc lector’s mark, in lower left-hand corner, Fagan No. 361. 200 VIEW OF THE RUINS AT OLLIVETTO A bold and rapid sketch of a winding roadway averlonlen es a rive whose meandering waters wash the foot of a terraced slope on tt ~ erest of which stand picturesque ruins; on the opposite side of tk L- stream, over an arched bridge, is a clump of trees, and beyond, grour of buildings, with hills in the background. A gaa rendering of pleasing landscape. 1054; W. 14! Pen and ink and wash. Sanit Edmée Bouchardon Chaumont 1698. Paris 1762 201 THE FARNESIAN HERCULES A precisely detailed drawing of the Statue of Hercules, evidently done for purposes of study. There are several examples by this sculptor a _; in the collection of drawings at the Louvre of similar educational K( | borough, his productions including many caricatures, besides designs — for ornaments, drawings of ancient buildings, etc. He also engraved | the plates for Theobald’s “Shakespere,” from his own HB, WO 4a Pen and ink and wash, india ink, heightened with white. Jean Baptiste Greuze Tournus 1725. Paris 1805 OST EET ens ot LES CADEAUX A magnificent example of Greuze’s water color, of remarkable size and in superb condition, illustrating La Féte du Grandpére, in which the white-haired head of the family stands, overcome with grateful emotion, surrounded by his affectionate offspring bearing gifts. Sup- } ported by his stalwart son, he holds in outstretched hands a garland of roses, a little girl at his knee presenting a pretty vase, while in front, } a smiling boy, his hat filled with roses, proudly carries his grand- father’s staff. On the left, his daughter raises her child, whose chubby > arms encircle his neck for a birthday kiss, and at the side another son, | glancing approvingly over his shoulder, is clearing the festive table. Behind, gazing in rapt adoration, the grandmother leans lovingly on her daughter, who with hands clasped on her bosom beams devotedly on the joyful scene. In the shadow beyond is seen a doorway, over which a drapery hangs suspended from a tree and in the distance is a suggestion of a house embowered in foliage. 80 i . _ A feeling of genuine sentiment is displayed in this splendid drawing, _ the harmony of coloring, the sureness of touch, visible in every stroke _ of the brush; the virility of the pen work is so remarkable that in _ combination with the well-defined relation of the figures to one another : it forms one of the most fascinating specimens of this artist’s achieve- ments. _ Jean Baptiste Greuze studied under Grandon and has been styled the _ painter of the bourgeoisie, his happiest efforts being taken from the _ life of the middle classes. Charming as his works are they show that he, _ like most of his contemporaries, was influenced by the pursuit of mere _ prettiness. Still Greuze merits recognition for his efforts towards a _ more natural style than the sham pastorals with which the more _ fashionable painters were overwhelming French art. i Water color, outlined in pen and india ink. _ H. 204; W. 14% [SEE FRONTISPIECE] 0 THE FLORAL OFFERING _ A delightfully composed rural scene, showing a cottage garden in 4) which stands a comely and buxom country maiden with her dog beside — her, naively presenting a nosegay to a bourgeois couple resting in a - rustic summer-house embowered in foliage, the lady graciously accepting the proffered posies. Beyond, the roof of the humble abode rears itself above the luxuriant verdure, and in the foreground flower- _ pots and other accessories lie scattered. The sketch is impulsively _ drawn, with great vigor and freedom, displaying simple, natural sentiment in pose and action. H. 7; W. 9% Pen and ink and wash, india ink. jacques Guay Marseilles 1715. Paris 1787 1 TWO PORTRAIT DESIGNS FOR CAMEO ENGRAVING _ Two carefully drawn designs in ovals; the upper one containing two | adjoining portraits, the more prominent being that of Louis XVI of France, arrayed as Dauphin in decorative armor, superimposed on the adjacent profile of his bride, Marie Antoinette of Austria. Below the busts is an emblematical dolphin, the tail curved up beside the _ prince. The inscription above reads, ‘‘Portraits de M. le Dauphin et _ de Made. la Dauphine.” Below, in another oval, is a likeness of Charles Christian Joseph, the last King of Poland, in classical costume, the head wreathed with laurel. These are interesting as original contemporary portraits. Underneath are the words, ‘“‘Portrait du Roy de Pologne Electeur 3 Saxe,” and in the lower left-hand corner, ‘‘graves sur Pierres par vay.’ Becues Guay studied drawing under Boucher and was made an cademician in 1748; this artist was favored by Madame de Pom- padour, who obtained for him the post of engraver in cameo to the King, Louis XV. H. 9; W. 63% Pen and ink, sepia. 81 wee S i, A fi f @) 262 STUDY OF A SANS-CULOTTE OFFICER 263 ST. VINCENT DE PAUL IN PRISON a”. , 264 265 SKETCH OF TREES AT THE WATER’S EDGE yA Baron Pierre Narcisse Guerin Paris 1774. Rome 1833 A drawing of an insurgent officer, of the French revolutionary perio marching sword in hand, wearing a bounet rouge, decorated witll national cockade, a redingote and top boots, and across his body | tricolor sash. Below are the words “Etude pour Vendemiaire,”’ an “Officer d’Insurgentes.”’ Guerin, a pupil of Regnault, was appointed director of the Frene School at Rome, and on his return to France received the title Baron. Though his pictures were held in high esteem, his later work appear theatrical in manner; this may have been caused by his ct tom of sketching the actors of the Theatre Francaise. Black chalk. = H. 844; W. 44 - Hector Guiot q Langres 1825-1903 A remarkably clever transcript of the picture at Dijon by J acqu Joseph Lecurieux, ‘St.Vincent de Paul prenant les fers d’un forcat beautifully copied in representative detail, with unusual percepti¢ and technique. Guiot studied under Ziegler and was a frequet exhibitor at the Salon, principally of portraits in pastel and landscapi both in pure water color and gouache. There are several large examples of his work in the Luxembourg galleries. H. 1134; W. 7% Water color, on Silke brown paper. Signed, lower right-hand corner H. Guiot. 4 Henri Harpignies Valenciennes 1819. Paris 1916 STUDY OF A SNOW-CLAD TREE A talented drawing, bold and sure, the effective contrasts displayix a sincere study of nature. Truthful and full of grace, facile in execu: tion, with a picturesque reality in the massive rugged trunk and I of intertwined branches clothed in luxuriant foliage. Harpignies began life as a commercial traveler, but his taste fora decided him to study it. Receiving instruction from Achard, he soon | displayed marked personality and great force of expression, attainit in an individual position as a landscape artist. His work was much appreciated and he received many honorable ane ae Ty ‘| 1 Pen and ink, sepia. Signed and dated, lower centre, H. H. Decem 1 859. An interesting and facile study of a mirroring pool on whose me - stands a clump of trees covered with masses of foliage; the vigoro branches forming fantastic outlines stretching towards the sky, wi th a tangled maze of bush and bramble beneath. At the right is anothel group of vegetation and in the background a vast rugged plain beyond which rise the serrated crests of distant hills. The treatment of this sketch is remarkable for perfection and facility of execution. Pen and ink, sepia. H. 4; 82 - * ise | Jean Baptiste Huet ia Paris 1745-1811 GOING TO MARKET An exceptionally fine example of this artist’s work, exhibiting all the _ so charming. The sure-footed ass with its lovely barefooted burden _ traverses the inclined crossing leading to the highway, guided by the _ shepherd, who, looking back, instructs his aides in the herding of the - sheep and cattle following in his wake. A bearded goat marches with dignity at the head of the troupe, the dog meanwhile stopping to ~ drink at an adjacent pool. Behind the flock massive verdure-covered rocks in fantastic shapes rise in stately ruggedness, and at the right _ are seen two pollard willows. On the left is the edge of the woods with tall slender trees, through whose masses glimpses of the sky _ penetrate, their roots concealed by tangled bushes growing on the _ sloping edge of the roadway. The delicacy, purity and bewitching _ grace of this picture, its unusual size and splendid condition, make it _ worthy of particular note. _Jean Baptiste Huet was a pupil of LeBas; his subjects are principally Tustie scenes with figures and animals. In 1790 he was attached to ‘the Royal Tapestry factories at Gobelins and Beauvais, and his facile _ talent lent itself so well to this branch of art—his work equalling _ Ondry’s and Boucher’s, that he was appointed, in 1794, to the post of _ painter to the King. He was a good draughtsman, his drawings possessing great delicacy and sentiment. The British Museum and the Albertina own some interesting examples. His skill with the graver was also considerable. Many of his compositions were reproduced by _ the foremost exponents of his day in etching, aquatint and a la maniere _ de crayon. oe 91%; W. 15 _ Pen and ink, sepia. 7 = | [SEE ILLUSTRATION] THE BILLET-DOUX An exquisite drawing in miniature of a barefooted, sleeping maiden, her head resting on her arm, and reclining on a mossy bank beneath , the spreading branches of an oak, with three lambs lying beside her, / while, in the distance, the gabled roof of a farmhouse is seen. An ? ardent swain, timorously approaching from behind the trees, bends over her, dropping into her lap the written declaration of his affection. _ The whole forms a delightful sylvan scene, drawn with marvelous _ breadth and freedom, considering its diminutive size, and colored with harmonious simplicity. H. 13%; W. 2% Water color. 388 PORTRAIT OF MONS THOMAS LE CLERE A drawing of peculiar interest, being a successful exemplar of a type of work unusual for this artist, whose familiar productions are of fa pastoral nature; showing a nearly half-length figure of a man engaged in drawing, with face in profile, seated at a table beside a _ window, looking out on a court yard. The lighting effects are remark- ably well distributed and the reflected glow in the face skillfully _ rendered. The portrait itself is surrounded by a time-worn stone 83 picturesque beauty of pastoral scene, which renders his productions Wh oval, decorated at the top with a chimerical head noe garland 269 AT THE FOUNTAIN LS 270 271 fruit, and below are various artist’s materials admirably distributec The treatment is delicate yet effective, the composition excellent, th action and pose correct and natural, signalizing the versatility of : master. E Alongside is placed the completed reproduction, printed in brow etched and finished au lavis, by Huet’s own hand. H. 10%; W Wash, india ink. [SEE ILLUSTRATION] A charming drawing of a bewitching maid, daintily attired and oral fully posed, filling a pitcher from the flowing water of an upright ston fountain, whose top is shrouded in foliage. At the right is seen rustic fence topped by the ragged thatching of a neighboring shelte Drawn with refined delicacy and clearness; exhibiting a deftness touch and sensitive feeling; the shapely form and the detailed el gance and simplicity of the tasteful costume being sani surpassed } the fine technique. H. 614; Ww. Wash, sepia. . . CHILDREN AT PLAY e A group of six children, one of whom is baleen on his anit vi feet in air, while a little girl seated nearby on a grassy mound beside sturdy tree, attended by two small boys lounging in easy attitudes, watching the performance with amused intentness. Two others, a bc and a girl embracing each other, stand near an oak in the foregroun looking on with interest. The background shows luxuriant masses verdure, with a ruined circular tower and a hilly landscape beyon The drawing is agreeably composed and rendered with careful adjus ment of values, it being probably one of Huet’s designs for decorati wall papers produced by the factory at Jouey. H.6%; W.7 Wash, india ink. Charles Francois Hutin Paris 1715. Dresden 1776 THE BLESSED SACRAMENT A fine composition, full of religious sentiment, displaying a mc strance on an altar surrounded by lighted candles within a domed. cove, and in front a balustrade, above which is seen an angel pointi towards the Sacred Emblem. Another kneels on a bank of clouds wi arms folded in adoration, and on the opposite side, on her knees besi a prostrate cross, is a third, above whom, holding in her hands a Cro: of Thorns, hovers one more; while dimly seen floating in the blaze light rising from the Holy Symbol are cherubs’ heads. The arran; ment of the figures and accompanying surroundings is good and {| illuminative effect well rendered, though the delicacy of execut frustrates its due emphasis. ia Hutin was a pupil of Le Maux and after gaining the Prix de Ro® remained in Italy studying the old masters. On his return to Fraié he was admitted to the Academy, but later settled in Dresden, be} appointed director of the Academy there, which post he held wi his death, dividing his talent between sculpture oe Re Ww, > Black chalk, heightened with white, on blue-grey paper. 84 ee Sead. & ¥ Vw Ue 7 ~ - — — = [29% WaAdWON| LHNA ALSILdvd Nvaer ONIMVUC TVNIOIYO FHL NMOUG NI NOLLONGOUdAY \ , ees < Dat. a 2 i | ¥ pa a a JEAN AUGUSTE DOMINIQUE INGRES [NUMBER 272] | wit ~ _. eed . ~_ cnet semedadmal ee ee ae ee ee ee a | Jean Auguste Dominique Ingres iL one : Montauban 1780. Paris 1867 272 STUDY OF A GIRL’S HEAD | A. life-like representation of a young girl, whose plainly dressed hair __ covering her pink ears emphasizes the perfect oval of the face. The forehead rises smooth over the arching eyebrows, beneath which the eee eyes gaze out solemnly; her clear, olive skin glows with color and her lips express gentle affection, and there is a tenderness and __ simplicity to the gracefully poised head. The brush effects are broad, ___ yet a smoothness of application aids the characterization, the trans- parent shadow tones displaying true consonance. _ The head is a portrait study of a much-used model of Ingres, her face being often repeated in his larger works This and the six succeeding _ _wpumbers were purchased from Mrs. Greenough, the widow of Horatio Greenough, the sculptor, who acquired them during his stay in Italy. Ingres’ father was a painter, sculptor and musician and instilled in his ‘son the first principles of drawing. The boy evinced such skill in this branch that he was sent to Toulouse, where he was placed under the ‘successive tuition of Roques, de Vien, and Vigau. Later he went to _ Paris, entering the Atelier of David. He eventually managed to achieve the Prix de Rome, but he was unable to procure the payments __ attached to that scholarship for five years. Ingres soon developed an individual style, breaking away from the severe classicism of David, and devoted himself to an intensive study of Raphael. Eventually reaching Rome, he was forced to augment his income by making _ portrait drawings at forty francs each; of these he executed over three hundred. In 1824 he left Rome for Florence, residing there for four _ years; returning to Paris he achieved a triumph in association with _ the romantic school supported by Delacroix and Gericault, over the _ classical adherents. One of the most marked characteristics of Ingres’ _ work is his absolute sincerity. A searcher after beauty, his ambition, was to equal the drawings of Raphael and, though he never reached __ that plane, yet obtained for himself fame asa draughtsman and painter. Ingres was honored by decorations from almost every Academy in __ Europe and the high estimation in which his work was held has not __ yet perished. H. 104%; W. 94% 4 Oil on oiled paper. From the Horatio Greenough Collection. SN eeatieeD oA ew ge “Es oar _~ 7 rats , + 2 [SEE ILLUSTRATION] 273 HEAD OF AN OLD MAN A splendid study of an old bearded man; his hair combed off his lofty _ forehead reaches his shoulder, in flowing locks, his full beard, deftly _— penciled, falling to his chest. fe The fine modelling, the marvelous transparency of the shadows and the detailed drawing of the features are exceptional; the dignity of the expression emphasized with unfailing accuracy, even to so minor a point as the mole under the right eye. H. 1144; W. 9 Black chalk, heightened with white, on brown paper. 85 4, 4VJ ~~ 4 on 274 HEAD OF AN OLD WOMAN 275 STUDY OF A YOUNG GIRL | | east A delightful study of a young girl wearing a close-fitting cap, fro om eo 276 STUDY OF A YOUNG GIRL’S HEAD 277 STUDY OF A FEMININE ARM 278 TWO STUDIES OF AN ARM AND A SLEEVE on one sheet. ie A finished drawing of a masculine arm and hand, lifelike in aspect, | ten cual of character; the delineation of an almost palpabl | eet U7 as the hand rests easily on a faintly indicated knee, the sleeve bein A superb drawing of an old woman’s head, seen in profile, we aring 2 3 | kerchief arranged over her hair and falling to her shoulders. A pera esh quality; the pendulous cheeks, the wrinkled brow, the pu lips, the sagging chin and the faded eyes, surrounded by a networem fine lines, are exquisite in their truthfulness to nature. The luminosit of the skin and the refinement of the handling in the ear alone are rare and when amplified by the simplicity and clarity of the few lines indi cating the folds of the drapery proclaim the hand of a master. — Black chalk, heightened with white, on drab paper. H. 115%; Ww. [SEE ILLUSTRATION] which her hair falls rippling on her neck. Posed in a charming, gracefu u attitude, the form delicately defined in faint lines and tenuous shag ings. The head, turned three-quarters, looking over the right shoulder is finished in a subtle manner, the fineness of the skin texture being shown, while the light, shade and color values of the hair are excellent, This figure and attitude are utilized in Ingres’ paintings. H. 1134; W.§ Black chalk, heightened with white, on light grey paper. An exquisite drawing of a young girl, sketched from the same model | as the preceding number, showing her in profile, looking downward | and facing towards the left, the close-fitting cap, outlining the skull, set further back on the head, her hair flowing gracefully over her neck, | the face charmingly expressive. Drawn with vital feeling and smooth- ness, indicating an engaging ease and fascinating Peony: Es A : 8% Black chalk, heightened with white, on buff paper. ne [SEE ILLUSTRATION] A dexterous and clever study of a girl’s arm executed with ¢ | delicacy and feeling for textual quality; drawn from a seated figure, 2, | lightly sketched in. The definition of the hand and the structural and | muscular suggestion is remarkably good; the treatment of the shadows, with their beautifully rendered reflected lights, and the natural con- | tour and general disposition are exceptional. H. 1154; W. 9 Black chalk, heightened with white, on light grey paper. 4 a displaying indicatively the interplay of muscles and ligaments under the skin. The wonderful poise, the grasping quality of the hand, the 86 _— vs : LATTE EO 7 Cline Le ite Ghee ttt etre | eo eo hr REP OTA) ee eee det ailed representation and constructive sense exhibited are remark- able. On the left is an effective study of a draped sleeve; the orderly and correct disposition of the folds is drawn with fine discernment of texture and smooth simplicity, the variations of the shadows mani- festing skill and knowledge. H. 9; W. 115% Black chalk, heightened with white, on drab paper. Louis Gabriel Eugene Isabey | 4 ‘ Paris 1803-1886 9 FISHING BOATS OFF SHORE _ A capital drawing of a fishing boat with mainsail lowered rocking on _ the waves, with another nearby. In the distance, alongside the jetty, _, more are visible and behind them the tall spars and yards of a brig, / _pointing skyward; beyond these rise the chalky cliffs fading gradually (6 into the distance, atop of them a square fortified building and others below at the water side. Accurately drawn, with fine atmospheric effect and 2. well-ordered sense of motion. } _ Isabey received his firSt instruction in art from his father, Jean _ Baptiste, the muriaturist, He early joined the ranks of the revolting _ young romantists under Delacroix and Bonington, painting principally genre scenes in Normandy, as well as landscapes and sea views of that _ coast. Towards the end of his life he produced a great number of _ water color and pencil drawings of considerable merit. H. 614; W. 934 } , Lead pencil. Signed, lower right-hand corner, E. I. Charles Emile Jacque Paris 1813-1894 Py 0 FEEDING TIME _ A drawing of a stable-yard with two horses feeding from a trough, into ___,which a man is pouring corn from a sieve; at the left a woman stands _—caring for some sheep in front of her, chickens, meanwhile, gathering " round her feet. In the background, rise the picturesque, irregular, _ tile-roofed farm buildings, flanked by sheds and lean-tos, while in _ the corner lies a heap of farm implements. The rural scene is depicted ina broad, vivacious manner, yet suggests in every detail simplicity and natural effect. ___ Jacques started his career as an apprentice to an engraver. Later he went to England, being employed there in book illustration, making the drawings on wood himself. He returned to France, affiliating himself with that band of artists in the Forest of Fontainebleau known as the Barbizon School, and began to exhibit at the Salon. But his fame rests more definitely on his etchings, the technique of which inspired most Of the etchers of his day. His association with such realists as Miller and Rousseau strenghthened and developed his perception of natural cd form and effects, materially improving his later style. H. 534; W. 834 Lead pencil. Signed, C. Jacque, on building on left-hand side. 87 281 Maxime Lalanne Bordeaux 1827. Paris 1886 A MOUNTAINOUS LANDSCAPE A comprehensive study of mountain scenery, foregrounded by mas- sive, uncouth boulders, between which flows a cascading torrent. I the middle ground is seen a house, on either side of which grow thick foliated trees and behind rises majestically a range of lofty peaks, th : r serrated edges standing out against the sky. The variety of motive the exactness of detail and the poetic feeling show great originally the drawing is clever and is enhanced by a dexterous touch. A g light floods the scene, defining the atmospheric values with a sere dignity which pervades the entire composition. Maxime Lelanne’s etchings are famous for the scientific clarity 0 their method, which he explains in his “Treatise on Etching.” He was a pupil of Gigoux and an assiduous exhibitor at the Salon, taki many medals, besides being decorated with the en OH de’Honne H. 1634; W. 22% Black chalk on buff paper. Signed, lower left-hand corner, Lalanne. fj, Nicolas Lancret Paris 1690-1743 TWO WOMEN GOSSIPING A facile and accurate sketch of two female figures seated on a rock . ledge, one in profile with arms folded, listening attentively to a state- q ment emphasized by the pointing hand of the other, who is seen from the rear, leaning towards her companion. Drawn with a swift and deft touch in an expressive and natural manner, displaying character- istic pose and intentness. =f Nicolas Laficret studied under Velin and Gillot, being a fellow-student of Watteau’s, whose ideas and ideals he followed. Blinded by the success of his friend, he identified himself so much with his style that it was almost impossible to distinguish between them; but he rarely exhibited those finer qualities that make Watteau’s work imperishable, He achieved considerable reputation in his time and was appointed painter to the King after his admission to the Academy. H. 6%;W. 5 4 Black chalk. Watermark, a flying bird. : Sebastien Le Clerc Metz 1637. Paris 1714 A RIVER SCENE A fine drawing of great luminous quality, showing a broad vista of comparatively level country, broken by a rugged hill clearly defined on the horizon, through which flows a placid river with scattered bushes on its banks; at the left a solitary tree with gnarled trunk and leafy branches stands near the road. By the waterside are three figures, | two others being visible on the winding highway. This example shows broad execution combined with delicacy of tone, moderate contrast 88 and great freedom of effect. The clarity of detail, soft brilliancy and varying values of the different planes are respected, while the whole is handled in a masterly manner. The transparency of the atmosphere blends harmoniously with the warm glow of the sky. Le Clere was a pupil of his father, Laurent, who was a goldsmith and by whom he was instructed in engraving. Later, on reaching Paris, Lebrun counselled him to take up painting. Colbert procured him an = al ig é sie : appointment at the Gobelins factory and on his election to the Acad- __emy he was appointed professor of Perspective. He renounced this ___ position for that of engraver to the King and a professorship at the ____ Gobelins school. H. 4%; W. 10% Wash, sepia. a 4 Alphonse Legros ema d = , Dijon 1837. London 1911 284 SKETCH FOR THE ETCHING “FEMMES DE BOULOGNE” Original sketch for a seated figure of a woman, introduced in the etch- a ing, by Legros, entitled “Femmes de Boulogne.’”’ Drawn with skill - and ease of manner, showing a female sitting with a basket beside her, _ the head bound in a kerchief, wearing a large cloak, the folds of which ___are carefully detailed, the pose being extremely good and the face full _ of character; displaying this master’s qualities of expression and facile handling. Legros, a pupil of Le Coq de Boisbaudran, after struggling to make a living in Paris as a teacher, on Whistler’s advice went to London, where he obtained a position in charge of the engraving class at South Kensington. Later at Poynter’s solicitation he secured the post of professor of drawing at the Slade School. As a draughtsman and | etcher, Legros takes a high rank, his portraits and genre subjects -_ evineing a natural and instructive refinement of execution. H. 10; W. 7144 Lead pencil. Eugene S. LeJenne Contemporary Artist 285 THE SUNSET HOUR An interesting and well-executed drawing of a silent pool, whose sedgy banks are bordered with tangled bushes, reflecting the stately tree on its margin; the grassy slopes on either side, with their well- worn pathways, leading over the ridges to the heights on which stand E quaint old buildings. Far away, the distant tree-tops outline them- selves against the peaceful sky, illuminated by the rays of the setting sun gilding the low-lying banks of cloud, while over all falls the peace- ful stillness of the twilight. H. 9; W. 16% Charcoal. Signed, lower right-hand centre, E. S. Le Jeune. From the Loizelet Collection. 89 )- 286 287 288 289 Louis and Antoine Le Nain Laon 1588-1593. Paris 1648 STUDY FOR AN INTERIOR WITH FIGURES A preliminary sketch of six figures in varying attitudes inside a farm- | house kitchen. At the right, a woman on her knees tends the fire on © the hearth, over which hangs a pot within a semi-circular chimney; — near her a man sits huddled up, while in front is a group of females, the - foremost kneeling, addressed by another standing over her, the rest — looking on. Drawn with great facility and simplicity of execution. ~ The brothers, Le Nain, Louis and Antoine, worked in conjunction, ~ producing many scenes of peasant life, particualrly interiors, which were much esteemed for their fidelity to nature, clever treatment and ~ good coloring. H. 41%; W. 73% © Pen and ink, sepia. g SEATED FIGURE OF A PEASANT Sketch of an uncouth peasant lad sitting in an ungainly attitude on a slight rise near a wall on which a vine is growing; his clumsy feet crossed and his hand resting on his knee, in a natural position, while his clownish face peers out from beneath his shapeless hat. Remark- ably simple and direct in handling, exhibiting great veracity in the pose and bucolic expression. H. 414; W. 344 Pen and ink, sepia. q - Jean Baptiste Le Prince Metz 1733. St. Denis du Port 1781 A RUSSIAN PEASANT FAMILY An interesting study of a bearded Russian Moujik seated on the ground by the wayside, dressed in coarse habiliments, his toes pro- truding from well-worn boots and his hands clasped before him. Alongside sits his barefooted wife with an abject expression on her face, her arms around a child she holds on her knee; and beyond, near > a temporary shelter, is the figure of a young girl, her hand held to. her mouth. The whole forms a graphic picture of itinerant beggary and poverty, drawn with great fidelity; comprehensive and discern- ing. Probably one of the many sketches made by this artist during his peregrinations in Muscovy. _H. 654; W. 6 “a Black chalk and wash, india ink. A MUSCOVITE WOMAN A coarse Russian peasant woman, all bundled up, sitting hunched | over a pan containing charcoal embers, which she holds on her lap, endeavoring to warm her hands. Dexterously drawn with forceful simplicity; expressive pose and splendid effect of light and shade, displaying great vigor and individuality of manner. Evidently of the same origin.as the preceding item. H. 54%; W. 5%. Wash, india ink and reddish tint. | 90 { Eustache Le Sueur % ’ Paris 1617-1665 99 STUDY OF A DRAPED MALE FIGURE An impressive form of a bearded man standing looking over his shoul- der, the head shown full-face, with a staff in his right hand, and point- _ ing with the other, wearing a toga-like garment and sandals on his 4 feet; at the left is a study of a hand grasping a rod. The figure and _ attitude are Raffaelesque in manner, Le Sueur having studied earnestly _ the compositions of that master. There is considerable breadth of _ treatment in this design, the draped effects being particularly well rendered. _ Le Sueur was a pupil of Vouet and was one of the twelve original _ members of the French Academy; his work during his lifetime was - eclipsed by that of Le Brun. This constant disappointment so preyed _ on him that he eventually joined the Carthusian order. Le Sueur’s ‘f Beene exhibit gracefulness and freedom from affectation com- _ bined with originality of idea, though based on the best traditions of - the old masters. H. 144%; W. 834 Sanguine. Signed, lower right-hand corner, Le Sueur. Watermark, aunicorn within a circle, and above, the letter P. Emile Lévy Paris 1826-1890 91 A JEWISH RABBI OF JERUSALEM _ An appreciative study of an old rabbi, nearly half-length, leaning _ forward with his hands crossed, the fine face and snowy beard being -_ drawn with consummate indication of character. Extremely simple in technique, the results are natural and correct though broad in effect. Lévy studied under Pujol and Picot, gaining the Prix de Rome; sub- sequently he was made a Knight of the Legion d’Honneur, besides gaining numerous medals for his work. H. 914; W. 63% Black and white chalk, on grey paper. th mh \, Aca 4 tats 1 eee . ER Wai, LS Al Pierre Antoine de Machy -. Paris 1722-1807 192 LIFE-SIZE HEAD OF A ROMAN WARRIOR __ A highly finished drawing of a male bearded head, wearing a plumed 7, helmet, a toga around the shoulders; drawn with care and accuracy, '_ displaying all the classicism of the School of David. The handling and direction of stroke is academic, with marked brilliancy of treat- ment, the reflected lights and transparent shadows being also well rendered. Machy was a pupil of Servandoni and was an excellent painter of architectural perspectives. On the staircase of the Palais Royal are several views by him and other examples are at the Palace of Valen- - ciennes. Besides the reproduction of his work by such engravers as Basan, Janinet and Descartes, he produced several plates after his own designs. H. 21; W. 143% Sanguine. Signed in monogram, at lower right-hand corner, P.A.M., and dated Brumaire Au 10. Watermark, a bunch of grapes, surmounted by @ cross. 91 lA /@ - v tl 293 and beyond rise the undulating hills. Drawn with animated actior 294 295 PORTRAIT OF LOUIS XIV Jean Michel Moreau (Le Jeune) Paris 1741-1814 THE MEETING OF ALEXANDER THE GREAT AND PHILE OF MACEDON 3 A spirited scene, showing Alexander embracing his father, Philip 0, on his victorious return from conquering the Thebans. The two prin: cipals, the youthful hero and his bearded sire, occupy the centre; t¢ the right of them a mailed figure advancing proudly raises on high @ branch of laurel; at the left another, in a plumed helmet, stands beside a tree, halbert in hand, gazing at the reunion. Behind are massed the triumphant cohorts, bearing standards as trophies of their valor, aS a a and freedom of touch, with due deference to the various planes 0 ) the composition. Moreau le Jeune, as he is usually known, painter, designer and engraver, studied with J oseph La Lorrain, whom he accompanied to St Petersburg; but returning to Paris he abandoned painting, taking up engraving under the tutelage of Le Bas, whose studio he entered. e there perfected himself in design and practiced so delicate a style of engraving that he was soon appointed Dessinateur du Cabinet du Roi. Pen and ink and wash. India ink. H. 944; W. 6% THE REUNION OF DARIUS AND HIS FAMILY A beautifully drawn and finished representation of the voce of Darius and his liberated family. The Persian monarch is seen clasping — his wife in a loving embrace, his mother kneeling nearby with he arm encircling her granddaughter and behind them are standing several other figures with a camel’s head showing above. On the opposite side are a number of warriors, habited in mail, bearing” shields and spears, looking on with interest at the affecting scene. The whole executed with delicacy and fine detail; full of sentiment, dis- playing knowledge in the handling, and harmonious disposition of the component groups. H. 65%; W. 4% Wash, india ink, the faces lightly tinted in red. Robert Nauteuil Rheims 1628. Paris 1678 A superb life-size and animated portrait of the King as a young man; i the full-bottomed peruke rising high from his forehead and curlin down on to his shoulders, the loosely flowing ends tied with a bow= 4 knot. Around the throat is a close-fitting neck-cloth, the lacy ends falling to the breast-plate of the corselet, which is traversed by the e | broad blue ribbon of the Order of St. Louis. The features are vivacious S| the modelling of theaquiline nose and of the sensitive lips with their engaging half-formed smile is splendid; the fine eyes and well-marked | eye-brows, the shapely contours of the cheeks and chin, accentuate d by the regal bearing, constitute a striking likeness. The techni al 92 ROBERT NAUTEUIL [NUMBER 295] __ treatment is distinctive, displaying a mastery of medium combined __ with a clarity of perception. Nauteuil’s first tutor was his brother- _ in-law, Nicolas Regnesson, but in Paris he received further instruc- had tion from Abraham Boke and Phillipe de Champaigne. Acquiring Fe considerable reputation in his vocation as a producer of portraits in crayon, his talent in that art secured him the protection of Louis XIV, whose portrait he painted, being subsequently appointed designer and engraver to the royal cabinet. About this time he devoted him- ___ self entirely to engraving, introducing superior style, which in clear- “hess and beauty of effect has never been surpassed. H. 2014; W. 17 \% Black and white chalks, on buff paper. Watermark: a fleur-de-lys within a decorative escutcheon, surmounted by a crown. [SEE ILLUSTRATION] Jean Marc Nattier = | eee Paris 1685-1776 296 STUDY OF AN ARM A detailed study of a right arm and hand, vividly drawn with breadth ___ and vigor, displaying a fine sense of anatomy. Full of action and true —y-_-to nature. ere / Nattier received his first instruction in art from his father, and later __ attended the Academy. He distinguished himself as a portrait painter, _ _ in which capacity he was much employed. Subsequently he accom- ____ panied M. Le Fort, the minister of Peter the Great, to Amsterdam, ____ where the Czar then was, painting him and several members of the -_ Russian court. =| H. 74; W. 1134 _ Sanguine, strengthened with black chalk on greyish buff paper. Signed, ___ lower right-hand corner, Nattier. Watermark, a shield quartered by a e cross. Liga z Jean Baptiste Oudry x Paris 1686. Beauvais 1755 297 A SWAN PURSUED BY A DOG A fine example of Oudry’s work, showing a wild swan with outstretched Wings and squawking beak thrashing the water in feverish anxiety 14) _to escape an attacking dog, who, plunging into the pool, is seizing the frantic bird by the wing. In the foreground are moss-covered boulders and in the rear rises a massive overhanging rock crowned with luxuriant vegetation, two smaller rocks lying nearby; behind these are three slender trees lifting their intertwined branches to the sky. The drawing, composition and atmospheric effect are good, the trees well defined, the spirited action of the two combatants is natural and the balanced arrangement picturesque. Oudry was a pupil of his father and of Largilliere, who bestowed great care on his training. He painted the portrait of Peter the Great, on his visit to Paris in 1717, and was invited by the Czar to go to Russia, but, receiving a commission to paint some hunting scenes for the Duc D’Antin, decided to remain in France. Shortly after, he was presented to Louis XV, with whom he became a favorite. For Fagon, the 93 298 LANDSCAPE vi a v 299 OBVERSE AND REVERSE OF A MEDAL Minister of Finance, he executed many decorative works and was appointed by him to the superintendency of the Beauvais Tapes ry Works, where, in conjunction with Boucher and Natoire, he produced a great number of pieces. H. 121%; W. 104% Wash, india ink. Signed, indistinctly on boulder an lower right-hand corner, J. B. Oudry. Watermark, a fleur-de-lys within an escutche surmounted by a crown. q [SEE ILLUSTRATION] Gabriel Pérelle Vernon-sur-Seine 1610. Paris 1675 A drawing of a panorama with a rugged eminence in the foreground fringed with low bushes. Seated on the highest point is an artist sketching and another figure approaching him by a tortuous pathway In the middle distance are farm-houses with outbuildings and tre surrounded by walls near which the roadway winds. At the right, a river flows, on the further side of which is another enclosed group of buildings, and on the left is an abrupt rocky height, beyond which the landscape stretches illimitably. The execution is detailed with extreme delicacy. Bryan quotes this artist as being “Considered the Hollar of France.” Pérelle received his instruction in art from Daniel Rabel, whom he soon surpassed; he excelled in drawing landscapes, enriching them with ruins and other objects, which lend variety to his scenery. . TY; W. 934 Pen and ink, sepia. Bernard Picart Paris 1673. Amsterdam 1733 i A carefully detailed drawing of the two faces of a medal, struck in i commemoration of Catharine de Medici, wife of Henry II ‘of France; . whose portrait, coiffed and dressed in a ruffed high-necked bodice, is __ shown on the left surrounded by the inscription: CATHAR. HEN .II. UXOR. FRAN . II. CAROL. IX. ET. HEN. III. REG. GALL’. MATER. PIUS. The reverse, to the right, contains the likeness, in classic style, of her t three sons, Kings of France, and is inscribed: FRANCISC . II. CAROL. IX. _ REGES . GALL. HENRIC. III. GALL. ET. POL. REX. ‘This representation was doubtless made for reproduction by engraving, and is admirsDia executed. Bernard Picart was instructed in design and engraving by his father, | but obtained further help from Le Brun and Jouvenet; his work con- : | sists chiefly of plates for books and other ornamental engravings. In — 1710 he left Paris, settling in Amsterdam, where he ae greatly em-— ployed by the booksellers in illustration. H. 24; W W.5 ae Sanguine, lettered in black chalk. 94 .a i ft q JEAN BAPTISTE OUDRY 7 NUMBER 29 | es 300 OBVERSE AND REVERSE OF A MEDAL _ An interesting and exact drawing of a medal issued in glorification of __ Pope Gregory XIII, whose well-drawn portrait is seen at the left, with ____ around it the inscription: GREGORIUS . XIII. PONT. MAX. AN. I. and ..¢-cbelow, the letters F. P. F. At the right, on the reverse, is a representa- __ tion of the Massacre of Saint Bartholomew, showing several of the ___ victims prone, whilst two others, an aged man and a woman, flee before a soldier with uplifted sword; to the left of them stands a winged and haloed angel, holding aloft a cross in one hand and bearing a sword in the other. Around the upper portion is inscribed UGONOTORUM. _ STRAGES . 1572. This drawing evidently belongs to the same series ___as the preceding one. H. 335; W. 53% _ Sanguzne, lettered in black chalk. 301 A CHARIVARI Drawing of a group of three figures, one male and two female, in peasant garb, noisily beating various kitchen utensils, a custom for- 飢merly prevalent among the lower orders in celebration of village wed- _ dings. Remarkably well drawn in outline with good characteristic action. A simplicity and directness of treatment is indicated in the different poses, as well as in the detailed handling of the costumes. This original has been utilized for reproduction by engraving, being _mmarked by a tracing stylus. H. 434; W. 334 Pen and ink. — ee | en ae ee 3 ia 5 302 AN APOTHEOSIS OF DIANE DE POITIERS : An allegorical design for a heading, decoratively treated, displaying _ in the centre, beneath an ornamental canopy, a coroneted oval, left blank for a coat of arms. A female figure in classic costume with flowing drapery, seated on a cloud holding aloft a spear; kneeling 3 before her, offering a wreath of laurel, is another female, and overhead 2 _-a cupid flying, bow and arrow in hand, symmetrically balanced by a second cupid, holding a quiverful of arrows, while others are scattered at her feet. Disposed on either side of the central grouping are two partially draped nymphs, one caressing a hound, the other holding a couple of them in leash; below are seen two couchant lions, captives of conquering cupids. H. 5144; W. 7% Pen and ink, and wash, india ink. Sta acy, PRY A Jean Pillement Lyons 1728-1808 303 FETE CHAMPETRE A well-arranged composition, delightfully grouped and cleverly f) executed, demonstrating a picturesque gathering of richly attired “persons of quality, enjoying a pastoral picnic. Some of the couples are seated in a circle, others strolling pleasantly about, while their attendant servants are busily engaged in preparing and serving the luxurious repast. The attitudes of the figures and the elegance of the varying postures are charming. Pillement first studied art in his native city and afterwards in Paris and Vienna, later spending some time 95 304 ALEXANDER ADORNING THE TOMB OF ACHILLES ~ 305 in London. His landscapes and fancy subjects, in ‘pencil and wate er color, were finished with great neatness. He became painter to Mar Antoinette and to the last King of Poland. Many of his designs hay been engraved by Canot, Ravenet, Woolett, Mason, es and d otha é eminent engravers. H. 55; W.7% Wash. Lnght brown. Nicolas Poussin Andelys 1594. Rome 1665 An important and splendid specimen of Poussin’s composition, being the original draft for the painting in the Hermitage at St. Petersburg. In it Alexander, accompanied by attendants, is seen directing the plac- ing of various precious objects in front of a classic tomb surrounded by pillars, between which the foliage of trees is visible. At the right are two slaves, one prostrating himself and the second bearing a ve On the opposite side is a group of armed warriors, those in front nea ing in veneration, while beyond them are the distant hills. Drawn with swift and decisive touch, vibrant with expression and actu simply and broadly treated, harmonious in conception and evincing definite knowledge of perspective values. Nicolas Poussin received his first instruction in art from Varin, thig : being later supplemented by study under Jouvenet and Elle. His work displayed such promise that he was invited by Cavaliere Marino to accompany him to Rome, where, in 1674, he was introduced to Cardinal Barberini, through whose influence he procured several commissions. These established his reputation, which had now reached — France, and he was invited to Paris by Mons. Des Noyers, at the instance of the King, Louis XIII. On his arrival in France in 1640 he was received with distinction and appointed Principal Painter to the King, by whom he was engaged to decorate the Caller of the Louvre. Eventually he returned to en -where he lived tranquilly and unostentatiously until his death. H. 7%; W. 10% Wash. India ink over black chalk outline. Signed, in lower left-ha d if corner, N. Poussin. From the Horace Walpole, Dr. Barry Delany and : C. Westendorp Collections. Collectors’ marks, B. D.—Fagan, No. 52, on | lower right-centre, and C. W.,—unknown to Fagan, an lower right-ha oe | corner. Mentioned in the Catalogue of the Strawberry Hull Sale, 10th day, p. 12, Lat No. 1266, Sold to Graves of Pall Mall. :: [SEE ILLUSTRATION] THE CONTINENCE OF SCIPIO A characteristic, original conception for the painting in the Galleria i Electorale at Dusseldorf, another sketch being in the Musée Condé at Chantilly. This has been engraved by Boydell, Dubosc, Landon, F. Legat and Mme. Sayer. The drawing shows Scipio Africanus on @ dais before a portico and behind him a classic figure of Victory, holding a laurel wreath above his head, while heinstructs an obsequious follower regarding the release of the beautiful captive princesses, who are seen standing grouped in the centre; the fortified walls of Carthage are 96 06 seen in the background; at.the right are standing other armed attend- ants. This sketch displays clever disposition and dramatic quality, though light in execution. H. 634; W. 914 Pen and ink, and wash, sepia. On the reverse is a second and improved draft of the group of women, more carefully detailed and interesting as exhibiting the progressive stages of composition. Subs STUDIES FOR “MOISE EXPOSE SUR LES EAUX,” on one / Sketch of a seated male figure with the right arm around the neck of a sphinx, the left holding a cornucopia, representing the River Nile. This emblematical grouping is introduced in Poussin’s ‘Moses Deposited on the Waters,” in the Royal Gallery at Dresden, and the man’s form at the left is also utilized in the same painting. The atti- tudes are identical with the picture, but minor divergences are notice- able, particularly in the arrangement of the clothes. The drawing is blocked in with a bold and direct manner, sketched over a previous outline of two men and a horse. H. 654; W. 10 Pen and ink, and wash, Sepia. Watermark, a bird with outstretched face 08 "al wings on a triple mount. STUDY OF TWO FEMALE FIGURES An interesting primary study of two women; the general disposition of the one on the right is seen in Poussin’s “‘La Sainte Famille” in the Louvre, the left hand being brought forward and the posture slightly altered; the arrangement of the folds is also changed and the head more erect. Another adaptation is discernible in the central figure in “Moise Sauve Des Eaux” in the same Galleries. H. 9; W. 55 (inlaid) Pen and ink and wash, sepia. From the Money and Martin Collec- tions. STUDY OF TWO FEMALE FIGURES This drawing is identical with the preceding one and is probably a secondary study from it, as more care is displayed in the indication of the draped folds. H. 734; W. 53% Pen and ink and wash, sepia. From the collection of Sir Benjamin West. TOBIAS AND THE ANGEL An extremely effective composition, rapidly sketched in, showing the Archangel Raphael, standing near a tree, commanding the wondering Tobias to secure the dolphin-like fish that has leaped from the stream while he was laving himself, in order to prepare from its entrails the miraculous ointment with which to restore his father’s sight. On the opposite bank, reclining near a tree, is the symbolic figure of a river god, emblematical of the Tigris, resting beside a sphinx, holding in his left hand a horn of plenty, the other supporting a staff. In the background is a pillared, circular temple with other buildings adjacent, and by the wooded rise, two figures walking on the strand. Vigorously washed in, evincing the artist’s vivid imagination. H. 1044; W. 125% Pen and ink, and wash, india ink, retouched with sepia. 97 310 UNIDENTIFIED SUBJECT 312 PORTRAIT OF AN UNIDENTIFIED LADY A swiftly-drawn conception, showing an angelic eines fiouteee ov whose head shines a star, kneeling in an attitude of adoration befor or an image of St. John, bearing a cross in his right hand and the Hos in the other. At the extreme right stand two men, one of whom j i pointing, and behind all are seen splendid edifices, consisting of ¢ arch, a towering shaft, a circular temple, and the columned facade o another building. In ‘the foreground, over an archway, from whicl steps lead to the base of the statue, is a low wall decorated with ‘ sculptured reclining figure and above it on the coping is a sphinx The spirited and skillful execution are only surpassed by the we ll designed arrangement of the architectural a H. 734; W. 43 Y Pen and ink, sepia. On the reverse of the drawing, at the top, is ai anscription in Italian, and on the reverse of the original backing, h words, “Coll. de S. M. Gault (?) de St. Germain, No. 144,” possibly from the collection of Sa Majeste, Gallerie de St. Germain.” Watermarl : a crowned escutcheon containing the arms of the Medicv. TWO QUARRELING CHILDREN A clever drawing, full of action, of two nude children disputing, o1 ont standing threateningly over the prostrate form of his weeping oppo nent. An instinctive knowledge of anatomy is shown in the correct ness of the contours, accuracy of pose, and decision of motion, repre sented in a direct, simple and truthful manner. A typical adaptati of of this study is found in Pouissin’s ““Nymphe Jouant avec un Faun.” | . 7; W. 7 (upper corners rounded) | Black chalk and wash, india ink. On the base, in the hand of a previous | owner, are the words, “‘This is a sketch by a Good Master.” From th Money and Martin Collections. Watermark, the letters A. M. Pierre Paul Prud’hon Clugny 1758 Paris 1823 A delightfully interesting and delicately-finished portrait of 2 unknown lady, facing three-quarters, the head slightly turned toward | the left; attired in a short-waisted bodice cut low and square at the! neck; the hair dressed high and brought over the cheeks and ears The face is full of charm, the eyes large and expressive and the ne cl smilingly tender; posed with grace, carefully and cleverly draw exhibiting fine natural feeling. | Prud’hon’s first instructor was Devosges; later, aie traveling i a Italy, he formed an intimacy with Canova and remained several years in Rome; returning to France he rapidly acquired prominence in historical and poetical subjects as well as portraiture. The qualit} of his work justifies his assignment to a high rank among French artists. His compositions display a richness of fancy and elegance design, combined with a delicacy of coloring and fine drawing, hq have gained for him the title of the Bakes Corregio.’ H. 534; W. 436 (in oval) Black chalk, heightened with white chalk. | 98 : 18 PAOLA AND FRANCESCA gy _ Apreliminary sketch of a poetical conception of the two lovers immor- _—talized by Dante, ethereally floating, wrapt in a passionate embrace. _ Rapidly, but expressively, drawn with a spontaneous indication of vivid emotion. ra Wilk Black and white chalks on blue paper. oa Puget & Marseilles 1622-1694 14 AN EMBLEMATICAL APOTHEOSIS _ A finely-conceived allegory, evidently drawn to commemorate a vic- tory over the Turks; exhibiting in the centre the figure of a warrior _Cclad in Roman costume, seated on a shell laden with military trophies, the head of a lion and a lamb on either side; this is supported by a twin-tailed merman alongside of whom a dolphin sports. The hero offers an Imperial Crown to Jupiter, who, grasping a staff and flaming thunderbolts, sits astride an eagle, wings outstretched, bearing in its beak an escutcheon and in its claws a scroll, the whole surrounded by ' clouds. Behind these groups is the stem of an ancient vessel; on board the craft is a laurel-twined column, to the base of which a Mohametan is bound. Nearby, with outstretched hands, stands a partly-draped female proclaiming the glory of the victor. A cleverly-drawn and well- disposed arrangement, clearly and expressively outlined, with consid- erable decorative quality. Puget studied under Roman, a designer of ships, later working with Cortona, whose style he imitated; returning to Marseilles he prac- ticed painting and coming under the notice of Fouquet, was appointed designer at the shipyards of Toulon. He also made the _ plans for the Town Hall and Public Square at Marseilles, thus dis- _ playing his versatility as an architect, painter and sculptor. 3 H. 104%; W. 8% Collector’s mark, right-hand lower corner, C. D. J., monogrammed, within an escutcheon, Fagan, No. 99 (unknown). PUVIS DE CHAVANNES Lyons 1824. Paris 1898 5 A MIRACULOUS SUCCOUR _ A talented composition expressing sentiment and ideality in the atti- tudes and disposition of the figures. The distressed wanderers receiv- ~ ing the unexpected aid brought by the dog under the celestial guidance of an angel, display simple reverence and sincere gratitude. The sublimity of the angel and the gratitude and veneration of the starving family for the divine response to their invocations is admirably indicated. The drawing is free, accurate and clear, and the arrange- ment well balanced. Puvis de Chavannes first studied under Henri Schaffer and after- wards worked in the studios of Delacroix and Couture; but lacking sympathy with their ideals, he withdrew from both the classic and ' romantic traditions then in vogue, working out his themes alone and | giving himself up entirely to mural and decorative painting. After 99 XN | much adverse criticism. fe obtained reccerite one public after another being decorated by his frescoes. He worked in pal of fresh, cool color, the delicate tones and his subtle balance of and spaces making for repose. His subjects, though allegorical, never didactic; he worked with entire disregard of conventional fot mulae. Puvis de Chavannes may be said to have created moder decorative painting. H. 1214; W. 91 Lead pencil. 4 On the reverse are partly mutilated instructions by the artist. Paul Renouard Contemporary Artist 316 MIMI’S MEAL A clever drawing of a girl, seen half-length, lookmg down expressive at a cat in her lap, poised on its hind legs and mewing for the s 4 of meat her mistress holds in the left hand, the other holding a pe of scissors with which to cut the food. The technique is good and ¢ pose natural and animated, displaying keenness of perception cor bined with facility of execution. Renouard is, perhaps, best known an illustrator and lithographer. For many years his connection wi the highest class of illustrated periodicals has kept him prominent before the European public. Several publications have been issued his varied and interesting sketches. H. 13; W.@ Black chalk and wash, india ink and blue tint. Signed, lower righ hand corner, P. Renouard. : Hyacinthe Rigaud Perpignan 1659. Paris 1743 , it THE REPOSE OF EGYPT _ An admirable composition of the Holy Family, showing Mary seated “beneath a tree holding a book, with Joseph beside her leaning ové and resting his hand on her shoulder, pointing, meanwhile, to the kneeling figure of the infant St. John, ‘to whom the Christ child } has just presented a cross; behind these appear the head and neck of | ass tended by a cherub. In the background, a stately edifice rises a beyond the distant trees is a lofty mount. The execution of the dre ing is spontaneous and free, the disposition of the figures lease ant effective, their pictorial quality being excellent. | Rigaud _ studied first under his father, subsequently establishing hit self at Lyons, where he was fairly successful. Later, going to Par he took up historical painting, but was induced by Le Brun to } his attention to portraiture, in which art his achievement was br liant. He frequently painted the portrait of Louis XIV, the prin pal nobility of the Court, and many of the illustrious personages 0 Europe. Rigaud is considered one of the ablest portrait painters, the French school, and many of his productions were ose / the ablest engravers of his time. H. 944; W. D7 Sanguine, washed, outlined in sepia. Signed, in lower left-centr base f, H. Rd. Squared for enlargement. a 100 J, th Sere ee Ne + bs ‘ Laeue | _ is] oor i. _- a sg 4 NICOLAS POUSSIN NUMBER 304] HUBERT ROBERT NUMBER 318] | Hubert Robert - Paris 1733-1808 Bw OMAN RUINS _ An attractive drawing containing two partially-draped figures, one . pointing and the other holding a wand, surrounded by ruined build- ings. On the left is an ancient arch, near which two wayfarers and -the head and shoulders of another are visible. At the right is a time- _ worn ornate facade with statues in niches, and the top overgrown with 7 aia while in the distance the pillared front of a temple is seen. The ‘figures in this picture are drawn by Fragonard, who worked in col- _ laboration with Robert during their sojourn in Italy. _ Robert acquired the first principles of design from the sculptor Michael Angelo Slodtz, but his real training was obtained in Rome, _ studying the colonnades, porticos, temples, arches and other archeologi- eal remains of that city. In 1760, in company with Fragonard and St. _ Non he toured Sicily and the Kingdom of Naples, making copious ' notes and sketches; on his return to Paris he achieved a considerable _ reputation and was appointed landscape artist to the gardens of the | King. He possessed an agreeable manner and touch, his tones are silvery and his arrangement and treatment free and picturesque. L a | : H. 6; W. 814 _ Water color. From the Money and Martin Collections. aa [SEE ILLUSTRATION] 319 VIEW OF A PICTURESQUE RUIN A drawing of an ancient ruin whose crumbling walls are topped with 7 verdure, the stones hoary with age, the roofless crumbling pile raising -? -itself in picturesque beauty. In the foreground two figures are seen, resting at ease, and in the distance, behind other fragmentary ruins, the blue hills merge into the sky. The coloring is harmonious, the __ handling of the light and shade distinctive and the drawing free and _ bold, producing a pleasing effect. This is evidently an early example of this artist’s work, but it exhibits many of the brilliant qualities of his later productions. H. 93%; W. 714% Water color. , = Leon Sabatier | * Contemporary Artist 320 SCENE IN THE ALPS _ An effective drawing of a mountain stream flowing through an Alpine /Z- valley, hemmed in by massive peaks. In the distance, dimly seen 5 through the driving storm and illumined by the glowing light piercing through the drifting vapors, a tiny rill pours into a placid pool and eascades over a break in the boulders, while a solitary bird flies above the rolling clouds. The atmospheric effects are admirably rendered, the mystery of the majestic surroundings enhanced by the clear : definition of the rocky masses, heightened by the faint glimmer struggling through the falling shower. 101 a a (- 322 —< beside the river-god emblematical of the Styx, having just been ferried | Sabatier ranks high as an accomplished landscape artist and lithog- | rapher. Some of his most interesting productions | in that branch of | art are published in “La Bretagne Contemporaine.”’ Pt H. 10144; W. 164 | Black chalk, heightened with white, on brown-tinted paper. Signed, low left-hand corner, Leon Sabatier. From the Loizelet Collection. ; Carle André Vanloo Nice 1705. Paris 1765 PORTRAIT OF AN UNIDENTIFIED LADY A clever drawing of a half-length female figure, her head slightly i| inclined, the face shown in three-quarters, wearing a rufiled cap. A’ kerchief falls in graceful folds about her shoulders, the ends of which she draws together over her bosom with one hand, holding an open | book in the other. Drawn with charm, ease and decisive freedom. | Carle Vanloo was instructed in the rudiments of design by his brother, | whom he accompanied to Rome, where he studied under Benedetto © Luti. On his return to France he was employed restoring Primaticcio’s | paintings at Fontainebleau. Visiting Italy again, he spent some years | in Turin in the service of the King of Sardinia. Eventually settling | in Paris, he was admitted to the Academy and became popular, the |, King conferring on him the Order of Saint Michael, and appointing | him Principal Painter. His style was correct and simple and though | eclipsed by the later French masters, compares well with that of his | contemporaries. H. 954; W Black chalk, heightened with white, on drab paper. : e eae, zi Hie Ae eat tae oa Francois Verdier Paris 1651-1780 EURYDICE IN HADES | : A classical composition representing Orpheus’ wife in Hades, weeping i across by Charon, who is seen poling his boat off from the shore. In} the centre are seated Pluto and Proserpina, the latter pointing to the | grief-stricken Eurydice; and beyond, through a rugged opening in the | rocks, guarded by Cerberus, are visible the forms of Tantalus endeavor- | ing to assuage his thirst with the fruits dangling before him, Tityas| with a vulture preying on his vitals, and Sisyphus and the stone. The | grouping is effective, and the anatomical values and attitudes well rendered. Verdier was a favorite pupil of Le Brun, displaying such ability that he employed him on most of his important works. Subsequently he married Le Brun’s daughter. Later appointed professor at the Academy, he was engaged by the King in decorating the walls of the Trianon and the Palace at Versailles, in which work } he displayed great facility of design. H. 104%; W. 1534 | Black chalk, heightened with white, on buff paper. | 102 Claude Joseph Vernet - Avignon 1714. Paris 1789 323 LE PONT MOLLE a charming drawing of this unique old stone bridge, a square fortified _-entrance at one end and an ornamental statue at the other, standing ~© out against the adjacent foliage. The arches framing the vista of the _ distant shore, springing from their verdure-clad abutments, and the ___ beauty of the structure are represented with delicacy of line and har- monious tinting. The fine sense of atmosphere and the effective ren- dering of the rising foreground, with its verdant growths and mirroring waters, constitute an extremely picturesque scene. Vernet first studied under his father and on going to Rome became a pupil of Mauglard, whom he soon surpassed. While in Italy, he painted many landscapes, seaports and other marine subjects, acquir- France, being engaged by that monarch to paint a series of pictures of the seaports of the country. His landscapes and views portray with fidelity the beauty of nature and are arranged with taste, correctly designed and touched with uncommon sgpirit. H. 83%; W. 11% Water color, outlined in pen and ink, sepia. Simon Vouet Paris 1582-1641 324 ARCHITECTURE, an allegorical design for a ceiling. A fine composition, displaying good perspective. At the left is seen an edifice in course of construction, with the essential scaffolding, on which are masons setting a stone that is being lowered into its place from a towering crane. Below is a group discussing an architectural problem, one member demonstrating a question of angles to which his companion, holding a pair of compasses, is attentively listening; on the opposite side, another figure, ruler in hand, is joining in the debate, a woman looking on from beside him. Nearby, backgrounded by an arch, sits a partially-draped female form with a lute and below the platform on which the company is assembled are various artistic and musical accessories. The careful technical treatment and studied dis- position of the foreground conference is exceptionally good, and the architectural details are defined with unusual exactness and the rela- tion of the component parts of the design skillfully adjusted. Vouet’s first instructor was his father and he early acquired reputation as a portrait painter. He went to Rome, where he resided for fourteen years, being employed by Pope Urban VIII and his nephew the Cardinal, in St. Peter’s and in the Barberini Palace. Returning to France, he was appointed principal painter by Louis XIII, and deco- rated the palaces of the Louvre, the Luxembourg and St. Germain, also the Hotels Richelieu and Bouillon as well as some of the principal churches in Paris. Vouet was the first artist to emancipate the French school from its previous insipid and uncouth style, introducing a quality afterwards greatly improved by his disciples, Le Brun, Le Sueur, Mignard, and their successors. H. 154; W. 113% Wash, sepia, heightened with white, on buff-tinted paper. Signed, lower left-hand corner, S. Vouet. Watermark, a quatrefoil, between the letters A. M., within an oblong. 103 ing such reputation that he was invited by Louis XV to return to. i ; Antoine Watteau Valenciennes 1684. Nogeni-sur-Marne 1721 825 SKETCH OF A PEASANT CROSSING A FOOTBRIDGE A fascinatingly subtle study of a man, indicated in an adroitly accurate and brilliantly effective manner, with intense naturalness and vivid spontaneity, deftly delicate in its reticent simplicity, yet redund- antly complete, expressing in a few impetuous strokes the living im- pression of attitude and action, recorded with the swift surety of a es master hand, each ardent touch vibrantly responsive to the instan- taneous perception of a master mind. It requires no great effort of the imagination to visualize the purling brook babbling beneath the rustic bridge embowered in the lush green of the surrounding foliagdl Watteau’s first instructor was a mediocre artist named Gerin. Later he went to Paris to study, and after suffering many privations, which doubtless sowed the seeds of the malady to which he succumbed at a early age, he eventually made the acquaintance of Gillot, the oan an association which developed his latent imagination. Afterwards, by an intelligent contemplation of Rubens’ masterpieces he acquires the verve and brilliancy of tone and color which are the essential constituents of his genius, and he composed and innovated the most expressive art of the French spirit of the Eighteenth Century. As de Goncourt pithily expresses it, ‘‘Watteau has renovated Grace.” — 6%; W.4% Black and white chalks on blue paper. On the reverse is an almost adentical sketch, the variation suggesting the addition of a coat. Water-— mark, a bird with extended wings on a triple mount. | 326 STUDY OF AN ARTIST SKETCHING An unusually interesting drawing of an artist seated sketching; the | intentness of purpose shown in the attitude, the expressive action of the hand and the characteristic absorption indicated in the face are | masterly. The whole of Watteau is here: his grace, his vivacity and | his acuteness. S Speculation arises concerning this original; the profile of the portrait of Chardin drawn by Cochin and engraved by Laurent Cars corre- |i sponds in every feature with the head in this sketch, and it is un- doubtedly of great value as a hitherto unknown and unpublished — . likeness of one great artist drafted by another. - H. 7%; W. : Black chalk. % AK - 327 CHRIST BEFORE CAIAPHAS , Hi ~ A well-arranged composition showing Jesus at the left, his hands — 7 bound, led by a Roman soldier who bears a torch, and surrounded by other armed men. On a canopied throne, set on a circular-fronted dais, sits Caiaphas wearing a mitre and beside him stand other figures; at the right, near a column, is a well-designed male form, his cloak draped over his arm, and another alongside. In the foreground are the head and shoulders of a spectator with a boy beside him and above, * on the steps, a dog is lying. The lighting is effective and materially © aids the cohesion of the different groups. 104 This drawing is evidently one of Watteau’s earlier productions, and while it evinces many of his peculiarities of style, instanced by the undue length of form and the shape and action of the legs, hands, and feet, it distinctly betrays the influence of Gillot. H. 934; W. 143% Pen and wash, sepia, heightened with white, on light brown paper. GREEK SCHOOL Constantinos Bolanachi Heraclium, Candia, 1837 328 A NAVAL REVIEW A good sketch of a composite frigate, ensigns and flags fluttering in the — breeze, and her guns thundering a salute; behind, lifting above the smoke of the salvos, are seen the masts and yards of another vessel. On the shore are groups of spectators waving their hands and cheering, while several crowded boats are putting off from the beach. The drawing displays great knowledge of nautical detail and is rendered in an a manner with due sense of perspective and atmospheric values. Bolanachi was a painter of marine subjects and creditable examples of his work are to be found in the Museum at Gratz and in the Leeds Museum. | H. 5%; W. 734 _ Lead pencil. On the reverse are several other sketches of various types of poh seg and swiftly drawn. Signed, lower right-hand corner, C. olanachi. 1 dD | RUSSIAN SCHOOL Fedor Ivanovitch Jordan Pavlosk 1800. Petrograd 1833 $29 CHEYNE WALK AND CADOGAN PIER, CHELSEA A clever drawing of Chelsea Reach, showing on the right Cadogan pier 7 and the old red brick houses of Cheyne Walk; on the opposite side of (. _ the river is Battersea with the shot-tower and factory chimneys spear- ing upward against the glowing sky. On the northern shore near the old landing place are seen boats drawn up on the strand, and in the distance beyond the bridge lies Fulham Palace. The treatment is clear, and the tones pure, the handling free and dexterous. Jordan received his first instruction in art in St. Petersburg under Outkin and then went to Paris, where he became a pupil of Richomme; subsequently going to England, he studied under Raimbach and finally went to Rome. On his return to his native country he was appointed curator of prints in the Hermitage, later becoming rector of the Imperial Academy. H. 6%; W. 93% Water color. 3830 SIR RICHARD STEELE’S HOUSE at Hampstead Heath. i A brilliant and effective piece of coloring, showing the old house at the '} ~ left of the road leading to London, with coach rumbiing along | the rutted highway, milestone in the foreground indicating the distance from the city. Hazily seen above the nearby trees and house 105 et 331 332 STUDY FOR “THE FAIR PENITENT” | | 333 _ An interesting study of a woman’s head and bust, shown three-quar- | tops, the dome of Saint Paul’s rises with Westminster Abbey’ s square towers visible at the right. A picturesque view of the edge of the Heath, its rural characteristics since transformed into a mere sub ban appendage of the great metropolis. #7; W. 934 Water color. SPANISH SCHOOL Nos. 331-334 Alonzo Cano Grenada 1601. Madrid 1667 THE ASSUMPTION OF THE VIRGIN A splendid composition, full of movement, of the Virgin being borne heavenward by cherubs. The rendering of the draperies and the grouping of the attendant cherubs with their rounded contours are particularly noticeable. The expressive attitude of the principe bee and the joyous freedom displayed by the bambinz are admirably rawn. Cano has been called the Spanish Michael Angelo, excelling as a | sculptor, painter and architect. He was the son of an eminent archi- tect and was brought up in that profession, but turned his attention | to sculpture. Later, visiting Seville, he became a pupil of Francisco” Pacheco, and afterwards studied under Juan del Castillo. As a young man he executed many works in Seville for which he refused remunera- tion, declaring that he exercised his talent to perfect himself in his art. | He and his friend and fellow-student, Velasquez, were summoned by — the King to Madrid, where he produced many admirable compositions | which are to be found in the various churches and museums of Spain, | and which establish his fame as one of the greatest painters of his © country. H. 7144; W. 954 | Pen and wash, sepia. Watermark, a bunch of grapes. Antonio Casanova Tortosa 1847. Ende 1896 A striking example of individual technique, full of verve, expressive and natural, brilliant and energetic, delicate, yet free. Casanova studied in Barcelona under Claudio Lorezate. Later, . set-_ tling in Paris, he became a frequent exhibitor at the Salon, principally $ . of historical and genre subjects, forming his style ang coloring after” Fortuny. 10%; W.7% }. Pen and wash, india ink. Signed and dated, eae centre, A. Casanova, Paris, 1878. ; Carbo Mariano y Fortuny | Reus 1838. Rome 1874 & STUDY OF A WOMAN’S HEAD ters, wearing a wide linen cap decorated with a ribbon. The treat- ment is broad and effective, the features well rendered and lifelike, | touched in simply and naturally. 106 _ Fortuny studied at the Academy at Barcelona, obtaining a scholar- ship for Rome. His first commission was to follow the war in Morocco in an Official capacity, but this proving distasteful, he returned to Rome to continue his studies. Subsequently, on reaching Madrid he fell under the influence of Goya and devoted himself to the study of his technique, which is displayed in the finest of Fortuny’s work. After visiting England he returned to Italy, settling at Portici. He merits recognition on account of his incontestible salient and the influence he exercised and still exercises upon contemporary Spanish and Italian painting. H. 2234; W.17 Charcoal on buff paper. Signed and dated, lower right-hand side, Fortuny, Roma, 60. Giuseppe Ribera (Lo Spagnoletto) “4 Xativa 1588. Naples 1656 334 CHRIST DISPUTING IN THE TEMPLE x A remarkably fine drawing, with good chiaroscuro, treated in a broad and direct manner. The arrangement and attitudes of the figures are _ j-appropriate and the handling of the masses of light and shade gives -“ unusual breadth and atmosphere to the composition. Ribera’s first instructor was Francisco Ribalta. Subsequently, after many difficulties, he journeyed to Italy, placing himself under the tuition of Michael Angelo Caravaggio, whose powerful and effective - style attracted him. From Naples he went to Parma, studying the works of Corregio, and thence to Rome, to study the paintings of Raphael. It was about this time that the Viceroy of Naples extended to him his patronage and he was employed in several works which were aa eet Ah och Fa ei : ha daria el ‘ ‘ Din) eA a da i Una ae ems ena > . ; oh ai sent to the King of Spain. H. 8%; W. 14% Black chalk and wash, sepia. Watermark, a horn within a crowned escutcheon. TEUTONIC SCHOOL Nos. 835-355 Johann George Bergmuller Dirckheim 1688. Augsburg 1765 ' 385 THE VISION OF THE SACRED HEART A cleverly-drawn figure of a saint in bishop’s robes, his hands crossed on his breast, kneeling before an altar on the steps of which lie a book —and a mitre, gazing in adoration at the vision of Mary, from whose bosom, radiant in glory, shines forth a flaming heart pierced by a sword. The sacred figure, with hands extended, floats on a cloud sur- rounded by cherubs, a drapery occupying the left side of the drawing. Bergmuller studied under Andreas Wolff and became director of the Academy at Munich; he painted historical and religious subjects, as well as portraits, affecting the style of Carlo Maratti. Most of his pro- ductions are in the churches and buildings at Augsburg, but he is chiefly known by the engravings he made from his own designs. . H. 834; W. 5% Pen and ink, sepia and wash, india ink. Signed, on the altar step, J.G. B. Squared for enlargement. 107 336 MEETING OF TWO SAINTS $a 387 SOLOMON RECEIVING THE QUEEN OF SHEBA I)- 388 CHRIST AND THE WOMAN TAKEN IN ADULTERY larly representative of Burgkmair’s work and was probably executed ~ . wrist the adulterous woman. Turning to the bystanders, one of whom ~ “Pen and ink. On reverse, in upper left-hand corner, 18 peated by a i Two figures in ecclesiastical raiment, one holding a bench the othed proffering refreshment handed by an acolyte. In the foreground i isa mason engaged in chiseling a stone, with two other figures beyond him; the whole backgrounded by edifices, the one at the right being in course of construction; above, angels and cherubs are seen flying amid the clouds. Well composed and freely drawn. H.11; W. 74% Wash, india ink. Hans Burgkmair Augsburg 1472-1531 A fine example of this master’s work, showing Solomon, gorgeously arrayed, seated beneath a canopy on a draped dais, holding in his right hand a sceptre. In front of him, making obeisance, i is the Queen of Sheba, elaborately dressed, and surrounding the throne stand splen- didly-attired and picturesquely-turbaned officials and courtiers. The whole assembled within an ornate pillared and arched hall, the grouping of the figures being exceedingly good. This picture is particu- for reproduction in wood engraving. 7 Burgkmair was the son of a painter, from whom, as well as Martin Schongauer, he received his art education. He was a friend and fellow- — | laborer with Albert Durer in the service of the Emporer Maximillian I. _ Although he practiced painting he excelled as a designer and engraver on wood. His fertile imagination and fine sense of dramatic value place him in the highest rank of the illustrative artists of the world. His productions were so numerous that he must be considered one of the most prolific as well as able members of the pata | school. 3 H. 12 183 8» W. 844 i Pen and wash, india ink. Watermark, a cross within a square shield. — [SEE ILLUSTRATION] Lucas Cranach Kronach 1472. Weimar 1553 A fine interpretation, splendidly composed, of Christ holding by the 5 grasps her by the arm, the others in expostulatory attitudes, he remon- ~ strates with them for their uncharitable condemnation of the unfor- — tunate culprit. The expressions depicted on the faces of the actors in — this group are excellently rendered, the drawing being both truthful — and direct. DT Cranach learnt the rudiments of his art from his father, afterwards _ specializing in portraiture and religious deco ative paintings, altar- pieces, etc. His coloring is good in portraits; he is distinguished by — his fidelity to nature combined with a distinctive grace and rey : W. 814 former owner “‘I think this Cranach, A. J.”’ Collector’s mark, on reverse, — aa left-hand corner, Fagan, No. 443. From the collection of Carl Pi ? odin. 108 te it nie Beas Reese HANS BURGKMAIR 7] [NUMBER 33 Leonhard Gaultier Mayence 1552. Paris 1641 389 A GROUP OF PORTRAITS I A sheet of portraits of notable rulers and patriots of England, France, a Denmark, Switzerland, Portugal, The Holy Roman Empire, Bourbon, i Burgundy and Rome; some evidently taken from contemporary if likenesses. On the reverse are representations of the wives of the _¢- Roman rulers. Gaultier was an engraver of considerable reputation in his time, work- ing in the manner of Wierix and Crispin de Passe, and was very prolific, most of his plates being made from his own designs. These drawings were made by Gaultier for reproductive engraving for the “Chronologie Colle.” ; H. 5%; W.7% Pen and ink, sepia. Watermark, an eagle displayed, bearing on its breast an orb surmounted by a cross. Joseph Anton Hormann ~ Gunzburg 1775. Augsburg 1820 3 Ny a NOY ~~ 340 A RIVER ROAD A pleasing drawing of a highway curving along a river bank a bordered with low shrubbery and growths. On a rise, at the right, i - / 4g a luxuriantly foliated tree and on the left, seen far off, the buildings of a town, with a rounded hill beyond a grove of poplars; in the centre, two wayfarers, one pointing tothe distant view. Hormann was well known as a landscape artist, producing principally local scenes and genre subjects, as well as many caricatures. He also practiced as an engraver, working usually from his own designs. H. 5; W.6% Wash, india ink. Signed, in lower left-hand corner, Hormann inve. Christopher Jamnitzer Z Nurenberg 1560-1618 | 341 SKETCH OF A HELMETED FIGURE An interesting sketch, drawn with deftness and dexterity, representing a figure clad in Roman costume, wearing a plumed helmet and a draped cloak, a sword hanging at the left side and the hand on the 4 breast. The technique is rapid and simple, yet expressive. Jamnitzer was a goldsmith, but also practiced etching, mostly of children and grotesque subjects, in which work he was rather successful. H. 9%; W.5% Pen and ink, sepia. From the Money and Martin Collections. Anton Rafael Mengs Aussig 1728. Rome 1779 | 342 JUDITH AND HOLOFERNES t A spirited and simple rendering of the decapitation of Holofernes, - showing Judith partly draped, holding aloft in her left hand the bearded head of her victim, the right hand supporting the sword by her side. In the background, lying with arm extended on a canopied couch, is 109 / 343 od 345 ft — <. + a seen the headless trunk. Cleverly drawn, with sureness and decisior n peer in every line, the arrangement and composition being excel ent Mengs’ father was his first instructor and with him he journeyed to Rome to complete his studies, and was soon employed in decorating some of the principal palaces and churches, including the Vatican, Later, at the invitation of Charles III of Spain, he went to Madrid, ; painting the ceilings and other frescoes in the Royal Palace. | His work was studied and profound, distinguished by ea ae and by tranquil and inanimate beauty. H. 534; W.5% oe and wash, india ink. Watermark, the arms of the City of Amster- am. | Johann Heinrich Meyer q Stafa 1760. Jena 1832 A WAYSIDE CHAPEL BY MOONLIGHT A charming drawing of a peaceful moonlit valley, through which flows, at the left, a stream with rocky, verdure-clad heights, at the base of which, beside a pathway, stands a hexagonal chapel decorated with statues in niches; on the right is a wide-spreading tree whose intertwined branches are covered with foliage. The drawing is neatly and carefully executed, showing good, natural definition and atmos- pheric quality. ; Meyer, painter and draughtsman, was an intimate friend of Goethe, and after studying in Italy under Fussli was appointed professor of — drawing at the Academy at Weimar, but was better known as a writer © on art than as a painter. He decorated the Ducal Palace at Weimar, | but his work is principally in water color. H. 744; W. 83% Wash, sepia. Signed and dated, on a rock at the left, J. H. Meyer, 1787. | Karl Wilhelm Freidrich Oesterley Gottingen 1805-1891 FISHING BOATS ON THE BEACH A pleasing and natural study of three fishing boats drawn up on the strand beside a low stone wall, with sails unbent, and in the foreground a barelegged old fisherman busy at a rope. Vigorously and cleverly rendered, with fine natural effect. Oesterley studied under Matthae in Dresden and later with Schadon. After a sojourn in Italy he settled in Hanover, becoming court painter. He specialized in historical painting and poate being also an accomplished etcher and lithographer. H. 534; W. 8% Lead pencil, heightened with white and color, on buff paper. Philip Peter Roos (Rosa de Tivoli) Frankfort 1657. Rome 1705 STUDY OF SHEEP AND A GOAT A capital study of three sheep and a goat lying down and a ram | standing, drawn with verity and natural effect; the simple and clear — definition of the different textures and the expressive animal qualities | 110 aa aor 6 5) YE ROMINA le ites ) _ are remarkably good, the composition and grouping also most satis- factory. Roos, commonly known as Rosa de Tivoli, was a pupil of his father, Johann Heinrich; exhibiting great precocity, under the peace of the Landgrave of Hesse, he was sent to Italy to pursue is studies. Finally, establishing himself at Tivoli, he gathered around him a menagerie, in order to perfect himself in animal painting, in which branch of art he attained great facility. His groups are com- _ posed with good judgment and taste, his cattle drawn with unusual truth and spirit, each true to type. H. 54; W. 9% Sanguine. Watermark, a serpent twined on a rod, at the base, the letters H.C. From the Lane Collection. 346 GROUP OF CATTLE AND SHEEP 4 An interesting grouping of a bull and two cows standing, with a ealf | 3 “and two sheep lying near. Expressively drawn, with simplicity and _ clever interpretation of natural attributes and postures; the individual | traits being well marked, the treatment rapid, but sure. ie 5 H. 4%; W.9% —. Wash, sepia. | . Johann Rottenhammer Munich 1564. Augsburg 1623 347 ST. BARNABAS PREACHING AT LYSTRA A splendid drawing exhibiting the influence of Tintoretto; adequately | omposed, indicating an effective disposition of planes; full of ani- | (ination and expressive action. St. Barnabas with St. Paul beside him stands in a public place, expostulating against the Pagan rites of sacrifice about to be consummated; while, pouring from out of the sur- __ rounding edifices, a curious throng is assembling to hearken to his preaching, the whole drawn vivaciously, displaying simplicity of | execution and vigor of conception. Rottenhammer’s first instructor was Donnauer, but at an early age he journeyed to Rome, where he distinguished himself painting historical subjects. Desiring to improve his coloring he went to Venice, where he devoted himself to a study of Tintoretto’s masterpieces. Under the patronage of the Duke of Mantua he executed some important works. Later, on arriving at Augsburg he entered the service of the Emperor, Rudolphus II, for whom he painted several pictures. His coloring was good and his figures gracefully designed, the backgrounds being fre- quently completed in conjunction with John Bruegel and Paul Bril. . H. 94%; W.17 Pen and wash, sepia, on grey tinted paper. Watermark, a bugle within an escutcheon: Georg Philipp Rugendas Augsburg 1666-1742 848 A RENDEZVOUS OF BANDITS || _A brilliantly-drawn group of four horsemen gathered together on a rs slab-strewn plateau, surrounded by ruins. Immediately behind the | group is a rocky, verdure-clad eminence, from which a stream of water dashes against the boulders fronting a tunnel-like opening of 111 f | 349 L, / a“ ». 350 HALF-LENGTH FIGURE OF JESUS a -_ portrait was engraved by Schmidt in the tc: charactegl ; masonry; above this rises a dilapidated arch; while beyond is seen the square tower of a many-windowed building. The drawing of th : horses shows knowledge of anatomy and action; their riders, convers- ing in expressive attitudes, are well posed, alert and vivacious. The en- tire composition displays appropriate vigor and a fine sense of atmos- phere. Rugendas’ first instructor was Jacob Fischer, but his taste fo or martial scenes led him to study battle-pieces by Borgognone anc Tempesta. He had acquired a reputation for that type of productior when he visited Italy and in Venice was assisted in his development by Molinari. From there he went to Rome, where he contemplated staying, but his father’s death forced him to return to Augsburg. On the out- breaking of the War of Succession, he occupied himself in making drawings and sketches of battle scenes. He combined a fertile imagi- nation with a good sense of color, and showed judgment in his con: ceptions, which are always imbued with natural qualities. 7 H. 10; W. 6} Pen and wash, sepia. Watermark, a bugle surmounted by a spear ana banneret. Georg Freidrich Schmidt Berlin 1712-1775 PORTRAIT OF THE ARTIST A well-drawn portrait, showing the artist, crayon in hand, sketching | himself; executed with delicacy and fidelity to detail. Clad i in an old hat and loose coat, he is seen seated at a table with sheets of paper ona | desk in front of him, flanked by a bottle and glass. On the wall behind hangs a violin and a sword; at his left is a window looking out on | ieee thatched buildings, the whole depicted with a high degree of | nis | Schmidt, an accomplished draughtsman and engraver, first studied at the Berlin Academy under Busch. On going to Paris he became a | pupil of Larmessin, perfected himself in his art and was admitted to” the Academy. Returning to Berlin he was appointed engraver to the _ King, subsequently being invited to St. Petersburg by the Empress | Elizabeth, where he engraved several portraits with great success. | His later manner showed the influence of Rembrandt, for he combined | etching and engraving and produced remarkably good effects. This f Biberach 1609. Augsburg 1680 affected by him. H. 8%; W.6% Wash, sepia. ' Johann Heinrich Schoenfeld ¢ | A striking and effective drawing of Christ standing, half-length, with the left arm and hand elevated in the act of blessing, the right hand 112 _ gathering the folds of his garment. The attitude and expression are _ particularly good, lending a sympathetic feeling to the composition. In the upper left-hand corner is inscribed “Jesus.’’ - Schoenfeld, a pupil of Sichelbein, after visiting the principal cities of Germany, went to Rome, where he decorated several churches and _ palaces. Returning to Germany he distinguished himself as a histori- eal painter, working in many cities of the Empire; he also painted portraits and landscapes which were much admired. His compositions evince a fertile imagination and his coloring is vigorous. eet Sate WD IG Pen and wash, sepia. Signed, at lower right-hand side, invent Schoenfeld. Johann David Schubert Dresden 1761-1822 DRAWING FOR AN ILLUSTRATION | 351 i A charming little drawing, delicate and fine, showing an old man in her a maid. The scene is laid in a boudoir with a canopied bed in a recess. The technique is good, the details carefully drawn and the composition admirable. Schubert studied at the Dresden Academy under Hutin and Klass, became a painter in the factory at Meissen and subsequently profes- sor of painting and director of the Academy at Dresden. He also pro- duced a number of clever illustrations for books, engraving some after his own designs. H.4\%; W. 2% Wash, india tink. Karl Screta Prague 1604-1674 352 MARTYRDOM OF A FEMALE SAINT An interesting drawing of a kneeling female saint, above whom stands an executioner with uplifted sword; beside her a figure exhort- ing her to worship an idol he holds, another man leaning over him; + ~~a fourth is seen in the background. | Sereta early went to Italy to study and acquired a high reputation there, being admitted as professor at the Academy of Bologna. Re- turning to Prague, he became a member of the Academy in that city, and finally principal of the institution. H. 8144; W.6 Sanguine. Signed on reverse: Screta. Watermark, a double-headed eagle, surmounted by a crown. 1138 “ conversation with a pretty girl seated at.a dressing table and beside. —_—— - 358 300 Simon Peter Tillemans (Schenk) Bremen 1602. Vienna 1670 PORTRAIT OF PETER THE GREAT A beautifully drawn portrait of Peter the Great in armor, a sash ¢ his breast, the head full of character and expressive anima Executed with careful delineation of detail, displaying every in tion of being taken from life during the Czar’s sojourn in Holla a hitherto unknown fact. Tillemans, also known as Schenk, passed his early life in Italy, wh he was esteemed as a landscape painter. He lived afterwards Utrecht, but subsequently went to Amsterdam, where he speciali in portraiture. Later, he was invited to Vienna by the Emperor Ferdinand, whose portrait he painted, as well as those of several distinguished members of the court. 3 H. 8%; W. 4 q Black chaik, on vellum. Signed and dated, at lower right-hand side le, Schenk, Fac. 1656. Johann Philipp Veith Dresden 1769-1835 A FARMHOUSE IN A VALLEY A pleasing drawing of a quaint old farmhouse, nestling in a peacatil valley whose sloping sides rise on either hand. "The high-pitched roofs of the picturesque buildings embowered in trees lend a charm to the scene, the details of which are broadly but expressively laid in with good atmospheric effect. Veith was first instructed at the Dresden Academy; later he bees 2 ee a pupil of Zing, under whom he studied engraving. After traveling in Italy he devoted himself to the study of landscape. He settled i in Dresden, becoming professor at the Academy in that city. . = H. 644; W. 77 7. - Wash, sepia. Signed and dated, lower right-hand corner, Veith, d.m. | Nat. 1795. 7 ras Le PSE SES A = Franz Edmund Weirotter Innsbruck 1730. Vienna 1771 A RUINED WATER-GATE An interesting sketch of a picturesque ancient fortified water-aa ; 1 through the arch of which is seen the masts and sails of fishing boats” and groups of men on the shore. A flight of steps leads up to the” | entrance of the square tower and the crenelated battlements sur-~ | mounting the opening; from the crumbling stones droops verdant | growths masking the ruins. The drawing is swiftly executed, witha” _ broad grasp of detail, enhanced by the clever handling of the light | and shade. Weirotter first studied art in Innsbruck; afterwards going | to Paris he became a pupil of Wille, and specialized in landscape. Sojourning in Italy, where he remained some time, he eventually returned to Paris, publishing several series of etchings from the | sketches he had made abroad. Subsequently, he was invited to the | Court of Vienna, where he was appointed professor at the Academy — | of Design. H.6; W.6% Pen and ink, india ink. 3 114 aA. 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