THIS CLIPPING FROM 
 
 NEW YORK AMERICAN 
 
 sTLAO0 PHD 
 
 FOR PORTRAIT 
 BY REMBRANDT 
 
 Price Establishes Record in 
 U. S.; Sir Joseph Duveen Is, 
 Purchaser of Noted ‘Titus’ 
 
 Total Realized at Auction 
 Reaches $746;9505 ‘Many! 
 “Notables Attend -the Sale 
 
 Bringing the highest price ever; 
 realized by any work of art at 
 auction in thig country, the portrait 
 of “Titus in an Armchair,” by 
 Rembrandt, was sold last evening 
 for $270,000 to Sir Joseph Duveen. 
 
 Bidding for the Rembrandt can- 
 vas—a portrait of his son ‘painted 
 in 1660 during the period of Rem- 
 brandt’s greatest work—was_ the 
 most exciting incident of the sale 
 
 in the American Art Galleries of 
 paintings forming: the collection of 
 the late James Stillman and the late, 
 C. C. Stillman. The runner-up was 
 Stevenson Scott, of the art firm of 
 Stevenson & Fowles. 
 
 The total for the thirty-seven 
 works in the collection was $716,950. 
 
 Another Rembrandt, ‘The Bvan- 
 gelist,” was sold for $78,000 to John 
 Ringling and brought the second 
 highest price of the auction. 
 
 ‘|GALLERIES THRONGED. 
 
 Art lovers, collectors and connois- 
 seurs from all over the country and 
 from HEurope thronged the galleries. 
 The sale was considered one of the 
 most important ever held. In the 
 introduction to the Stillman cata- 
 logue the American Art Association 
 gives the opinion that the assem- 
 \blage of this world-famous collection 
 of works by the great masters marks 
 the peak of important events in the 
 history of art distribution in the 
 Western World. Fourteen of the 
 paintings have been exhibited since 
 1921 in the Metropolitan Museum of 
 
 Art. 
 
 As each canvas was placed on the 
 dais and knocked down by Hiram 
 Parke, auctioneer, the spectators, 
 most of them in evening dress, ap 
 plauded and cheered. Outside the 
 galleries special policemen handled) 
 the massed cars about the corner of 
 Fifty-seventh street and Madison 
 avenue. 
 
 Until last evening the record price 
 realized by any painting sold at auc- 
 tion in this country was $137,000 for 
 Franz Hals’ “Portrait of a Lady’” 
 during the dispersal in 1910 of the 
 Charles T. Yerkes’ collection. 
 
 “Titus in an Armchair’ was pur- 
 chased many years ago by Sir Joseph 
 Duveen, internationally known con- 
 | noisseur, from the collection of the 
 Duke of Rutland. Later he sold it 
 to the Messrs. ‘Wildenstein, of Paris, | 
 for thousands less than he paid last 
 evening. The canvas is thirty-two} 
 inches high by twenty-seven inches! 
 wide, rounded at the top and in a| 
 jheavy gold frame. It was painted 
 {when Titus was about twenty. years) 
 {old and when the elder Rembrandt} 
 Was overtaken by financial difficul- 
 ties in Leyden, Conquering his inner 
 despair over his misfortunes, Rem- 
 brandt produced in these years his 
 ‘noblest work, conceived.in depths of 
 
 mysterious shadow to produce a sum- 
 i 
 
 \ 
 
 SETS RECORD! —Rembranat’s “Titus in an Arm- 
 
 f Worth Quarter Million 
 
 ' 
 
 chair” was sold last night for $270,000, establishing:a record 
 
 price for pee in America. 
 
 100 
 MBRANDT) 
 
 Dee asd. Hom ie from First Page. 
 
 many of the actual appearance of his 
 sitters. .~ 
 
 Among the spectators and bid- 
 ders last, evening. were Mr,.and Mrs, 
 H. 0. Havemeyer, Mr., and Mrs. 
 Percy Rockefeller and daughter, Dr, 
 Ernest Stillman, by whose order and 
 that of the National City’Bank the 
 paintings were sold; Mr. and rs. 
 Philip’ Lehman, 
 seph Stransky, Mr. 
 W. Vanderlip, Mr. and Mrs. Jeése 
 Straus,-Mr. and Mts. Cortland, 
 Field Bishop, Attorney-General. Ot- 
 tinger, Sidney Noyes, Mr. and Mrs, 
 Emil Winter, of Pittsburgh; and 
 J. B. Clawson of Buffalo. 
 
 OTHER SALES. 
 
 The only authentic Ingres ever 
 sold in America, “The Portrait of 
 Madame Cave,” brought $13,000 from 
 T.-Rosenberg & Co, Following are 
 the catalog numbers, subjects, pur- 
 chasers and prices obtained for otner 
 
 pictures sold last evening: 
 15—‘'Landscape with Figure and 
 
 and Mrs. Frank 
 
 Bhoge Pr Be pron Mauve; J. $1. 
 P. vt apatricl - $11,000, 
 18—"'A lady of the Hous 
 Pisinval,” by Louis Tocaue; 
 Wildenstein Galleries. 9,500 
 18—"Portrait of Voltaire’s: Nisce, 
 Mme. Denis," by Carle Van ~ 
 Lo Wildenstein Galleries. 8,000 
 21 Portrait $ Mnie. Blondel do 
 eeny. Jean Mare Nattier; 
 Ai tier’ - 16,500 
 eT 4 Odalisgite Zicilienne,”” by. 
 2 'Gorat osenberg  &- Uo.,../30,000 
 
 Johr, Ringling, Jo- |) 
 
 2i-—' Buffoons. in 
 Honore Daumier 
 stein, Galleries... 
 
 and 
 
 Kepose, 
 Wi wut 
 
 by Giovanni 
 Art Institute of © 
 
 Frederico 
 
 of 
 Madruzzo,”” by Moron! M. 
 Ky Ce 
 
 Prince 
 a Mo- 
 
 1860; Mush J. Jamfeson 
 81—'Porirait of a Man," by Lo- 
 Bae di Credo; J. P. Fi 
 
 ick 
 3a—PVirein and’ Ohild with Bora: 
 geranate. a Lod Gianpietrino; 
 avi n and Child with Bird, 
 grande Boceaccino; 
 Eacenior A an P, ¥nller of 
 ae aapeepehusetie 
 i—'' Madonna 
 Giovanni Tiepolo; A.J Kov- 
 37—"Porirait of a.’ Lady,’ ‘by An- 
 toine westier ‘Warren 
 Smadleck . 
 
REMBRANDT'S “TITUS? 
 SELLS FOR $270,000 
 
 Duveen Buys Famous Armchair 
 Painting of Artist’s Son at 
 Spirited Bidding at Sale. 
 
 ANOTHER BRINGS $78,000 
 
 137 Pictures Owned by the Late 
 C. C. Stillman Net $716,950— 
 Sale Seen as Greatest Here. 
 
 » 
 
 A new record price for a painting 
 sold at auction in this country was 
 established last night when a portrait 
 by Rembrandt of his gon Titus was 
 Sold at the American Art Galleries for 
 $270,000. 
 
 The painting was one of two by Rem- 
 brandt in the collection of the late 
 Charles Chauncey Stillman, which 
 was auctioned last night. The thirty- 
 Seven paintings brought a total of 
 $716,950. Sir Joseph Duyeen, who once 
 before owned Rembrandt’s picture of 
 his son, called ‘Titus in an Armchair,” 
 bought it again last night. 
 
 The second Rembrandt painting, 
 “The Hyangelist,” was bought for $78,. 
 ; 000 by John Ringling. The difference 
 
 | 
 
 | Of nearly $200,000 in the price of the 
 two paintings by the great Duteh 
 artist was said by connoisseurs last 
 night to lie in a difference in quality, 
 as well as in séntimentai value at- 
 tached to the artist's portrait of his 
 son. ‘Titus in an Armchair” is also 
 much the better known, haying hung 
 in the Metropolitan Museum of Art, 
 with thirteen other paintings from the 
 Stillman collection, from 1921 until its 
 removal to the American Art Galleries 
 last December, 
 
 The bull of the collection was in- 
 herited by C. Chauncey Stillman from 
 his father, James Stillman, who died 
 in 1918. The latter bought them for 
 the decoration of his house in Paris, 
 Chauncey Stillman, however, aug- 
 mented the collection and bought some 
 of the pictures as late ag last August, 
 a few days before his death from an 
 Operation for appendicitis aboard the 
 Aquitania en route from Europe, 
 
 Important Art Event, 
 
 The dispersal of the collection was 
 considered by connoisseurs as an im- 
 portant event in the history <of art | 
 distribution in this country. So far | 
 
 could be learned las‘ night there was 
 no indication that any of the fourteen 
 paintings from the collection would be 
 returned to the Metropolitan Museum. 
 
 The highest previous price on record 
 for a single pz inting at auction in this 
 country was $137,000 for a “Portrait 
 of a Woman’ by Frans Hals, in the| 
 Charles T. Yerkes sale at the Amier- | 
 ican Art Galleries in 1910. 
 
 “Titus in an Armchair” was painted} 
 
 by Rembrandt in 1660, when the son 
 was about 19, a few years after Rem- 
 brandt was overtaken by financial 
 troubles in Leyden. Artists see in 
 Rembrandt’s paintings of thig period 
 his triumph over the vagaries of for- 
 tune. 
 The canvas is 32 inches high and 27 
 wide, slightly rounded at the top. 
 Titus, in a greenish-gray costume with 
 yellow sleeves and gold buttons and 
 a small turn-oyer collar, is seated fac+ 
 ing the spectator, his head turned a 
 little to the right and his chin resting 
 on his right hand. He wears a broad 
 cap on his light brown curls. The 
 light falls from slightly to the right 
 on the face and hand, 
 
 The picture was form: rly in the col- 
 lection of the Duke ofititlana, KG, 
 
 wently it 
 the\ Messrs. 
 
 || for $105,001 
 
 Firs Bid $50,000. / 
 
 The first bid on the pictr fe was 
 || $50,000. The competitors rapic ily sent 
 | the price up by nodding to the/tellers, 
 distributed throughout the main floor 
 of the auction room and the balcony. 
 Hach nod represented $10,010 more 
 offered by the bidder. Later the sum 
 offered increased only by a thousand 
 dollars. 
 
 “The Evangelist,’ said to have been 
 painted by Rembrandt about 1663, de- 
 picts 2 man, seated, facing the spec- 
 tator, turned slightly to the left, and 
 writing in a book that lies*open on a 
 jdesk. He has a scanty beard and 
 Wears a brownish red wunderdress. 
 There is a dull green mantle across 
 the left shoulder, A drapery, striped 
 With various colors, is wound turban- 
 wise around his head. Bright light 
 falls into the picture from the left. 
 
 Other pictures in the sale brought 
 high prices. The Walpole Galleries paid 
 $37,000 for the famous ‘‘A Halberdier,” 
 by the Italian artist, Jacopo Pontormo, 
 which hung in the Metropolitan 
 Museum. 
 
 The Art Institute of Chicago gave 
 $22,000 for the ‘Portrait of Locovico 
 Madruzzo” by Giovanni Battista Mo- 
 toni. 
 
 The portrait of Gian Federico Mad- 
 Tuazo, also by Moroni, was bought by 
 i }000. A third 
 Moroni, a por of a young prince 
 of the Hste family, was bought by W. 
 H. Henry for $15,000. 
 | A “Madonna and Ghila’” by Bar- 
 tolome Esteban Murillo, caused lively 
 | bidding and. was finally obtained by 
 | the Walpole Galleries for $50,000. 
 
 “Le Repos deg Saltimbanques,” by 
 Honore Daumier, was bought by Wild- 
 enstein & Co. of Paris for $34,000. 
 | This is one of the pictures said to have 
 been bought by Mr. Stillmah in Paris 
 | last Summer. 
 | “L’Odalisque Sicilienne,” a graceful 
 | tizure of a young woman by Corot, 
 was bought by P. Rosenberg of Paris 
 . for $30,000. It was said that this pic- 
 ture would be shipped to Europe and 
 be resold. 
 
 Another of the recent additions to the 
 collection was the ‘‘Portrait de Madam 
 Cave,” by Jean Auguste Domi ique 
 Ingres. The price climbed to $13,000 
 and was finally obtained by Paul 
 Rosenberg & Co. of Paris. { 
 
 Prices for Other Pictures. 
 
 A “Landscape With Figure and 
 Sheep,” by Anto Mauve, was obtained 
 by J. P. Fitzpatrick for $11,000. A| 
 portrait of Mme. Blondel de Gagny by 
 Jean Mare Nattier was bought for 
 $16,500 by a purchaser who gave hia} 
 own name as “‘Nattier.” 
 
 “Saint Barbara,” by Il Francia, was 
 bought by Hugh J. Jameison for 
 $21,000. A “Portrait of a Man,” by 
 Lorenzo di Credi, was obtained by J. 
 P. Fitzgerald. John Ringling also gave 
 36,000 for a ‘Madonna and Child,” by. 
 Giovanni Bellini, and J. H. Wagner 
 gave $11,000 for a ‘Virgin and Child 
 With Pomegranate,” by Gianpietrino. 
 Governor Alvin T, Fuller of Massa. 
 chusetts gave $4,600 for the “Virgin 
 and Child With Bird,’ by Boccaccio 
 Boceaccino, 
 
 A “Madonna and Child,” by Gio- 
 vanni Battista Tiepolo, was bought by 
 A. J. Kohler for $12,000. Wildenstein 
 & Co. of Paris gave $8,000 for a por- 
 trait of Mme. Denis, niece of Voltaire, 
 by Carle van Loo, The same buyers 
 gave $9,500 for “Une Dame de la 
 Famille de Plainval,” by Louis Tocque, 
 and Durand-Ruel paid $5,300 for “Le 
 Repos,”’ by Berthe Morisot. 
 
 Julian Rix was the only American 
 painter represented in the collection. 
 A landscape by him was brought by 
 W. H. Henry for $3,100. S. Hamilton 
 gave $800 for Henri le Sidaner’s “La 
 Boutique du Vieux Poche.” J. 8S. 
 Phipps gave $3,900 for a “Portrait of 
 a Man,” by Frangois Andre Vincent. 
 The Milch Galleries fave $650 for 
 “Maisons sur le Canal,” by Henri le 
 Sidaner. F, K. Sturges paid $300 for. 
 ‘Mare and Foal,” by G. M, Fox; the 
 Same price for another picture of the 
 Same title by Fox; and $1,100 for a 
 “Mare and Foal,” by John Frederick 
 Herring Sr. 
 
 Edward Jonas paid $1,700 for “Jeune 
 Femme Dans un Pare,” by Jean Fred- 
 eric Schall; and Attorney General Al- 
 bert Ottinger gave $250 for a@ pencil 
 drawing by’ Carot, ‘The Shipyard.” 
 “Chestnut Mare and Foal,” by John 
 Herring. Sr., was bought by J. Ss. 
 
 Phipps for $1,450, 
 
 The same artist's 
 
 ought by Sid 
 and his ‘Piebald 
 was obtained by Mr. 
 
 | Noyes for $1,301 
 | A “Landscape With Figure,” by 
 
 Theodor ET leat was bought by J. 
 | PB, Bitzpatrick for $2,500, and “Corner 
 | of the Wood,” by John (Old) Crome, 
 
 was bought by Scott & Fowles for | 
 $2,400. John Ringling also paid $3,500 | 
 for Carle van Loo’s “Mme. de Bour- | 
 bon Conti.” Dr. Warren Smadbeck | 
 Save $3,100 for a ‘Portrait of a Lady” 
 by Antoine Vestier. 
 
 The auction room of the American 
 Art Galleries was crowded, and those 
 lucky enough to get seats either came 
 early or had seats reserved, Many well- 
 
 I known persons attended. 
 
 be S S27 (Deuile, Weass onan 
 
 THE TRAFFIC IN OLD 
 | MASTERS. 
 “GHOULISH PRICES.”’ 
 
 Sir Joseph Duveen, the Bond-street art 
 dealer, has just paid 270,000 dollars 
 (£54,000) for Rembrandt's “ ‘Titus in an 
 Arinchair” from the Stillman collec- 
 tion. The price is said to be a record 
 for a picture in America. Sir Joseph 
 loriginally acquired the picture from the 
 |collection of the Duke of Rutland, and 
 Sold it 20 years ago for 105,000 dollars 
 (£21,000). 
 
 One of the foremost art dealers in the 
 world told the “ Daily News ” yesterday 
 that prices were likely to incréase. 
 
 Mr. C. W. R. Nevinson, the artist, 
 asked what he thought of the price 
 paid for “ Titus in an Armchair,” said : 
 
 1 think it is pathetic, but the Ameri- | 
 cans have no sense of beauty, and buy 
 musty old things just because they are 
 ol To me, this paying of ridiculous 
 prices for the old masters is a form of 
 ghoulishness. 
 
 DAILY MAIL, 
 irmelite House, Tallis Street, E:C.4 
 
 ate... 
 
 “adaasnnasscatiaiere 
 —_—s 
 
 £54,000 REMBRANDT, 
 
 RECORD FOR PICTURE 
 IN. Us. 
 
 4 New York, Thursday, 
 1@ record price for a pictur, 
 
 in the United ‘States ts ‘announced ea 
 
 officials of the American Art Association 
 
 hey state that Sir Joseph Duveen pur: 
 
 chased for £54,000 Rembrandt’s Titus 
 
 in an Armchair,” which Sir Joseph him- 
 
 SOLD 
 
 | self sold 20 rs ago for £21,000, 
 Another Rembrandt, “ The Evan- 
 gelist,” which w from the Still 
 
 man collection, fetched £15,600.—Reuter, 
 
 deeeayer ean 
 
 announced by 
 
Peete ere rer arene materi 
 
 NEW YORK WORLD 
 
 REMBRANDTCANVAS. 
 BRINGS $270,000 
 
 Duveen Makes Highest Auction: 
 Bid for Picture Recorded 
 in This Country 
 
 $78,000 SALE TO RINGLING 
 
 Stillman Art Sale Runs Total 
 of $716,950 
 
 The unique offering of two Rem- 
 prandt paintings in connection with 
 thirty-two other canvases of the Still- 
 man collection, drew to the American 
 ‘Art Association Galleries last Dightip.a 
 gathering of more than 1,200 picture 
 buyers and resulted in a price of $270,- 
 000, the highest auction price ever paid 
 for a picture in this country, for the 
 portrait of Rembrandt's son Titus. 
 
 Sir Joseph Duveen, the buyer, pre- 
 viously had owned it, and sold it to a 
 client some years. ago for $105,000. 
 The highest previous auction price for 
 @ picture in this country was $137,000 
 for Franz Hal’s “Portrait of a Woman,” 
 sold with the Charles T. Yerkes col-) 
 leétion, by the same auction company 
 in 1910, | 
 
 Rembrandt's second offering last 
 night was a portrait known as “The | 
 Hyangelist,”, which John Ringling, cir | 
 cus man, bought for $78,000, a price | 
 exceeded only by that paid for the | 
 Titus portrait. | 
 
 Both of these pictures were painted 
 about 1660, when the afflictions at- 
 tended upon the loss of his estate had 
 Mnellowed but had not impaired Rem- 
 prandt’s opulent powers, and both car- 
 ried an authenticated lineage of owner- 
 ship. The Duke of Rutland had the 
 {pitus in his collection and “The 
 Evangelist” remained for a long time 
 one of the art treasures of T. Hum- 
 
 phry Ward of London. 
 | ‘The Stillman collection belonged to 
 
 James Stillman and later to his son, 
 
 Charles C. Stillman, and was auc- 
 
 tioned in liquidation of the two art 
 
 estates. Of the thirty-four in the list 
 
 fourteen had hung from 1921 until a 
 
 few weeks ago as a Stillman loan In 
 
 the Metropolitan Museum of Art, 
 
 Hiram H, Parke conducted last night's 
 sale, Nearly every offering was strongly 
 contested by bidders and raised the 
 total of the sale to $716,950. 
 
 Several price records have been 
 proken lately for paintings pought for 
 Americans. 
 
 A record for a portrait by George 
 Romney was made last July in Lon- 
 don, when Sir Joseph Duveen bought 
 at Christie's Romney’s portrait of Mrs, 
 Davenport for $300,000 for American 
 account. 
 
 Sir Thomas Lawrence's “Pinkie” was 
 pought by Sir Joseph Duveen in Lon- 
 
 | 
 | 
 | 
 
 tT S56 
 
 BRANDTCANVES) 
 INGS $270,000 
 
 (Continued From First Page) 
 
 fa 
 B 
 
 don on Noy. 25, 1926, for the record 
 price of $360,000, and it is now on its 
 way to this country. 
 
 Within the last week M. Enoedlerx 
 Co. sold to Jacob Epsteiii ae 
 Van Dyck's allegorical painting “Rinal- 
 do and Armida” for $350,000—a Van 
 Dyck records 
 
 Prices. of $2,500 or 
 
 r & 
 
 more were as { 
 
 .D. , portrait of Mme. Cave, 
 to P. Rosenberg "& Co. $13,000. 
 
 Francois A. Vincent, portrait of a 
 man, to J| S. Phipps, $3,900. 
 
 Berthe Morisot, “Le Repos,” to Du- 
 rand-Ruel, $5,300. 
 
 Julian Rix, landscape, to W. H. Henry, 
 $3,100. 
 
 Anton Mauve, landscape, 
 and sheep, to J. P. 
 
 Theodore Rous: 
 |figure, to J. P. Fitz, 
 | Louis Tocque, ‘U 
 
 with figure | 
 Fitzgerald, $11,000. | 
 u, landscape, with | 
 
 ald, .82,500. 
 Dame de lo Fa- 
 
 | 
 | 
 | 
 | 
 | 
 | 
 | 
 
 |mille de Plainval,” to Wildenstein & 
 |Co., $9,500, 
 } Carle Van Loo, portrait of Mme. 
 
 |Denis, to Wildenstein 
 ; Carle Van. Loo, 
 |Bourbon Conti, 
 $3,500. 
 
 | Jean, Mare Nattier, 
 {Blondel de Gagny, 
 $16,500, 
 
 Co., $8,000. 
 portrait of Mme, de 
 to. John Ringling, | 
 
 portrait of Mme, 
 anonymous buyer, 
 
 | J. GC. ©, Coret, “L’Odalisque Sicili- 
 enne,” to P. Rosenb: $30,000. 
 Honore Daumier, "ue Repos des Sal- 
 es.” to Wildenstein & Co., 
 
 TTTUS in Am ARMCHAIR by Rembrandt GnRiyn 
 
 W \ = 32 - Dor ia 
 
 $270,001 PAID 
 FORREMBRANDT 
 AT ART AUCTION 
 
 Duveen Bid I Is Highest 
 Ever Made in U. 8. 
 for Picture 
 
 The unique offering of two Rem- 
 brandt paintings in connection with 
 thirty-two other canvases of the Still- 
 fman collection, drew to the American 
 Art Association. Galleries Jast night a 
 
 atherng of more than 1,200 picture 
 
 uuyers and resumed in a price of $270,- 
 00, the highest auction price ever paid 
 for a picture in this country, for the 
 portrait of Rembrandt’s son Titus. 
 
 Sir Joseph Duveen, the buyer, pre- 
 viously had owned it and sold it to a 
 tlient some years ago for $105,000. 
 he highest previous auction price for 
 & picture in this country was $137,000 
 for Franz Hal’s ‘Portrait of a Woman,” 
 fold with the Charles T, Yerkes col- 
 lection by the same auction company 
 fn 1910. 
 
 Rembrandt’s second offering last 
 hight was a portrait known as “The 
 Evangelist,” which John Ringling, cir- 
 fetus man, bought for $78,000, a price 
 exceeded only by that paid for the 
 Titus portrait. 
 
 Both of these pictures were painted 
 bout 1660, when the afflictions at- 
 ‘tended upon the loss of his estate had 
 mellowed but had not impaired Rem- 
 brandt’s opulent powers, and both car- 
 ried an authenticated lineage of owner- 
 ship. The Duke of Rutland had the 
 Titus in his collection and “The 
 Evangelist” remained for a long time 
 fone of the art treasures of T. Hum- 
 phry Ward of London. 
 
 ; The Stillman collection belonged to 
 
 | Bartolome E. Murillo, “Madonna and 
 | Child,” to Walpole Galleries, 259,000. 
 SS et Rembrandt van Rijn, “Titus in an 
 
 | Armchair,” to Sir Joseph Duyeen, $270,- 
 
 | 000. 
 Rembrandt van Rijn, “The Evan- 
 gel ” to John Ringling, $78,000. 
 
 Giovanni B. Moroni, portrait of Lodo- 
 vico Madruzzo, to Chicago Art Insti- 
 tute, $22,000. 
 
 Giova anni B, Moroni, portrait of Gian 
 Federico Madruzzo, to M. Knoedler & 
 Co., $20,000. 
 
 * Giovanni B.'Moroni, portrait of Prince | 
 
 Auk RTT 
 
 | 
 \\tioned in liquidation of the 
 
 two art 
 lestates. Of the thirty-four in the list Of Este family to W. H. Henry, $15,000. | 
 fourteen had hung from 1921 until a|_ 2 Francia, “Santa Barbara,” to Bea 
 
 J, Jamieson, $21,000. 
 Lorenzo di Credi, portrait of a man, | 
 to J. P. Fitzgerald, $16,000. | 
 
 | few weeks ago as a Stillman Joan in 
 thé Metropolitan Museum of Art. 
 Hiram H. Parke conducted last night’s 
 
 eB | ver Giovanni Bellini, “Madonna and 
 sale. Nearly every offering was strongly _. een . . | 
 contested by bidders and raised the Rioaneens TS 88,000. ae ta,| 
 total of the sale to $716,950. peste rf my 
 Several price records: haye been bye eomaeerene We acacia tale) 28)° 
 broken lately for paintings bought for eacencel Be Viret 
 AvaRiioans, accio ocacacino, irgin and/ 
 
 \Child, with Bird,” to Gov. Alvan Fuller 
 A record for a portrait by George | lof Massachusetts, $4,600. 
 
 } Romney was made last July in Lon- | ti . 
 2 P A rdier,” 
 don, when Sir Joseph Duyeen bought A peaants comedies e637 Rok es Pe, 
 
 at Christie's Romney's portrait of Mrs.|| Giovanni B, Tiepol 
 Davenport for $300,000 for American |cniga” to A. J Kobler, 812,000. and 
 
 account, ; Antoine Ve: portrait of a lady, 
 
 Sir Thomas Lawrence’s “Pinkie” was jto Dr, Warren Smadbe $3,100. 
 Nua sht by Sir Joseph Duveen in Lon- } — ae 
 |don’ on Noy. 25, 1926, for the record | 
 price of $360,000, and it is now on its’) 
 way to this country. 
 
 Within the last week M. Knoedler | 
 Co, sold to Jacob Epstein of Baltimore 
 Van Dyck’s allegorical painting “Rinal- 
 do and Armida” for $350,000—2 Van 
 Dyck record. 
 
 Some other prices were: 
 
 Anton Mauve, landscape, with figure | 
 and sheep, to J. P. Fitzgerald, $11,000. 
 
 J. C. C. Coret, “L’ Odalisque Sicili-| 
 enne,” to P. Rosenberg & Co., $30,000. | 
 
 Bartolome E. Murillo, “Madonna and) 
 Child,” to Walpole: Galleries, $50,000. 
 
 Rembrandt van Rijn, “The Evan- 
 gelist,” to John Ringling, $78,000, 
 
 Giovanni B. Moroni, portrait of Lodo- 
 vico Madruzzo, to Chicago Art Insti- 
 tute, $22,000. 
 
 Giovanni B. Moroni, portrait of Gian 
 
 Federico Madruzzo, to M. Knoedler_& 
 Co., $20,000. 
 
 Giovanni B. Moroni, portrait of Prince 
 of Este family ,to W. H. Henry, $15,000. 
 Il Francia, “Santa Barbara,” to Hugh 
 J. Jamieson, $21,000. 
 
 Lorenzo di Credi, portrait of a man, 
 to J. P, Fitzgerald, $16,000, 
 
 Gianpietrino, “Virgin and Child, 
 with Pomegranate,’ to J. H. Wagner, 
 $11,000. 
 
 Jacopo Pontermo, “A Halberdier,” to 
 Walpole Galleries, $37,000, 
 
 J. A. D, Ingres, portrait of Mme. Cave, 
 to P. Rosenberg & Co,, $13,000. 
 Francois A. Vincent, portrait of a 
 man, to J| S. Phipps, $3,900. 
 
 Berthe Morisot, “Le Repos,” to Du-| 
 rand-Ruel, $5,300. 
 
 Wames Stillman and later to his son, 
 ‘Charles C. Stillman, and 
 
 Julian Rix, landscape, to W.H. Henry, 
 
 was auc-' $3,100. 
 
THIS CLIPPING FROM 
 
 NEW YORK 
 ERALD-TRIBUNE 
 
 <embrandt Sells for $270,000 
 To Duveen at Stillman Auction 
 
 ormer Owner Pays Record American Price for 
 “Titus in an Armchair,” Portrait Done When 
 Artist Was Nearing Loss of Sight 
 
 brandt in his ‘last period. It hung on, 
 ‘inted itt the last years of the Dutch|the walls of James Stillman’s Paris 
 aster’s life when he was almost blind.| home. The subject, then about nine- 
 Wed “Titus in an’ Armchair,” was|teen years old, is seated facing the 
 id to Sir Joseph Duneer for $270,000} spectator, his head slightly turned to 
 st night at the sale of the collection| the right and his chin resting on h’s 
 paintings from the estates of James| right hand. The painting is thirty- 
 iliman and ©, C. Stiliman. It is}two inches long and twenty-seven 
 id to be the highest price ever paiu| inches wide. 
 
 r a painting at public auction in the} Sir Joseph was the buyer after spir- 
 nited States. ited bidding in which it is said the 
 Shortly after the bidding had passed} putch government at first was a con- 
 e $137,000 mark, the record made in| tender until the battle developed into 
 10 for a Frans Hals from the Charles aq dealers” Wall Sit wosephitis acduirs 
 “Yerkes collection, there was a round ing the painting, which has been on 
 The total of the evenini| 11, walls of the Metropolitan Museum 
 
 Rembrandt’s portraits of his son 
 
 applause. ; 
 les was $716,950 for thirty-six paint-| 310, 1921, for the second time, It is 
 ES. said that he pad $105,000 for it when 
 
 Critics have referred to the portrait | he obtained possession previously. 
 F the artist’s son as having a “mys- It also has been the property of the 
 cal” quality, and it is in the luminous Duke of Rutland in Belvoir Castle 
 
 olden key which character-zed Rem-' 
 
 c- nbrandt Sold Here for $270,000 
 
 re 
 
 (Continued Guspane.three ) 
 
 “Titus in an Armchair,” portrait of the artist’s son, painted when 
 Rembrandt was nearly blind 
 
 | 
 
 R mbrandiGées 
 For $270,000 in 
 Stillman Sale 
 
 } 
 aS ag | 
 (Continued from page one) | 
 
 and was exhibited in the Royal Acade- | 
 my Winter Exhibition in 1899. | 
 
 The picture is signed at the right | 
 upon the back of a chair, about half | 
 way up, “Rembrandt F., 1660.” Titus’s | 
 costume is a dark greenish gray with | 
 yellow sleeves and gold buttons and | 
 
 a small turnover collar. A broad cap 
 
 tests upon light brown curls. The} 
 j,ight falls from slightly. to the right | 
 | and from above on his face and hands. | 
 
 The background is dark. 
 
 The next highest price in an eve-! 
 \ ning of heavy bidding was also for a 
 
 Rembrandt Van Rijn, “The Evangelist,” 
 
 which sold to John Ringling for 
 | $78,000. 
 |. “& Madonna and Child” by Barto- 
 |lome Esteban Murillo, which also was 
 | on exhibition at the Metropolitan Mu- 
 ;seum from 1921 to December, 1926, 
 j when it was moved to the American 
 | Galleries, brought $50,000 from the 
 | Walpole Galleries, It is a three-quar- 
 | ter length portrait of the Virgin 
 {mother rendered with exquisite sim- 
 | plicity and charm in a flickering and 
 | caressing light, and showing the form 
 
 of the child standing upon her lap. 
 
 Jacopo Pontermo’s “A Halberdier” 
 | was bought for $34,000 by the Walpole 
 | Galleries, This three-quarter length 
 
 portrait of a young soldier standing 
 
 guard, painted by the teacher of 
 
 Bronzino, was believed to be by his 
 pupil until hung in the Metropolitan 
 Museum. The figure of the soldier is 
 posed with haughty grace, with the left 
 hand resting upon his hip, and holding 
 a halberd. He wears a plumed hat of 
 brilliant crimson, breeches of the same 
 color and'a fawnish brown quilted 
 jacket tightly girdled about a narrow 
 | waist. His neck is linked with a gold 
 |chain. The background is a deep- 
 | shaded green in two tones. 
 
 The fifth highest price was for Hon- 
 ore Daumier’s “Le Repos des Saltim- 
 | banques,” which brought $34,000 from 
 the Messrs. Wildenstein, of Paris, A 
 bright beam of light from the left re- 
 flects upon a clown seated in profile 
 with head slightly bowed, the face in- 
 animate but thoughtful. Centering the 
 | composition is a listless figure in a 
 ;rich red'wrap. This painting was ex- 
 | hibited at the Daumier Exposition in 
 | Paris in 1901. 
 | Corot’s “L’Odalisque Sicilienne,” a 
 | graceful figure painting of a maiden 
 |of the harem, was purchased by F. 
 | Rosenberg & Co. for $22,000. It is re- 
 | ported that the late C. C. Stillman paid 
 $55,000 for this portrait. 
 
 A small unfinished oil portrait by 
 Ingres brought $13,000 from P. Rosen- 
 berg & Co., which is an unusual price 
 for a drawing of its character and 
 shows the rarity of authentic works 
 ros this master. A landscape painting 
 by. Julian Rix, the only American 
 painter to be represented, sold for 
 | $3,100, There were 1,300 persons pres-| 
 jent. Hiram H. Parke was the auc-| 
 | tioheer. | 
 | The complete list of the evening’s| 
 | sale follows: | 
 
 | Rembrandt—"Titus {mn an Arm- | 
 chair’; Sir Joseph Duveen,. $270,000 
 Rembrandt — “The Eyangeli: 
 
 78,000 | 
 and | 
 
 ' Walpole Galleries ..... 50,000 
 { Pontormo-—‘A Halberdier” | 
 | pole Galleries ... 87,000 
 | Daumier—“Le Repos | des | 
 _ banques Wilderstein’......, 84,000 | 
 | Corot—"L’Odalisque Sicilietne’ 
 | Rosenb a 80,000 | 
 i 22,000 
 | 21,000 
 | Moroni—'Portrait e | 
 0 Madruzzo”; M. Knoedler | 
 | 20,000 | 
 | | 
 { 16,500 
 | 
 Giiieee: .. 16,000 
 | Moroni—“P a Young 
 | Prince of the ‘ste’ Family’; | 
 NWR Ree arate te Sess. Naneseeants 15,000 | 
 | Ingres—"Portrait “de “Madame 
 | Cave’; P. Rosenberg & Co..... 18,000} 
 } Tiepolo—‘Madonna, and Child’ ay 
 A, J. Roebl ary 12,000 
 Gianpietrino— nd Child | 
 With Pomegranat J. H, Wag- 
 11,000 
 | 
 } J. P. Pitzpatric’ 11,000 } 
 | Tocque—"Unne Dame de la Fam- 
 i de Plainval” Waldenstein 
 ! 9,500 
 } y 8,000 
 | aie 
 iH MOMMY RAMI E) be ssa sy eho ven as, on 
 
 I 6,000 | | 
 | Morisot—"Le Repos’ Ei | q 
 5,300 |! 
 
 Durand, Ruel, dealer, ......0.... 
 
 | Bocearcind="Virgin “ang \chila 
 | With Bird’ 
 
 Gov. Alvan T. Fuller of Mass... 4,600} 
 Vincent—‘‘Portrait of a Ma | 
 8,900 | 
 3,500 | 
 3,100 | 
 | 
 3,100 | 
 2,500 
 Scott &/Fowles. 2,400) 
 Scha Jenue Femme 4d 
 
 |_ Pa Edouard Jonas. 1,700 
 John F. Herring — sr.—Chestnut | 
 |_ Mare and Foal’; J..S. Phipps. 1,450 
 
 |John ¥F. Herring " sr,—“Piebald 
 | Mare and Foal’; Sidney Noyes.. 1,300 
 
 Herring 'sr.—'‘Mare and 
 I Waisiaig nolan eck Oe 
 Henr, le Boutique } 
 du Vieux Poche (Ia Rochelle)"; | 
 5 sara SLI atan 800 
 
 Mare and . 
 
 700 
 650 
 Sturges * 300} 
 Corot—"'The | 
 tinger 1... 250 
 
 Among those preyent were the fol- 
 lowing who reserved boxes; Mr, and 
 
 {Mrs. H. O. Havemeyer, Mr. and Mrs. | 
 Percy Rockefeller, Mr. and Mrs. Rich- | 
 ard D, Brixey, Mr. and Mrs. Philip 
 Lehman, Mr. Charles Eckelheimer, Dr. 
 Ernest Stillnian, Mr. and Mrs. Emil 
 Winter, of Pittsburgh; Sir Joseph Du- 
 veen, Miss Elizabeth Stillman, daughter 
 of the late C, C. Stillman; Mr. and 
 Mrs. Cortlandt F. Bishop, Frank A.) 
 Vanderlip, Mr. and Mrs. Jesse Straus, | 
 Joseph Stransky, J.B, Clawson, of | 
 Buffalo; Mrs. John Ringling and J. S. 
 
 Phipps. 
 
{ a ——— 
 
FREE PUBLIC EXHIBITION 
 
 From Saturday: January 29, 1927 - Until Time of Sale 
 Weekdays 9 a.m. to 6 p.m. - Sunday from 2 to 5 p.m. 
 
 UNRESTRICTED PUBLIC SALE 
 Thursday Evening: February 3 at 8:15 O'clock 
 
 EXHIBITION AND SALE AT THE 
 
 American Art Galleries 
 Madison Avenue - 56th to 57th Street 
 New York City 
 
 “eae 
 
 SALES CONDUCTED BY 
 Mr. O. Bernet and Mr. H. H. Parke 
 
 American Art Association:Inc 
 MANAGERS 
 
 UOT 
 
IMPORTANT PAINTINGS 
 BY OLD AND MODERN MASTERS 
 
 From the Estate of the Late 
 JAMES STILLMAN 
 
 Sold by Order of the Heirs 
 
 AND 
 
 From the Collection of the Late 
 C..C.S 1 vig 
 
 Sold by Direction of The 
 National City Bank of New York 
 and Dr. Ernest G. Stillman 
 
 Executors 
 
 Shearman & Sterling 
 Attorneys 
 
 Cy 
 
 Under Management of the 
 American Art Association 
 
 UN PCOTPORAE @ cl 
 
 SE] 
 
Priced (a ta logues 
 
 Priced copies of the catalogue, or any session 
 thereof. 
 
 charges commensurate with the duties involved 
 
 will be furnished by the Association at 
 
 in copying the necessary information from the 
 
 records of the Association. 
 
 The AMERICAN ART ASSOCIATION : Inc 
 
 ‘Designs its Catalogues 
 and ‘Directs ~All Details of Illustration 
 ext and Typography 
 
NUMBER LY OF TWO HUNDRED 
 NUMBERED COPIES 
 
Conditions of Sale 
 
 REJECTION oF Bins. Any bid which is not commensurate with the value of the article 
 offered, or which is merely a nominal or fractional advance, may be rejected by the 
 auctioneer if in his judgment such bid would be likely to affect the sale injuriously. 
 
 . Tue Buyer. The highest bidder shall be the buyer, and if any dispute arises between 
 two or more bidders, the auctioneer shall either decide the same or put up for re-sale 
 the lot so in dispute. 
 
 . IDENTIFICATION AND Deposit sy Buyer. The name of the buyer of each lot shall be 
 given immediately on the sale thereof, and when so required, each buyer shall sign a 
 card giving the lot number, amount for which sold, and his or her name and address. 
 GA deposit at the actual time of the sale shall be made of all or such part of the 
 purchase prices as may be required.(LIf the two foregoing conditions are not complied 
 with, the lot or lots so purchased may at the option of the auctioneer be put up again 
 and re-sold. 
 
 . Risk AFTER Purcuase. Title passes upon the fall of the auctioneer’s hammer, and 
 thereafter the property is at the purchaser’s risk, and neither the consignor nor the 
 Association is responsible for the loss of, or any damage to any article by theft, fire, 
 breakage, however occasioned, or any other cause whatsoever. 
 
 . Detivery or Purcuases. Delivery of any purchase will be made only upon payment 
 of the total amount due for all purchases at the sale. 
 
 . Recewtep Bits. Goods will only be delivered on presentation of a receipted bill. 
 A receipted bill presented by any person will be recognized and honored as an order 
 by the buyer, directing the delivery to the bearer of the goods described thereon. If a 
 receipted bill is lost before delivery of the property has been taken, the buyer should 
 immediately notify the Association of such loss. 
 
 . Srorace IN Derautt or Prompt Payment AND CALLING FoR Goons. Articles not 
 paid for in full and not called for by the purchaser or agent by noon of the day follow- 
 ing that of the sale may be turned over by the Association to some carter to be carried 
 to and stored in some warehouse until the time of the delivery therefrom to the pur- 
 
 _chaser and the cost of such cartage and storage and any other charges will be charged 
 against the purchaser and the risk of loss or damage occasioned by such removal or 
 stotage will be upon the purchaser. @.In any instance where the purchase bill has not 
 been paid in full by noon of the day following that of the sale, the Association and 
 the auctioneer reserve the right, any other stipulation in these conditions of sale not- 
 withstanding, in respect to any or all lots included in the purchase bill, at its or his 
 option, either to cancel the sale thereof or to re-sell the same at public or private sale 
 without further notice for the account of the buyer and to hold the buyer responsible 
 for any deficiency and all losses and expenses sustained in so doing. 
 
8. Suippinc. Shipping, boxing or wrapping of purchases is a business in which the Asso- 
 ciation is in no wise engaged, but the Association will, however, afford to purchasers 
 every facility for employing at current and reasonable rates carriers and packers; doing 
 so, however, without any assumption of responsibility on its part for the acts and 
 charges of the parties engaged for such service. 
 
 9. Guaranty. The Association exercises great cate to catalogue every lot correctly and 
 endeavors therein and also at the actual time of the sale to point out any error, defect 
 or imperfection, but guaranty is not made either by the owner or the Association of 
 the correctness of the description, genuineness, authenticity or condition of any lot and 
 no sale will be set aside on account of any incorrectness, error of cataloguing or imper- 
 fection not noted or pointed out. Every lot is sold “as is” and without recourse. 
 @Every lot is on public exhibition one or more days prior to its sale, and the Associa- 
 tion will give consideration to the opinion of any trustworthy expert to the effect that 
 any lot has been incorrectly catalogued and in its judgment may thereafter sell the 
 lot as catalogued or make mention of the opinion of such expert, who thereby will 
 become responsible for such damage as might result were his opinion without foun- 
 dation. : 
 
 ro. Recorps. The records of the auctioneer and the Association are in all cases to be 
 considered final and the highest bid shall in all cases be accepted by both buyer and 
 seller as the value against which all claims for losses or damage shall lie. 
 
 11. Buyine on Orver. Buying or bidding by the Association for responsible parties on 
 orders transmitted to it by mail, telegraph, or telephone, if conditions permit, will be 
 faithfully attended to without charge of commission. Any purchases so made will 
 be subject to the foregoing conditions of sale, except that, in the event of a purchase of 
 a lot of one or more books by or for a purchaser who has not through himself or his 
 agent been present at the exhibition or sale, the Association will permit such lot to be 
 returned within ten days from the date of sale, and the purchase money will be re- 
 funded, if the lot differs from its catalogue description.€,Orders for execution by the 
 Association should be given with such clearness as to leave no room for misunderstand- 
 ing. Not only should the lot number be given, but also the title, and bids should be 
 stated to be so much for the lot, and when the lot consists of one or more volumes of 
 books or objects of art, the bid per volume or piece should also be stated. If the one 
 transmitting the order is unknown to the Association, a deposit must be sent or refer- 
 
 ence submitted. Shipping directions should also be given. 
 
 These conditions of sale cannot be altered except by the 
 
 auctioneer or by an officer of the Association 
 
 OWWwO BWEIRINIW 2 Tati NIM Jel, I INIR KOE Sl neni acer 
 
 oe etiIG7IN Geet ASSOCIATION - INC. 
 
CATE CG ee 
 
INTRODUCTION 
 
 HE small but superb collection of masterpieces of painting acquired by the 
 
 late James Stillman and his son, the late C. C. Stillman, is to be dispersed at 
 public sale by the American Art Association, Inc., on the evening of February 3, 
 1927. This assemblage of world-famous works of the great masters undoubtedly 
 marks the apogée of important events in the history of art distribution in the 
 Western World. That both Mr. James Stillman and his son displayed the extra- 
 ordinary brilliance of vision and imagination that characterized their careers in the 
 acquisition of these treasures is obvious, and no praise should be withheld from the 
 individual collectors of America who enrich the art coffers of their country with 
 examples of such rare aesthetic value and then generously loan them to the pub- 
 lic. Fourteen of these paintings were exhibited at the Metropolitan Museum of 
 Art from 1921 until their recent removal to the American Art Galleries, 
 
 The collection comprises two Rembrandts of superb quality—one a portrait 
 of the master’s son, Titus—formerly in the collection of His Grace, the Duke of 
 Rutland; illustrated by Dr. von Bode in his complete work on Rembrandt and cata- 
 logued by Smith and Emile Michel; and The Evangelist, also illustrated by Dr. 
 von Bode, previously in the collection of Mr. Thomas Emmerson and the collec- 
 tion of Mr. T. Humphry Ward. These works were painted in 1660 and 1663 
 respectively, a few years after Rembrandt was overtaken by financial troubles, in 
 Leyden, and they sum up the triumph of the man and artist over the vagaries of 
 fortune, as these years, together with the few following years, are distinguished 
 by a series of noble paintings, conceived in the varying depths of mysterious 
 shadow used by this inimitable master, to produce a summary of the actual appear- 
 ance of his sitters. The shadows accentuated by the rich impasto of the high 
 lights and the subtly executed tonalities mark them as the most important crea- 
 tions of naturalism in Rembrandt. 
 
 The companion portraits of Lodovico and Gian Frederico Madruzzo and the 
 Portrait of a Young Prince of the “Este” Family, by Moroni, from the collection 
 of Baron Valentino Salvadori and the Chantel of Lyon collection, are rare examples 
 of intimate portraiture, executed in what is known as Moroni’s ‘gray’ period—a 
 period which places this master in the front rank of painters. From other schools 
 
 of the Italian Quattrocento and Cinquecento are a superbly rendered Madonna 
 
with the Infant Christ, by Giovanni Bellini, from the Curé collection; another by 
 Boccaccino from the Crespi collection; and a third by Gianpietrino, rendered in a 
 soft and luminous atmosphere with an understanding of the truth of natural 
 form—a manifestation of the renaissance of art and learning which pervaded 
 Europe at this era. 
 
 The Florentine renaissance is well represented by the bust-length portrait of 
 an elderly patrician by Lorenzo di Credi, and the elegant Halberdier by Jacopo 
 Pontormo; the Spanish School of Andalusia by an exceedingly fine example from 
 the brush of Murillo—The Madonna and Child—executed with the gentleness of 
 sentiment and the love of idealization of facts that reflect the dispositions of this 
 Southern race. 
 
 The charm and elegance of the French eighteenth century are represented by 
 portraits of beautiful women from the subtle palettes of Nattier and Carle Van 
 Loo, both exquisitely refined colorists; and Tocqué, a most learned artist and the 
 author of one of the finest portraits in the Louvre, that of Marie Leczynska, the 
 wife of Louis XV. 
 
 Other works of which mention must be made are the gorgeously lit subject 
 picture by Daumier, Le Repos des Saltimbanques, a composition not based on set 
 forms of balanced arrangement but distinguished rather by irregularity and sub- 
 jective thought—a great masterpiece; L’Odalisque Sicilienne by Corot, a vision of 
 beauty, with some traces of classic feeling, particularly in the introduction of the 
 temple, silhouetted against the delicate vibration of the sky; two charming examples 
 by Le Sidaner; a luminaristic impression by Berthe Morisot; a Julian Rix, an 
 Anton Mauve, and others of which space forbids mention. 
 
 AmerIcAN Art AssociATION, INc. 
 
EVENING SES o LON 
 Thursday February 3, 1927 at 8:15 O'Clock 
 
 Catalogue Numbers 1 to 37 Inclusive 
 
 rags 
 
CATALOGUE NUMBER ONE 
 THE SHIPYARD 
 
 By JEAN BAPTISTE CAMILLE COROT 
 FRENCH: 1796—1875 
 
JEAN BAPTISTE CAMILLE COROT 
 French: 1796—1875 
 
 . THE SHIPYARD L 
 
 The hull of a ship in dry dock, with the prospect of a watercourse 
 in the background and two sailing vessels. To the right are minute 
 figures fishing. 
 
 Inscribed at lower left: VENTE Corot 
 
 Pencil drawing: Height, 12, inches; length, 16% inches 
 
4ANO YIITNQN ANOOIV LVI 
 
CATALOGUE NUMBER TWO 
 
 JEUNE FEMME DANS UN PARC 
 
 By JEAN FREDERIC SCHALL 
 FRENCH: 1752—1835 
 
JEAN FREDERIC SCHALL 
 French: 1752—1835 
 
 A 
 2. JEUNE FEMME DANS UN PARC Ceuard Jonny 
 
 Elegantly robed figure seated upon a park bench, holding a small V 
 
 | "| ae brown and white lap dog. She wears a shell-pink bodice, with volumi- 
 nous and billowy blue and ivory-white skirt. Background of massed 
 foliage, showing at the right the leaning trunk of a tree. 
 
 Panel: Height, 734 inches; width, 6 inches 
 
 From Messrs. Wildenstein, Paris 
 
CATALOGUE NUMBER TWO 
 
CATALOGUE NUMBER THREE 
 MARE AND FOAL 
 
 By G. M. FOX 
 BRITISH: XIX CENTURY 
 
G. M. FOX 
 British: XIX Century 
 
 MARE AND FOAL 
 
 Finely modeled dark bay mare standing alert in a meadow, with her 
 chestnut foal about to graze; at the right, a massive chestnut tree. 
 Before a cloudy blue sky. 
 
 Signed at lower left, G. M. Fox 
 Panel: Height, 10 inches; length, 12 inches 
 
 From Thomas Agnew & Sons, London 
 
44aqHL YWAWON ANDO LVI 
 
CATALOGUE NUMBER FOUR 
 MARE AND FOAL 
 
 By G. M. FOX 
 BRITISH: XIX CENTURY 
 
Kees a G. M. FOX 
 wi Y British: XIX Century 
 
 4. MARE AND FOAL 
 
 A thoroughbred bay mare with her foal standing alert (upon a 
 grassy slope, silhouetted before a fine blue-gray sky; at the right a 
 chestnut tree. The silky coat and the modeling finely rendered. 
 
 i.) 4 y Signed at lower left, G. M. Fox, and dated 1852 
 
 Panel: Height, 10% inches; length, 12% inches 
 
 From Thomas Agnew & Sons, London 
 
YNOI YAINWNN AZNDOTW LVI 
 
CATALOGUE NUMBER FIVE 
 
 MARE AND FOAL 
 
 By JOHN FREDERICK HERRING, SR. 
 BRITISH: 1795—1865 
 
\\ JOHN FREDERICK HERRING, SR. 
 British: 1795—1865 
 
 5. MARE AND FOAL 
 e Realistic portrayal of a bay mare trotting over a grassy slope, with 
 ay ae her foal cantering beside her. In the background a vista of wooded 
 landscape enveloped in a blue haze. Under a lavender tinted sky. 
 
 | a Signed at lower right, J. F. Herrinc, Senr, and dated 1852 
 
 Panel: Height, 10% inches; length, 12% inches 
 
 From Thomas Agnew & Sons, London 
 
YAld YAENQAN JQOOW LVI 
 
CATALOGUE NUMBER SIX 
 CHESTNUT MARE AND FOAL 
 
 By JOHN FREDERICK HERRING, SR. 
 BRITISH: 1795—1865 
 
x = 
 ss ~ 
 . ) 
 S, ‘ N > 
 cS: \WN JOHN FREDERICK HERRING, SR. 
 ; British: 1795—1865 
 6. CHESTNUT MARE AND FOAL \S. p 
 A massively built chestnut mare with flowing mane and long tail, 
 } 45 b e nuzzling her foal; in an undulating meadowland. In the back- 
 
 ground the fringe of a wood. Under a lavender tinted sky. 
 
 Signed at lower left, J. F. Herrinc, Senr., and dated 1854 
 
 Panel: Height, 10'4 inches; length, 12% inches 
 
 From Thomas Agnew & Sons, London 
 
XIS YWATWON JANDOIW LYO 
 
CATALOGUE NUMBER SEVEN 
 MARE AND FOAL 
 
 By JOHN FREDERICK HERRING, SR. 
 BRITISH: 1795—1865 
 
JOHN FREDERICK HERRING, SR. 
 British: 1795—1865 
 
 7. MARE AND FOAL Wow. 
 ql r - A chestnut mare with long forelock, mane and tail, with her foal, 
 
 standing alert beneath her long arched neck, in a post and railed 
 meadowland. Before a cloudy gray-blue sky. 
 
 Signed at lower left, J. F. Herrin, Senr, and dated 1854 
 Panel: Height, 10% inches; length, 12% inches 
 
 From Thomas Agnew & Sons, London 
 
NA AIS YATNON FQODOTV LVI 
 
CATALOGUE NUMBER EIGHT 
 PIEBALD MARE AND FOAL 
 
 By JOHN FREDERICK HERRING, SR. 
 BRITISH: 1795-1865 
 
O 
 Sa JOHN FREDERICK HERRING, SR. 
 British: 1795—1865 
 
 8. PIEBALD MARE AND FOAL Wor 
 
 3 seb Realistic portrayal of a piebald mare with flowing mane and tail, 
 standing with her colt by the entrance of a rough thatched barn 
 built beneath the branches of an oak tree. Fine cloudy blue sky. 
 
 Signed at lower right, J. F. Herrine, Senr., and dated 1853 
 
 Panel: Height, 10% inches; length, 121% inches 
 
 From Thomas Agnew & Sons, London 
 
LHOId YAAWOAN ZNOOTV LVI 
 
CATALOGUE NUMBER NINE 
 MAISONS SUR LE CANAL 
 
 By HENRI LE SIDANER 
 FRENCH: CONTEMPORARY 
 
HENRI LE SIDANER 
 
 French: Contemporary 
 
 9. MAISONS SUR LE CANAL Nlebh Gal : 
 
 An illumined impression of the facade of an old chateau, mirrored 
 in the evanescent water of a slowly running stream; at the left, the 
 massed foliage of wistaria boughs hanging over the wall to the 
 watet’s edge. 
 
 Signed at lower right, Le SANER 
 Panel: Height, 10% inches; length, 13%4 inches 
 
 From William Marchant & Company, London 
 
ANIN YAIWON ZNDOTV LVI 
 
CATALOGUE NUMBER TEN 
 PORTRAIT DE MADAME CAVE 
 
 By JEAN AUGUSTE DOMINIQUE INGRES 
 FRENCH: 1780—1867 
 
r 
 Vv 
 
 D 3 
 S iss 
 
 ei ea 
 
 6 ‘ 
 5 \¢ JEAN AUGUSTE DOMINIQUE INGRES 
 
 C 
 
 French: 1780—1867 
 
 10. PORTRAIT DE MADAME CAVE p beakurgtla 
 
 Finely drawn and modeled profile, the cinctured head outlined before 
 a black ground. Delicate flesh tints. 
 
 } 3 pe Zz Inscribed at lower right, INcres a Madame Cavé 
 
 Height, 16 inches; width, 124 inches 
 Reproduced in Lapauze’s work on Ingres 
 
 Exhibited at the Ingres Exposition at the Georges Petit Galleries, 
 Paris, 1911 
 
 The Gaston Le Roy Collection 
 From M. Paul Rosenberg, Paris 
 
CATALOGUE NUMBER TEN 
 
CATALOGUE NUMBER ELEVEN 
 PORTRAIT OF A MAN 
 
 By FRANCOIS ANDRE VINCENT 
 FRENCH: 1746—1816 
 
314 
 
 If. 
 
 FRANCOIS ANDRE VINCENT 
 French: 1746—1816 
 
 PORTRAIT OF A MAN 5 a: Php 
 
 Bust-length figure facing the observer, wearing a wide-brimmed hat, 
 casting the large eyes and well modeled brow into shadow, a white 
 kerchief tied at the neck, black jacket and negligently arranged sut- 
 coat. Dark background. Finely modeled head. 
 
 Signed on brim of hat, Vincent, and dated 1784 
 
 Height, 22 inches; width, 18 inches 
 
 From Messrs. Wildenstein, Paris 
 
CATALOGUE NUMBER ELEVEN 
 
CATALOGUE NUMBER TWELVE 
 LE REPOS 
 
 By BERTHE MORISOT 
 FRENCH: —1895 
 
ae 
 
 WAG 
 
 BERTHE MORISOT 
 
 Luminaristic impression of a fair-haired girl seated, in profile to 
 the right, the left hand raised to her head. Wearing a streamered 
 headdress and pale pink dress tinged with lavender. Colorful back- 
 ground, with vista at left of a house. 
 
 French: —1895 
 
 LE REPOS 
 
 Signed at lower left, BerrHe Mortsor 
 
 Height, 29 inches; width, 234% inches 
 Exhibited at the Bernheim Galleries, Paris, July, 1922 
 From M. Paul Rosenberg, Paris 
 
CATALOGUE NUMBER TWELVE 
 
CATALOGUE NUMBER THIRTEEN 
 
 LA BOUTIQUE DU VIEUX POCHE 
 [LA ROCHELLE] 
 
 By HENRI LE SIDANER 
 FRENCH: CONTEMPORARY 
 
20) HENRI LE SIDANER 
 og French: Contemporary \ ly ecer sea 
 
 ea 
 
 13. LA BOUTIQUE DU VIEUX POCHE {LA ROCHELLE] 
 
 Luminaristic impression of the corner of a picturesque thatched cot- 
 tage, the golden glow of warm light shining through the casement 
 po: 
 % windows. In the foreground, an arched arbor of massed roses, and 
 to the right the slender forms of trees in deep green shadow. 
 
 Signed at lower right, Lz SmaANER 
 
 o> Height, 32% inches; length, 39 inches 
 Exhibited at the Georges Petit Galleries, Paris, 1923 
 
 From Messrs. Wallis & Son, London 
 
 Wit Laporte cahe Aer (qRyy 4 
 
Ndd LIAL YATNON JNOOTV LVI 
 
CATALOGUE NUMBER FOURTEEN 
 LANDSCAPE 
 
 By JULIAN RIX 
 AMERICAN: 1851—1903 
 
14. 
 
 JULIAN RIX 
 
 American: 1851—1903 
 
 LANDSCAPE 1). 
 
 A shaded wheel-track centres the composition, flanked by two mas- 
 sive elms, their strong forms with sturdy arms supporting their weight 
 of leaves and branches, and strong roots grasping the firm earth at 
 the base of the gradually rising meadowlands. At the left is an out- 
 line of low-lying hills and small red-toofed dwellings embowered in 
 the valley; before a turquoise-blue sky ruffled by the gray rain 
 clouds. Finely lighted in areas by the fleeting reflections of the sun. 
 
 Signed at lower right, Jurian Rix, and dated 1899. 
 
 Height, 35% inches; length, 46 inches 
 
NdadLINOI YATNNN JNODOTW LVI 
 
CATALOGUE NUMBER FIFTEEN 
 
 LANDSCAPE WITH FIGURE AND 
 SHEEP 
 
 By ANTON MAUVE 
 DUTCH: 1838—1888 
 
ANTON MAUVE 
 
 Sy 5 on 
 N Dutch: 1838—1888 0) 1h 5 : 
 oy 15. LANDSCAPE WITH FIGURE AND SHEEP ’ | 
 
 2 A delightful landscape by this master, showing his characteristic 
 aie tendering of sheep and a peasant. Beneath leafless trees the shep- 
 Rae herdess is resting on her staff, while the sheep graze peacefully on the 
 
 : I! roo. fenced and flowering grassy slope in the foreground, illumed by the 
 reflections of a soft morning sky. The scene has a spring mood, 
 presaging the approach of April. 
 
 Signed at lower right, A. Mauve 
 
 Height, 38 inches; width, 25 inches 
 
 From William Schaus, New York 
 
CATALOGUE NUMBER FIFTEEN 
 
CATALOGUE NUMBER SIXTEEN 
 
 LANDSCAPE WITH FIGURE 
 
 By THEODORE ROUSSEAU 
 FRENCH: 1812—1867 
 
16. LANDSCAPE WITH FIGURE ®. Ak 
 
 1500: 
 
 THEODORE ROUSSEAU 
 French: 1812—1867 
 
 Autumnal tinted landscape: Gentsing! the compositiog in the fore- 
 ground, a turbulent stream of evanescent water, and massive boul- 
 ders. Fording the stream is a blue-coated peasant carrying a pile of 
 faggots. In the middle distance, the massed foliage of the majestic 
 trees is rendered with this master’s subtle articulation and silhouetted 
 before a vast romantic sky. The sinking sun, golden-yellow on the 
 horizon, sheds a luminous light to the large low-lying clouds. 
 
 Signed at lower right, TH. Rousszau 
 
 Height, 234 inches; length, 38% inches 
 
Nada LXIS YAqN NN JNDOW LVI 
 
CATALOGUE NUMBER SEVENTEEN 
 CORNER OF THE WOOD 
 
 By JOHN [OLD] CROME 
 BRITISH: 1769-1821 
 
Nagoue 
 
 JOHN [OLD] CROME 
 British: 1769—1821 
 
 17. CORNER OF THE WOOD Somtt¢ f pl 
 
 Autumnal tinted wooded landscape, with the woodcuttet’s path lead- 
 ing from the middle distance illumed by the rays of an October 
 sun. In the foreground, bending to his task, is the woodcutter, his 
 coat a tusset-brown. Under a fine blue sky hung with lavender tinted 
 
 clouds. 
 Panel: Height, 17% inches; width, 134 inches 
 
 From Thomas Agnew & Sons, London 
 
CATALOGUE NUMBER SEVENTEEN 
 
CATALOGUE NUMBER EIGHTEEN 
 UNE DAME DE LA FAMILLE 
 DE PLAINVAL 
 
 By LOUIS TOCQUE 
 FRENCH: 1696—1772 
 
il & : 
 x ve LOUIS TOCQUE 
 
 R HA hae frRetocter 
 
 0604 _ 18 UNE DAME DE LA FAMILLE DE PLAINVAL 
 
 Half-length seated figure of a rubicund white-haired lady, wearing a 
 lace French hood and collarette, and a dark gray wrap with loose 
 2) sleeves trimmed with lace. Neutral background. The head is finely 
 
 as modeled in a clear light with little to no shadow by a fine rendering 
 O of values. The work possesses the charming tendency of direct and 
 W intimate portraiture. 
 
 Height, 31% inches; width, 2514 inches 
 
 From Messrs. Wildenstein, Paris Sep Weti- 
 SRieKkGon SACS — P-f, fas 
 
CATALOGUE NUMBER EIGHTEEN 
 
CATALOGUE NUMBER NINETEEN 
 MME. DENIS [Niece of Voltaire} 
 
 By CARLE VAN LOO 
 FRENCH: 1705—1765 
 
AK 
 ‘ 
 CARLE VAN LOO 
 Oey French: 1705—1765 
 ¢. P Rarer + bo 
 > 19. MME. DENIS {Niece of Voltaire} ‘ 
 po : Half-length figure seated by a table, with head slightly inclined to 
 4 the left, the gray hair dressed with a lace French hood, and wearing 
 
 a tichly embroidered shaded blue-green pompadour dress with deep 
 lace ruffles at the elbow. She holds a book over the left arm, which 
 is resting upon the carved and gilded table. Neutral background. 
 Finely modeled head with clear flesh tints. 
 
 Height, 28% inches; width, 23 inches 
 
E NUMBER NINETEEN 
 
 U. 
 
 CATALOG 
 
CATALOGUE NUMBER TWENTY 
 MME. DE BOURBON CONTI 
 
 By CARLE VAN LOO 
 FRENCH: 1705—1765 
 
Pe CARLE VAN LOO 
 C French: 1705—1765 
 
 9\ 20. MME. DE BOURBON CONTI {rm 
 
 A romantic portrayal of the three-quarter length graceful figure with 
 powdered and flower-dressed hair, a curl of which falls over the 
 shoulder, and two cupidons festooning her with a garland of flowers. 
 Ae She wears a superbly draped and lustrous silken gown, the bodice of 
 4 5 ae blue, lined with vieux rose silk, the ivory-tinted skirt with a shaded 
 pale gold drapery; the textures rendered with subtle gradations of 
 tone. Before a background of delicate blue landscape, with a vestige 
 of feathery and blurred foliage at the left. 
 
 Height, 54 inches; width, 41 inches 
 
CATALOGUE NUMBER TWENTY 
 
CATALOGUE NUMBER TWENTY-ONE 
 MME. BLONDEL DE GAGNY 
 
 By JEAN MARC NATTIER 
 FRENCH: 1685—1766 
 
Ye JEAN MARC NATTIER 
 French: 1685—1766 
 
 ey 
 21. MME. BLONDEL DE GAGNY 
 
 Three-quarter length figure facing the observer, with head slightly 
 
 (ee 6° inclined to the left; the powdered hair drawn back from the fore- 
 
 re} | led head and dressed with a spray of flowers. She wears a décolleté 
 A diaphanous white bodice and flowing draperies of superb blue and 
 aX. vieux rose silks, entwined with naturalistic flowers. The pose of 
 So the head, the richness of color and the reproduction of textures, dis- 
 play the complete mastery of this painter in the use of his materials. 
 
 Height, 364% inches; width, 28 inches 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER TWENTY-ONE 
 
CATALOGUE NUMBER TWENTY-TWO 
 L?ODALISQUE SICILIENNE 
 
 By JEAN BAPTISTE CAMILLE COROT 
 FRENCH: 1796-1875 
 
\ WY 73 
 ee wy > ~ 
 \ oS 
 Cc). C \ 
 JO JEAN BAPTISTE CAMILLE COROT 
 
 French: 1796—1875 
 
 ~ 
 ¥ Retriker4 +& 
 ON 22. LODALISQUE SICILIENNE P, 
 
 Graceful figure of a maiden of the harem, reclining upon a leopard 
 skin, in a mystic landscape setting, the blurred outlines of the trees 
 0 eo ‘ and their feathery foliage forming a background to her rich red 
 5 ‘ bejeweled turban. She wears a décolleté blouse, flowered blue skirt, 
 and red slippers. Her left arm is pillowed upon a red mantle, and 
 she lightly holds a mandolin. At left, outlined before a vista of blue 
 water and the atmospheric cloudy gray sky, is a domed temple and 
 a statue, 
 
 Signed at lower left, Coror 
 
 Height, 20', inches; length, 31% inches 
 
 Illustrated in “CEuyre de Corot,” by Robault, No. 2134, Vol. III, 
 P- 293 
 
 Sold by Corot to M. Gredelue 
 
 The Zoubaloff Collection, Paris 
 
 The Hecht Collection ww Ws 
 
 From M. Paul Rosenberg, Paris 
 
 ; f 
 
 tot 9 dete 1 LN as a a 
 
CATALOGUE NUMBER TWENTY-THREE 
 LE REPOS DES SALTIMBANQUES 
 
 By HONORE DAUMIER 
 FRENCH: 1808—1879 
 
HONORE DAUMIER 
 
 S French: 1808—1879 Oo Ce y 
 S > 
 : . p, Grutor 
 
 \ 23. LE REPOS DES SALTIMBANQUES 
 
 NCS Shaded interior with buffoons in repose. Centring the composition 
 
 is a listless figure in a rich red wrap, illumed by the transitory 
 
 \) beam of light entering from the left and reflecting to the clown seated 
 in profile with head slightly bowed, the face thoughtful but inanimate 
 
 yok c and lined. At the left, turned from the spectator, is a third figure. 
 
 A most important work of this master. 
 Signed at lower left, H. Daumier 
 
 Height, 21% inches; length, 26 inches 
 
 Illustrated in “Honoré Daumier,” by von Erich Klassowski, plate 
 204, page 84 
 
 The Joubert Collection 
 
 Exhibited at the Daumier Exposition, Paris, 1901 
 
 From M. Paul Rosenberg, Paris 
 
CATALOGUE NUMBER TWENTY-FOUR 
 
 MADONNA AND CHILD 
 
 By BARTOLOME ESTEBAN MURILLO 
 SPANISH: 1617-1682 
 
24. 
 
 BARTOLOME ESTEBAN MURILLO 
 
 atte! 
 
 Three-quarter length figure of the Virgin Mother, with large brown 
 liquid eyes; rendered with exquisite simplicity and charm in a flicker- 
 ing and caressing light, holding the superbly modeled supple form 
 of the Divine Infant standing upon her lap, Whom she partly covers 
 with a loin-cloth. She wears a shaded aubergine tunic partly covered 
 at the shoulders by a golden-yellow veiling, and a deep blue mantle 
 draped across her knees. The heads are haloed in a mystic golden 
 light and each sinuosity of contour is subtly infused with life— 
 humanly natural yet spiritually ideal. 
 
 Spanish: 1617—1682 
 
 MADONNA AND CHILD 
 
 Height, 49 inches; width, 37 inches 
 Note: Portrayed with vivid naturalism and an exquisite grace in the 
 representation of childhood. 
 Illustrated in August Meyer's “Klassiker der Kunst,’ Murillo, p. 
 172 6 2. 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 
 192 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 e ee 
 
CATALOGUE NUMBER TWENTY-FIVE 
 TITUS IN AN ARMCHAIR 
 
 By REMBRANDT VAN RIJN 
 DUTCH: 1606—1669 
 
< REMBRANDT VAN RIJN 
 Dutch: 1606—1669 
 
 25. TITUS IN AN ARMCHAIR Sw} 
 
 Aged about nineteen years. Seated, facing the occtatce: his head 
 turned a little to the right and his chin resting on his right hand. 
 Dark greenish gray costume with yellow sleeves and gold buttons 
 and a small turn-over collar. A broad cap on his light brown curls. 
 The light falls from slightly to the right on the face and hand. Dark 
 background. 
 
 1 py Signed on the right upon the back of the chair, half-way up, Rem- 
 
 BRANDT F. 1660 
 
 Canvas, rounded at the top: Height, 32 inches; width, 27 inches 
 
 Illustrated and described by Wilhelm Bode in “The Complete Works 
 of Rembrandt,” Vol. VI, No. 446 [see description above}; 
 Smith, No. 379; Dutuit, p. 48, No. 337; Wurzbach, No. 239; 
 Michel, pp. 432-555; Waagen, “Art Treasures,” III, p. 398 
 
 Royal Academy Winter Exhibition, 1899 
 
 The Collection of the Duke of Rutland, K.G., Belvoir Castle 
 Formerly the property of Sir Joseph Duveen 
 
 From Messrs. Wildenstein, Paris 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER TWENTY-SIX 
 THE EVANGELIST 
 
 By REMBRANDT VAN RIJN 
 DUTCH: 1606—1669 
 
REMBRANDT VAN RIJN 
 
 S Dutch: 1606—1669 Qayie4 
 26. THE EVANGELIST va 
 
 Seated, facing the spectator, turned slightly to the left, writing in a 
 book that lies open before him on a desk. He has a scanty beard, 
 and wears a brownish red underdress, and over it a dull green mantle 
 actoss the left shoulder. A drapery, striped with various colots, is 
 wound turbanwise round his head, and hangs down on his back. 
 Under the turban he wears a white head-cloth. The bright light falls 
 
 into the picture from the left. 
 " ¢ b p Signed on the right near the shoulder, RempranpT F. 166 [the last 
 figure is cut off}. 
 Height, 41 inches; width, 33% inches 
 
 Painted about 1663. Illustrated and described by Wilhelm Bode in 
 “The Complete Works of Rembrandt,” Vol. VII, No. 525 {see 
 description above}. 
 
 Exhibited at Manchester in 1857 
 
 The Thomas Emmerson Collection, London 
 Mrs. Hall’s Collection, London 
 
 Mr. T. Humphry Ward’s Collection, London 
 M. Charles Sedelmeyer’s Collection, Paris 
 
 Messrs. Lawrie and Co.’s Collection, London 
 
= ¢ 
 4 
 4 f “ 
 a _— 
 2 ~ _ ~ 
 4 > = 
 
CATALOGUE NUMBER TWENTY-SEVEN 
 
 PORTRAIT OF LODOVICO MADRUZZO 
 
 [Nephew of Cardinal Christoforo Madruzzo, 
 Prince Bishop of Trento| 
 
 By GIOVANNI BATTISTA MORONI 
 BRESCIAN: 1520—1578 
 
GIOVANNI BATTISTA MORONI 
 
 Brescian: eee Ltitecte Urge 
 i 
 
 27. PORTRAIT OF LODOVICO MADRUZZO [Nephew of C 
 dinal Christoforo Madruzzo, Prince Bishop of Trento] 
 
 Erect life-size figure, facing slightly to the right but looking to the 
 obsetver, of a comparatively young man with bushy dark hair and 
 the semblance of a beard, wearing a black velvet doublet girdled 
 at the waist, white linen collarette, and a long black silk toga. In his 
 yw ; right hand he carries a glove, and by his side is a finely marked hunt- 
 ing dog. Paneled background, hung at the left with a gold-embroid- 
 \ eted deep green velvet drapery. A superb portrait by this master, 
 \V exhibiting the synthesis and quintessence of all that is most fas- 
 cinating in the art of intimate portraiture. A point of interest is 
 the correspondence of feeling and character between the head and 
 the hand, reflecting the refinement of the sitter. 
 
 Height, 6 feet 7% inches; width, 3 feet 10 inches 
 
 Note: This portrait and the companion portrait were painted in what 
 
 is known as Moroni’s “gray” and best period. 
 
 Mentioned in “Italian Painters” by Morelli, London, 1893, Vol. IL, 
 Page 65 
 
 The Collection of Baron Valentino Salvadori, Salvadore Palace, 
 Trento 
 
 From M. Knoedler & Co., Paris 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 [Companion portrait to the following} 
 
CATALOGUE NUMBER TWENTY-EIGHT 
 
 PORTRAIT OF GIAN FREDERICO 
 MADRUZZO [Nephew of Cardinal Christo- 
 foro Madruzzo, Prince Bishop of Trento} 
 
g0 
 Ce lien 
 || 
 aN 
 
 tb 
 
 A . GIOVANNI BATTISTA MORONI 
 iN > Brescian: 1520—1578 Oy ie ¢ Co. 
 
 28. PORTRAIT OF GIAN FREDERICO MADRUZZO [Nephew 
 of Cardinal Christoforo Madruzzo, Prince Bishop of Trento} 
 
 OQ q 
 “) 
 y/ 
 
 Erect life-size figure facing half right, the head turned toward the 
 yo observer, of a youngish bearded man elegantly posed and weating a 
 
 tich costume—a golden-brown girdled jacket, over which is a fur- 
 lined toga with large puff sleeves tightened below the elbow. At his 
 feet is a small brown and white lap-dog. Background of a paneled 
 wall, hung at the right with a draped crimson hanging. 
 
 Height, 6 feet 74 inches; width, 3 feet 104 inches 
 Mentioned in “Italian Painters” by Morelli, London, 1893, Vol. II, 
 Page 65 
 The Collection of Baron Valentino Salvadori, Salvadore Palace, 
 Trento 
 From M. Knoedler & Co., Paris 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 192 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 [Companion portrait to the preceding | 
 
CATALOGUE NUMBER TWENTY-NINE 
 
 PORTRAIT OF A YOUNG PRINCE OF 
 THE “ESTE RAMI 
 
 By GIOVANNI BATTISTA MORONI 
 BRESCIAN: 1520—1578 
 
GIOVANNI BATTISTA MORONI 
 
 Brescian: 1520—1578 
 
 WH, 
 
 . PORTRAIT OF A YOUNG PRINCE OF THE “ESTE” FAM- 
 
 ILY 
 
 Full-length figure of a boy standing with his arm resting upon the 
 base of a marble column and holding gloves. The intelligent closely 
 cropped head with large expressive eyes looking to the observer. He 
 wears a white linen collarette, cuffs, a black doublet, and girdled at 
 his waist a rapier. Slightly behind him is a sleeping dog. Before 
 a green background. An elegant portrait portrayed with sculptural 
 
 and plastic charm. 
 Height, 4 feet 6 inches; width, 2 feet 4% inches 
 
 The Chantel of Lyon Collection 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 192 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER THIRTY 
 SAINT BARBARA 
 
 By IL FRANCIA 
 [Francesco Raibolini} 
 BOLOGNESE: 1450-1517 
 
IL FRANCIA 
 
 [Francesco Raibolini} - 
 
 Bolognese: TANGO 15) 107) perk 
 30. SAINT BARBARA a Rt My 
 
 Half-length serious figure of softly ae form, with cinctured 
 
 a\ pr? head and wearing a rich crimson tunic and finely draped blue mantle 
 lined with a shaded green. She holds the symbols of her martyrdom, 
 a Gothic tower and an arrow. Background of a receding landscape 
 patterned with trees, under a cloudy blue sky. 
 
 Signed at lower left, FRANCIA, AURIFEX 
 
 Panel: Height, 25% inches; width, 18% inches 
 
 Note: This work is conceived much after the manner of Raphael’s 
 Umbrian period. 
 
 Painted about 1500-1501 
 
 Galleria Coccapani of Modena 
 Collection Pietro Foresti, de Carpi 
 
 Exposition du Centenaire de Muratori, 1872 
 
 The B aise Crespi C wate Late Se Wy. 53, 000. je. goors cabid. 
 Pheneoul by Anderson, Nor a 
 
 Reproduced by G. DppanTs in ee Francia,” Bergamo, 1913, 
 p. 71 p, i (500-0). 
 
 See Bryan, “Dictionary of Pains Vo. IV, : 184, 2d col., begin- 
 ning with the word “Raibolini’”’ {article signed: G. C. William- 
 son};—B. Berenson, “North Italian Painters of the Renais- 
 sance,” p. 222;—G. C. Williamson, “Francesco Raibolini” 
 [London, 1907}, p. 152;—E. G. Gardner, “The Painters of 
 the School of Ferrara,” p. 216; G. Lipparini, “Francesco Fran- 
 cia,” etc., p. 72;—J. A. Crowe and G. B. Cavalcaselle, “History 
 of Painting in North Italy,” Vol. II, p. 285 
 
 Mentioned in Baedeker and in the Guide Joanne 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 AM 
 
CATALOGUE NUMBER THIRTY-ONE 
 PORTRAIT OF A MAN 
 
 By LORENZO DI CREDI 
 ITALIAN 1459—1537 
 
LORENZO DI CREDI 
 
 AN =) Italian: 1459—1537 é lo 
 \ . / 
 31. PORTRAIT OF A MAN 4‘P. 1, chy oO 
 
 Superbly modeled bust-length figure of an elderly patrician, with 
 
 high forehead and slightly gray hair, looking to the observer; wearing 
 
 a black biretta and soutane showing the edge of a white collar. In 
 
 his hands he is holding a pottery bowl. Dark background, having at 
 
 right an aperture through which is a prospect of wooded and moun- 
 
 tainous landscape. In this work, which is almost sculptural in effect, 
 "y can be discerned the latent influence of his master, Verrocchio. 
 
 | goer: 
 
 Panel: Height, 23 inches; width, 154 inches 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER THIRTY-TWO 
 MADONNA AND CHILD 
 
 By GIOVANNI BELLINI 
 VENETIAN: 1428[?]—1516 
 
GIOVANNI BELLINI 
 Venetian: 1428[?]—1516 
 
 32. MADONNA AND CHILD , c 
 
 Half-length figure of the enthroned Virgin Mother, in a rich ctimson 
 —g tunic and hooded blue mantle turned back from the forehead and 
 } or” ‘ disclosing a white veiling. She holds the nude Infant Christ stand- 
 0 ing by her side, Who with vivid naturalism naively fondles her chin. 
 Background of deep blue drapery, showing at either side vistas of 
 hilly landscape. The head of the Madonna, superbly rendered with 
 a mingling of sadness and pride that is both intellectual and severe, 
 is a fine example of the work of this master, who ranks as the great- 
 est painter of the Venetian fifteenth century. 
 
 Panel: Height, 20 inches; width, 14¥% inches 
 Exhibited at the Royal Academy Exhibition of Old Masters, 1886 
 The Colonel Curé Collection, Badger Hall, England 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 SUL oF OBO O40 ELS UUM, Dip ante sale, 
 
CATALOGUE NUMBER THIRTY-THREE 
 
 VIRGIN AND CHILD WITH 
 POMEGRANATE 
 
 By GIANPIETRINO 
 {Gian Pietro Rizzi} 
 MILANESE: EARLY XVI CENTURY 
 
hs \ GIANPIETRINO 
 is [Gian Pietro Rizzi} 
 Milanese: Early XVI Century Q Lf. {) ays. 
 33. VIRGIN AND CHILD WITH POMEGRANATE 
 Three-quarter length wistful figure of the Blessed Virgin with her 
 gold-brown hair falling over the shoulders, wearing superb draperies 
 of crimson and blue, contrasted with burnt-orange. She holds in 
 her arms the nude form of the Divine Infant, clasping a pome- 
 granate. At the left is a leafy tree, and at right shaded blue moun- 
 
 tainous landscape. Rendered with infinite truth in a soft and 
 \\ yw ; 
 
 luminous atmosphere of delicate gradations. 
 Panel: Height, 27, inches; width, 21 inches 
 
 Collection of the painter Gaetano Chierici, de Reggio {province 
 d’Emilie} 
 
 at 4 
 The Benigno Crespi Collection, Milan 30 i! 4 [426 | soy, a= 
 Photograph by Anderson, No. 3493 
 Reproduced by A. Venturi in “La Galleria Crespi,” etc., pl., p. 266 
 
 See A. Venturi, “La Galleria Crespi,” etc., p. 266—; A. Venturi, “La 
 Galleria Sterbini,” p. 210 
 
 Mentioned in Baedeker 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER THIRTY-FOUR 
 VIRGIN AND CHILD WITH BIRD 
 
 By BOCCACCIO BOCCACCINO 
 ITALIAN: 1460-1518 
 
BOCCACCIO BOCCACCINO 
 Italian: 1460—1518 
 
 34. VIRGIN AND CHILD WITH BIRD 0, Li + ull 
 
 Three-quarter length seated figure of the Virgin Mother, wearing 
 a girdled and bejeweled crimson tunic, white veiling and deep blue 
 hooded mantle lined with old-gold. The semi-draped Infant Savior 
 is seated upon her lap holding a bird. Background of shaded blue- 
 green drapery partly covering the embrasure at left, through which 
 is a prospect of mountainous landscape, dotted with trees and spired 
 
 edifices. 
 
 Panel: Height, 32 inches; width, 24% inches 
 
 wy \e rg “Painted about 1497, according to M. A. Venturi 
 
 The Benigno Ges Collection, Mint VL boot. 
 Photoghaph by Anderson No. 3442 
 
 Reproduced by A. Venturi in “La Galleria Crespi,” etc., pl., p. 118 
 
 See A. Venturi, “La Galleria Crespi,” etc., pp. 115—; B. Beren- 
 son, “North Italian Painters of the Renaissance” [New York, 
 1907}, p. 168;—J. A. Crowe and G. B. Cavalcaselle, “A 
 History of Painting in North Italy,’ etc., Vol. Ill, p. 342;— 
 U. Thieme, “Allegemeines Lexicon,’ etc., Vol. IV, p. 149, 
 2d col., beginning with the words “Boccaccio Boccaccino” 
 
 ~ , Larticle signed: F. Malaguzzi-V aleri}- od. : RAL 
 
 Mentioned in Baedeker 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER THIRTY-FIVE 
 A HALBERDIER 
 
 By JACOPO PONTORMO 
 ITALIAN: 1494-1557 
 
bm 
 1) JACOPO PONTORMO 
 ¢« 
 g 2 Italian: 1494—1557 
 [) 
 
 35. A HALBERDIER Uetpete Ral . 
 
 Three-quarter length erect youthful figure, elegantly posed with his 
 49 ye? ‘ left hand resting upon his hip and holding a halberd. He wears a 
 fawnish-brown quilted jacket tightly girdled at the waist, with a 
 sword, puffed sleeves and ruffled cuffs; about his neck a linked gold 
 chain. The plumed hat and breeches are of brilliant crimson. The 
 background of deep shaded green suggests a terrace boxed with yew. 
 
 Height, 37% inches; width, 29 inches 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
CATALOGUE NUMBER THIRTY-FIVE 
 
CATALOGUE NUMBER THIRTY-SIX 
 MADONNA AND CHILD 
 
 By GIOVANNI BATTISTA TIEPOLO 
 ITALIAN: 1696—1770 
 
GIOVANNI BATTISTA TIEPOLO 
 
 Italian: 1696—1770 a. ¥, eter 
 U 
 
 36. MADONNA AND CHILD 
 
 Pleasing and graceful rendering of the Madonna, in voluminous 
 
 1G od. draperies of shaded ivory, crimson and blue, holding in her arms the 
 
 Infant Christ swathed in bandings of white linen and holding a cross. 
 Neutral background. 
 
 Height, 2234 inches; width, 16% inches 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 
 cember, 1926 
 
UMBER THIRTY-SIX 
 
 CATALOGUE N 
 
CATALOGUE NUMBER THIRTY-SEVEN 
 PORTRAIT OF A LADY 
 
 By ANTOINE VESTIER 
 FRENCH: 1740—1825 
 
ey 8 fins ANTOINE VESTIER 
 . French: 1740—1825 
 
 Ye S76 PORTRAIT OF A LADY Dr b 
 
 Three-quarter length graceful figure, standing in a romantic land- 
 scape setting facing the observer, with head inclined to the left; the 
 highly coiffed, powdered hair curled and falling to the shoulders. 
 She wears a striped ivory-tinted silken costume with a flowing girdle 
 
 of shaded blue, and holds in her right hand a book. 
 Height, 51 inches; width, 38% inches 
 
 Exhibited at the Metropolitan Museum of Art, New York, from 
 1921 until its removal to the American Art Galleries in De- 
 cember, 1926 
 
 [END OF SALE} 
 
CATALOGUE NUMBER THIRTY-SEVEN 
 
List of Artists Represented 
 and Their Works 
 
LIST OF ARTISTS REPRESENTED AND THEIR WORKS 
 
 BELLINI, Giovanni 
 Madonna and Child 
 
 BOCCACCINO, Boccaccio 
 Madonna and Child with Bird 
 
 COROT, Jean Baptiste CamILie 
 L’Odalisque Sicilienne 
 The Shipyard 
 
 CREDI, Lorenzo v1 
 Portrait of a Man 
 
 CROME, JouHn [Otp} 
 Corner of the Wood 
 
 DAUMIER, Honoré 
 Le Repos des Saltimbanques 
 
 FOX, G. M. 
 Mare and Foal 
 Mare and Foal 
 
 FRANCIA, It [Grutio Rawotini} 
 Saint Barbara 
 
 GIANPIETRINO [Gian Pietro Rizzr} 
 Madonna and Child with Pomegranate 
 
 HERRING, JoHn Freperick, Sr. 
 Chestnut Mare and Foal 
 Mare and Foal 
 Mare and Foal 
 Piebald Mare and Foal 
 
 INGRES, Jean Aucuste Dominique 
 Portrait de Madame Cave 
 
 MAUVE, Anton 
 Landscape with Figure and Sheep 
 
 MORONI, Giovanni Battista 
 Portrait of Lodovico Madruzzo 
 Portrait of Gian Frederico Madruzzo 
 Portrait of a Young Prince of the “Este” Family 
 
 CATALOGUE 
 NUMBER 
 
 32 
 
 34 
 
 31 
 
 uy 
 
 23) 
 
 30 
 
 33 
 
 CoN UM O 
 
 10 
 
 u5) 
 
 27 
 28 
 
 219) 
 
MORISOT, BertHe 
 Le Repos 
 
 MURILLO, Bartotome EsTEBAN 
 Madonna and Child 
 
 NATTIER, Jean Marc 
 Mme. Blondel de Gagny 
 
 PONTORMO, Jacopo 
 A Halberdier 
 
 REMBRANDT VAN RIJN 
 The Evangelist 
 Titus in an Armchair 
 
 RIX, JuLian 
 Landscape 
 
 ROUSSEAU, Txuéopore 
 Landscape with Figure 
 
 SCHALL, Jean FrépEric 
 Jeune Femme dans un Parc 
 
 SIDANER, Henri Le 
 La Boutique du Vieux Poche [La Rochelle} 
 Maisons sur le Canal 
 
 TIEPOLO, Giovanni Battista 
 Madonna and Child 
 
 TOCQUE, Louss 
 Une Dame de la Famille de Plainval 
 
 VAN LOO, Carte 
 Mme. de Bourbon Conti 
 Mme. Denis [Niece of Voltaire} 
 
 VESTIER, ANTOoINE 
 Portrait of a Lady 
 
 VINCENT, Francois ANDRE 
 Portrait of a Man 
 
 CATALOGUE 
 NUMBER 
 
 ied 
 
 24 
 
 14 
 
 16 
 
 36 
 
 18 
 
 20 
 
 149) 
 
 By, 
 
 Ine 
 
COMPOSITION, PRESSWORK 
 AND BINDING BY 
 
 Vey os 
 
GETTY RESEARCH INSTITUTE 
 
 iii