r 
 
 ART COLLECTION 
 
 MINNEAPOLIS 
 PUBLIC LIBRARY 
 
CATALOGUE 
 
 OF 
 
 Paintings and Sculpture 
 
 PLACED IN THE 
 
 Minneapolis Public Library 
 
 BY 
 
 Thomas Walker 
 
 WITH 
 
 Appendix giving List and Description 
 of Paintings and Sculpture Loaned 
 and Presented by Others. 
 
 @ 
 1909 
 
 Don S. de Rlcci 
 
ARTISTS REPRESENTED. 
 
 ACHENBACH, Andreas, 1. 
 ANDERS, E., 2. 
 
 BAROCCIO, Fredrigo, 3. 
 BELLOWS, Albert F., 4. 
 BONHEUR, Rosa (Marie), 5. 
 B0NIFA:^I0, Vervinese, 6. 
 BOSTON, J. H., 7. 
 BROWN, J. G., 8. 
 BOTTICELLI, Alessandro F., 9. 
 BOUGUEREAU, Wm. Adolph, 10. 
 BUSSON, Charles, 11. 
 BOGERT, George H., 12. 
 
 CANALETTO (Antonio Canal), 13. 
 
 CHARLIER, P., 14. 
 
 GLAUS, EMIL, 15. 
 
 CHAIGNEAU, Ferdinand, 16. 
 
 CROME, John, 17. 
 
 COMMAS, Pierre Oliver Joseph, 18. 
 
 CORREGGIO, Antonio Allegri, 19. 
 
 COYPEL, Antoine, 20. 
 
 COROT, Jean Baptiste Camille, 21. 
 
 CONSTABLE, John, 22, 23. 
 
 DAVID, Jacquis Louis, 24. 
 DAHL, Hans, 25. 
 DELPY, Camille Hyppolyte, 26. 
 DOBSON, William, 27. 
 DUPRE, Jules, 28. 
 
 ERNST, Rudolph, 29. 
 
 FAULKNER, Herbert W., 30. 
 FERRIER, J. M. A. Gabriel, 31. 
 FOSCARI, A., 32. 
 
 GIGNOUX, Regis, 33. 
 GAINSBOROUGH, Thomas, 34. 
 
 HAAS, J. H. L. de, 35. 
 HAMILTON, James, 36. 
 HART, James McDougal, 37. 
 HIGHMORE, Joseph, 38. 
 
 INNESS, George, 39. 
 INNESS, George, Jr., 40, 41. 
 
 JACQUE, Charles Emil, 42. 
 JAZET, Paul Leon, 43. 
 JOHNSON, David, 44. 
 
 KALBACH, Wilhelm von, 45. 
 KNELLER, Godfroid, 46, 47. 
 
 LAWRENCE, Sir Thomas, 48. 
 LELY, Sir Peter, 49, 50. 
 LEFEVRE, Robert, 51, 52. 
 LEVERIDGE, Clinton, 53. 
 LEROLLE, Henri, 54. 
 LE BRUN (Charles), 55. 
 LINGELBACH, Johannes, 56. 
 LORRAINE, Claude, 57. 
 
 MICHEL, Georges, 58. 
 MILLONE, A., 59. 
 MINOR, Robert C, 60. 
 MORAN, Thomas, 61. 
 MONTICELLI, Adolphe, 62. 
 MURELLO (Bartholeme Esteban), 63. 
 
 OPIE, John, 64. 
 
 PLASSAN, Antoine E., 65. 
 PHILIPPOTEAU (Paul), 66. 
 
 POOLE, Paul Falooner, 67. 
 RAVENSTEYN, Jan Van, 68. 
 RIBALTA, Jaun de, 69. 
 RIBERA, Josef de, 70, 71. 
 RICHET, Leon, 72. 
 RITZBERGER, Albert, 73. 
 ROMNEY, Geo., 74. 
 
 SCHENCK, August F., 75. 
 SCHENDEL, Petrus Van, 76. 
 SMITH, H. P., 77. 
 SMITH, F. Carl, 78. 
 SCHUCH, Werner H. G., 79. 
 SCHUSSELLE, E., 80. 
 
TAIT, Arthur F., 81. 
 
 THORPE, 82. 
 
 TURNER, J. M. W., 83. 
 
 VAN DYCK, SIR ANTHONY, 84, 
 85, 86. 
 
 VERNET, Claude Joseph, 87. 
 VERONESE, Paolo, 88. 
 VUILLEFROY, Dominique Felix, 89. 
 
 WART, A. Van, 90. 
 WEBBER, John, 91. 
 WEST, Benjamin, 92. 
 WESTERBEEK, C, 9.3. 
 WILSON, Richard, 94. 
 
 ZAMPIGHI, E., 95. 
 ZEIM, Felix, 96. 
 
 ADENDA. 
 
 AAGAARD, C. T., 
 
 A 
 
 JACOMIN, M., 
 
 I 
 
 ACTON (J. Adams, R. A.), 
 
 B 
 
 KOEHLER, Robert, 
 
 
 
 J 
 
 BIERSTADT, Albert, 
 
 C 
 
 
 
 BOHN, Max, 
 
 D 
 
 NEUVILLE, A. de. 
 
 K 
 
 COURTOIS, G., 
 
 E 
 
 PASINI, Albert, 
 
 L 
 
 FOURNIER, Alexis J., 
 
 F 
 
 WALLANDER, A., 
 
 M 
 
 GARDNER, Elizabeth, 
 
 G 
 
 WAGNER, Alexander 
 
 N 
 
 GUILLON, Albert, 
 
 H 
 
 WITT, J. H., 
 
 0 
 
ACHENBACH (Andreas). 
 
 Born at Cassel, Hesse Cassel, 1815. 
 Pupil of Dusseldorf Academy, 1827-1835. 
 
 Medals, 1859. Medal 1st class, Exposition Universelle, 
 1855. Legion of Honor, 1864. 
 Great Gould Medal, 1850. Medals at Vienna, Prussia, 
 Austria, Belgium and Centennial Exposition. 
 Professor in Academy, of Fine Arts at Diisseldorf, Berlin, 
 Amsterdam and Antwerp. 
 Chevalier of the Order of the Red Eagle of Prussia. 
 Chevalier of the Order of St. George of Russia. 
 Chevalier of the Order of Leopold of Belgium. 
 Works in galleries of Berlin, Munich, Frankfort, Darm- 
 stadt, Carlsruhe, Dusseldorf and in many private 
 collections in Europe. 
 
 "The tendency of Achenbach's genius is realistic in the 
 highest and best sense of the word. In his manipulation 
 as. regards the quality and texture of various materials, he 
 is eminently successful, discriminating all to the exact point 
 of requirements, yet without the slightest tendenc}^ to elab- 
 orate trifling; the general effect prevailing over all mi- 
 nuteness and elegance of detail, being that of a bold and 
 free handling." 
 
 — Henry Otterly. 
 
 "The brothers Andreas and Oswald Achenbach take the 
 lead among the living landscape painters of Dusseldorf." 
 
 — Atkinson. 
 
 "One of the most distinguished painters of the Diissel- 
 dorf school. His early views of the Rhine country are 
 
6 
 
 T. B. WALKER COLLECTION. 
 
 fresh and individual. Painted later German and Norwe- 
 gian scenes, treating mountains, forest and sea with ability 
 and power/' 
 
 — Cyclopedia of Painters. 
 
 *No. 1— "Returning from the Festival." 
 
 22y2 X 16. 
 
 A party of Bavarian peasants are returning over the hill 
 from a harvest festival. They are moving gaily along in 
 holiday attire, waving adieus and returns from the party 
 they have just left. The rich autumn landscape and clear- 
 cut sky are invigorating and strong. 
 
 ANDERS (E.) Holland 
 
 * No. 2— "Mother and Babe." 
 
 15^/^x23. 
 
 In the subdued light of a large oriel window, a mother, 
 richly dressed and beautiful, sits sewing beside the cradle 
 of her slumbering babe. The colors in this picture are 
 very rich and harmonious, while the details are painted 
 with unafifected care and truth. The German Art Lexicon 
 praises this picture for its depth of feeling and exquisite 
 coloring. 
 
 BAROCCIO (Ferderigo). Called also Fiori da Urbino. 
 Born at Urbino in 1528. 
 Died there in 1612. 
 ''Roman School; son and pupil of Ambrogio Barocci; 
 afterwards studied under Francesco Menzocchi and Bat- 
 tista Franco at Urbino. In 1548 he went to Rome and 
 both studied and copied works of Raphael four years. On 
 his return to Urbino he painted a picture of St. Margaret 
 
INDEX AND BIOGRAPHICAL NOTES. 7 
 
 and other works which gave him a great reputation. In 
 1560 he was invited to Rome by Pius IV, and painted in 
 the Vatican with Ferrigo Zucchero." 
 
 — Cyclopedia of Painters and Paintings. 
 
 No. 3— "Madonna and Child/' 
 
 V 
 
 26 X 36. 
 
 Mary is kneeling by the manger in the humble stable, 
 holding in her arms the infant Jesus, while cherub angels 
 are represented as preparing his couch in the manger, and 
 otherwise ministering unto him. Others are seen shedding 
 their light from above and proclaiming the glad tidings to 
 the world. The picture is painted in Baroccio's usual 
 strong and pleasing coloring. 
 
 BELLOWS (Albert P.). 
 
 Born at Milford, Mass. 
 Genre Painter. 
 
 Studied in Paris and at the Royal Academy of Antwerp; 
 and painted in England and Wales. 
 
 "A recent biographer in Appleton's Art Journal writes: 
 'Mr. Bellows has been a constant and large exhibitor in 
 the New York exhibitions, and probably no class of sub- 
 jects finds so much favor in the eyes of connoisseurs and 
 the public as that presented by him . . . there are 
 but few American artists whose works are more popular 
 than those of Mr. Bellows and this is due not only to the 
 taste shown in the selection of subjects, but also to their 
 artistic treatment.' '' 
 
 — Sheldon's ''American Painters." 
 
8 
 
 T. B. WALKER COLLECTION. 
 
 No. 4— 'The Morning Bath/' 
 
 4\y2 X3534. 
 
 A beautiful young mother, clad in modest bathing cos- 
 tume, with a profusion of golden brown hair hanging loose- 
 ly over her graceful shoulders, is carrying in her arms a 
 dimpled baby. Their way leads down to the rippling surf. 
 At her feet, and stretching away as far as the eye can 
 reach, are the emerald waters of the tireless sea, over- 
 spread by a leaden sky of early morning. The pleasing 
 harmony of colors, the happy selection of design, and the 
 very natural outlines and forms of the figures make of 
 this one of the best of this artist's efforts in oil colors. 
 
 BONHEUR (Marie) Rosa Paris 
 
 Born in Bordeaux, March 22, 1822. Died May 26, 1899. 
 Animal painter. 
 
 Daughter and pupil of Raymond Bonheur. 
 
 Began by copying in the Louvre; afterwards made stud- 
 ies and sketches near Paris. Her first two pictures ex- 
 hibited at Bordeaux in 1841 attracted much attention, and 
 were followed by others which established her world-wide 
 fame. During the Franco-Prussian war her studio and 
 residence were respected by special order of the Crown 
 Prince of Prussia. Since 1849 she has been director of the 
 Paris Free School of Design for Young Girls, which she 
 founded. She was elected member of Antwerp Institute 
 in 1868. Medals first class, 1848 and 1855; Legion of Hon- 
 or, 1865; Leopold Cross, 1880. 
 
 Among the most noted of her paintings, given in the 
 order of production, are: Two Rabbits, Goats and Ram 
 (1841); Horse for Sale, Grazing Cow, Cattle at Pasture, 
 twelve Cattle pieces (1845); Herd (1848); Ploughing in the 
 Nivernais (1849), Luxembourg Museum; Horse Fair 
 
INDEX AND BIOGRAPHICAL NOTES. 9 
 
 (1853); Hay Harvest in Auvcrgne (1855); Marc, Rain on 
 the Sea Shore, Shepherd in Bcarn, Ponies from the Isle of 
 Skye, Scotch Shepherd (1867); Painter (1868); Sheep at 
 Pasture (1871); Forest of Eontainebleau, Meadow Near 
 Fontainebleau (1872); Monarch of the Glen, Pack of Wild 
 Boars (1879); Foraging Party, On the Alert (1881); Lion 
 at Home (1882). 
 
 The "Ploughing in Nivarnais" was placed in the Luxem- 
 boVirg, and the "Horse Fair" was a leading attraction at 
 the French Exposition in 1853, and at the Universal Expo- 
 sition at London in 1855. The artist worked eighteen 
 months on this latter picture, attending the horse market 
 in Paris twice a week regularly during the time. 
 
 In addition to the honors referred to, this artist has re- 
 ceived several other medals, and in 1865 was decorated 
 with the Cross of the Legion of Honor. 
 
 "The greatest animal painter now in France is probably 
 Rosa Bonheur. There is the same intense observation 
 and sympathy with nature, the same vigor of treatment 
 we find in the works of Troyon and Landseer, so far as 
 the representation of cattle is concerned." 
 
 — L. G. W. Benjamin. 
 
 "The most accomplished female painter who ever lived." 
 
 — Philip Gilbert Hamerton. 
 
 "And she is praised for firmness of design and for the 
 grand character of her landscapes." — Vapereau. 
 
 "The following translation of a letter from the artist, 
 lends additional interest to the work: 
 
 "Dear Sir: The painting of which you speak, 'Spanish 
 Muleteers' (Aragon), was made for my brother-in-law, M. 
 P'eyrol, seven or eight years ago, from a study I made in 
 the Pyrenees on the Spanish frontier^ near to Peyrenirer 
 road to Urda. 
 
 "I gladly give you this information, and present to you 
 my kind regards. (Signed) 
 
 "ROSA BONHEUR." 
 
10 T. B. WALKER COLLECTION. 
 
 No. 5 — "Rosa Bonheur's Lion. 
 
 46V2 X 36. 
 
 While this picture of the "King of Beasts" does not rep- 
 resent the same amount of work as her masterpiece, "The 
 Horse Fair," yet the subject is just as well treated. The 
 color scheme is perfect, and the finish fully as artistic and 
 delicate as in that great painting. The lion seems to stand 
 on a prominence, while the spectator stands on the same 
 level, facing him, and getting a glimpse of the great valley 
 below. The background is made up of fleecy clouds 
 through which here and there one sees the deep blue of 
 the sky. 
 
 BONIFAZIO (Veronese). 
 
 Born at Venice in 149L Died 1540. 
 
 "There are different accounts of his education, for, ac- 
 cording to some, he was the pupil of the elder Palma, 
 while others say he studied the works, if not in the school, 
 of Titian, so that his style partook of the manner of each 
 of these masters." — Pilkington's Dictionary of Painters. 
 
 "Bonifazio Veronese was a follower, if not a pupil, of 
 Palma Vecchio. He was also much influenced by Gior- 
 gione and Titian, and several of his best works remarkable 
 for a Titian-like beauty of colouring have passed under 
 the name of those masters." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "Venetian school; pupil of Palma Vecchio, but closely 
 imitated Titian. Forms clear and rounded, lights and shad- 
 ov/s distinct; for colour one of the first Venetian masters." 
 
 — Cyclopedia of Painters and Paintings. 
 
INDEX AND BIOGRAPHICAL NOTES. 11 
 
 No. 6 — "Madonna and Child. 
 
 30^x36^. 
 
 From Ricardi Palace, Venice, and from collection of 
 Martin Colnaghi, London. 
 
 This conception of the Virgin is of a girl probably about 
 twenty years of age, attired in a plain red waist and blue 
 dre^ss with a lighter blue mantle thrown loosely over the 
 head. The child Jesus is seated upon a crimson cushion 
 which the young mother holds on her lap. The forms and 
 features are most delicately outlined, and while the colors 
 are deep and rich, the perfect harmony is very satisfactory 
 and pleasing. 
 
 BOSTON (J. H.). 
 
 No. 7— "After the Shower." 
 
 27 X 34. 
 
 In the center of the picture is seen a winding roadway 
 with here and there small pools of water from the passing 
 shower. On the left is a low, humble cottage, with the 
 candle light still shining through the small windows. The 
 late afternoon sun, however, is beginning to peep through 
 the disappearing clouds, the blue of the summer sky is 
 seen in the west, and the husbandman starts forth to the 
 field. 
 
 The artist has chosen a difficult subject, but a careful 
 study of the picture shows a most successful painting. 
 
 BROWN (J. G.) New York 
 
 Born in England in 1831. 
 Studied at Newcastle-on-Tyne, and in the Royal Scottish 
 Academy, Edinburgh; later with 
 
12 T. B. WALKER COLLECTION. 
 
 Thomas Cummings, N. A. 
 Elected member of the National Academy, 1863. 
 Medals, Boston and San Francisco. 
 Member of the American Water Color Society. 
 "Mr. Brown's subjects are derived from the homely inci- 
 dents of everyday life and are usually treated with sim- 
 plicity and naturalness. His realistic powers are marked." 
 
 — Prof. Wier. 
 
 mo. 8— "Modern Eve/' 
 
 20 X 30. 
 
 Mr. Brown's departure from the proverbial "boot-black" 
 is as successful as it is pleasing. A bright, winsome girl 
 with her sleeves rolled up and a pan of apples in her lap. 
 She has a quizzical, half smiling expression as she fingers 
 a nice red apple, as though she had half a mind to throw 
 it to the critic to see if he was a judge of wine saps as 
 well as canvases. 
 
 The beauty of the human countenance is more compli- 
 cated than that belonging to most natural objects. It de- 
 pends at once on color, or complexion; on figure, or out- 
 line; and on unity of design, that is, the adaptation of its 
 various parts to the purposes for which they were formed. 
 The chief beauty of the countenance, however, lies in what 
 is called the expression^ or the mind. As an example for 
 study along these lines, this picture commends itself to 
 one's closest attention. 
 
 BOTTICELLI (Alessandro Filipepi). 
 
 Born at Florence 1447 (or earlier). 
 Died in May, 1510 (or later). 
 He was better known as Sandro Botticello, the youngest 
 son of Mariano Filipepi, of Florence, a tanner. He was 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 13 
 
 apprenticed in his youth to a goldsmith, l)iit he soon aban- 
 doned this art and devoted himself to painting, which he 
 studied first under Era Eillippo Lippi, and afterwards un- 
 der the brothers Pollaiuoli. His first important work was 
 an "Adoration of the Magi," painted about the year 1476, 
 in which he emulated the style of Don Ghirlandajo. This 
 picture, now in the Uffizi at Elorence, contains several por- 
 traits of the Medici family. Sandro was the originator of 
 thi Tondi, or circular pictures of the "Madonna and Child 
 with Angels," the most beautiful of which is the master- 
 piece of the "Magnificat," now in the Uffizi at Elorence. 
 His most distinctive qualities as a painter lie in his unique 
 power of conveying the sense of light, swift movement and 
 in his genius for lineal design. His pictures are generally 
 distinguished by a quaint grace of form, combined with a 
 profound melancholy sentiment. His last picture and the 
 only one he ever signed and dated was the little "Nativity" 
 in the National Gallery. 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "The grace, sympathetic feeling, and imaginative quality 
 of Sandro's work give it a greater hold upon the mind 
 than that of many painters who surpassed him in technical 
 knowledge and in feeling for beauty. His art is always 
 refined and elevated, though not altogether free from naive 
 mannerism, whose quaintness gives it a peculiar charm." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Being a disciple of Eilippi Lippi, he imitated that mas- 
 ter, both in his design and coloring. Though Botticello 
 received large sums for his works he lived extravagantly 
 and died in poverty in 1515." 
 
 — Pilkington's Dictionary of Painters. 
 
 No. 9— "Madonna and Child with Angels." 
 
 Circle 17 inches in diameter. 
 From an old collection in Italy sold in 1810. 
 
14 T. B. WALKER COLLECTION. 
 
 The Madonna is seated holding the infant Jesus on her 
 lap, while three angels are ministering unto them. One 
 angel holds a large book on a plush cushion, another holds 
 an inkstand, while the Madonna with pen in hand is ready 
 to write in the book. A halo encircles each head, and while 
 every figure is graceful and beautiful, yet each face is 
 profoundly serious. This old painting is on wood, now 
 reinforced with walnut strips across the back, and without 
 doubt is one of his early Fondi or circular pictures. It is 
 mounted in a genuine old Florentine frame. 
 
 Mr. Chas. D. Pratt, art critic of the Alaska-Pacific- 
 Yukon Exposition, says: "Botticelli's Madonna and Child 
 takes us back to the 15th century, to a time when Italian 
 art was just awakening to the greatness which was soon 
 to follow. In this work, by one of the most individual 
 painters of the early renaissance, we find a more complex, 
 more cultured production than the work which had gone 
 before. His beautifully flowing, graceful lines, of which 
 he was master, may be compared to tone melodies in 
 music, expressing every range of feeling." 
 
 BOUGUEREAU (William) Adolphe France 
 
 Born at La Rochelle, 1825. 
 
 In 1842 he went to Paris and entered the studio of Picot, 
 and later the Ecole des Beaux-Arts, where his 
 progress was rapid. 
 
 He gained the Prix de Rome in 1850, and then 
 studied in Rome. 
 Medals, Paris, 1855 (Exposition Universelle), 1857, 
 1867 (Exposition Universelle). 
 Chevalier of the Legion of Honor, 1859. 
 Member of the Institute of France, 1876. 
 Officer of the Legion of Honor, 1876. 
 
INDEX AND BIOGRAPHICAL NOTES. 15 
 
 Medal of Honor (Exposition Universelle), 1878. 
 Knight of the Order of Leopold, 1881. 
 Grand Medal of Honor, Paris, 1885. 
 Medal of Honor, Antwerp, 1885. 
 
 ''One day in 1842, or thereabouts, a veritable riot sprung 
 up among the students of the Alaux Art School at Bor- 
 deaux. It was occasioned by the award of the prize of the 
 year to a young shopkeeper's clerk from La Rochelle, who 
 was taking daily drawing lessons of two hours each, which 
 his employer allowed him to abstract from business. The 
 students had such a contempt for the young shopman that 
 they resented with violence the fact that he should win the 
 honor of the school. But Bouguereau received the prize in 
 spite of their protests, and it decided his career. He deter- 
 mined to become an artist. His family objected. He 
 threw up his employment at the shop and went penniless 
 to live with his uncle, who was a priest at Saintonge. 
 While there, by painting portraits of the townspeople for 
 a few francs each, out of his earnings he saved 900 francs, 
 on which he proceeded to Paris, entered the studio of 
 Picot, and secured admission to the Ecole des Beaux Arts 
 in 1843 at the age of eighteen years. He lived by incredible 
 shifts, finally receiving some small assistance from his fam- 
 ily, until, in 1850, he won the Prix de Rome. For four years 
 he was a pensioner and student in that city, and he re- 
 turned to Paris an artist competent to the execution of 
 great works. Public commissions and private patronage 
 soon laid the foundation of his fortune. In the face of the 
 reaction against classicism, he remains a classicist, but his 
 technical knowledge is so profound, his skill so masterly, 
 and his art so powerful in its intellectual vitality, that he is 
 able to hold his own against the strongest rush of the 
 naturalistic tide that would sweep feebler men before it. 
 He is personally an interesting man, with a rigid adherence 
 to his artistic beliefs, an iron resolution and indomitable 
 
16 
 
 T. B. WALKER COLLECTTOX. 
 
 will. One of the bitterest critical battles of our time has 
 been fought over him, but it has not swerved him one 
 hair's-breaclth from the position he has assumed and has 
 rather added to, than impaired, his fame." 
 
 — Extracts from Notes sur les Cent Chefs-d'CEuvres, 
 
 by M. A. Wolff. 
 
 No. 10 — "Normandy Peasant Girls at Prayer." 
 
 25 x 58^/^. 
 
 A couple of earnest, serious-faced girls, kneeling before 
 an altar in a country church, saying their prayers. The 
 rays from some adjoining window lighten up their faces, 
 making a fine, soft, realistic picture. 
 
 Professor Koehler, Director of the Minneapolis Acad- 
 emy of Fine Arts, says: 
 
 'T consider this picture as standing alone in this coun- 
 try as a work of art. None of the old masters have ex- 
 celled it in refinement and beauty, and certainly no other 
 of the modern masters could produce it. I regard this as 
 the best painting in this country." 
 
 Professor French, of the Chicago Art Institute, says: 
 
 ''This painting by Bouguereau I was particularly anxious 
 to have in this exhibition, as I consider it one of the finest 
 pictures in this country, in fact hardly equalled by any of 
 the ancient or modern painters." 
 
 BUSSON (Charles). 
 
 Born at Montoire (Loire-et-Cher), July 15, 1822. 
 Landscape painter. 
 Pupil of Remond and Frangais. 
 Medals: 3d class, 1855, 1857, 1859, 1863, 1867; 1st class, 
 1878. Legion of Honor, 1866. 
 Works: View near Sassenage (1846); The Loire, View 
 in Auvergne (1852); Woods in Touraine, Hay (1853); Eht 
 
INDEX AND BIOGRAPHICAL NOTES. 17 
 
 virons of Montoire (1855); Ford near Montoire (1857); 
 The Heath, Before the Storm (1859); Evening on the 
 Loire, Sunday, Storm on the Heaths (1863); Sunrise at 
 Sea, Evening (1864); Autumn Day, Hunting in the Marsh- 
 es (1865); Road Near Red Sea (1870); After the Rain 
 (1875); Old Bridge of Lavardin (1880); and others. 
 
 C *No. 11— 'landscape." 
 
 49 X 35. 
 
 A sunlit portrait of a row of tall, angular, decrepit old 
 trees. They have neither grace of outline nor beauty of 
 foliage to commend them to the artist's eye, yet as they 
 wave their tall tops in the wind, making sunlight dance on 
 the little brown cottage they overshadow, they form a fit 
 and pleasant portion of the picture. 
 
 BOGERT (Geo. H.) America 
 
 One of the foremost of the American painters. 
 
 ^No. \2—"K Windy Day in Finistere." 
 
 30x20>^. 
 
 In the left foreground a thatched roof cottage, the home 
 of the peasant who is seen with his wife at work in an ad- 
 joining field. The valley in the distance, the fine trees, 
 dense shrubbery and lowering clouds are all in the soft 
 gray tones and style of the artist Cazin. 
 
 CANALETTO (Antonio Canal). 
 
 Born at Venice in 1697. Died in Venice 1768. 
 He was the pupil of his father, Bernardo Canal, who was 
 a decorator and scene painter, Antonio first confined his 
 
18 T. B. WALKER COLLECTION. 
 
 attention to theatrical decorations, but in 1719 went to 
 Rome, where he spent some time in drawing and copying 
 the antiquities of that city and its vicinity. Returning to 
 his birthplace he exclusively occupied himself in producing 
 views of Venice, which for their great truth to nature and 
 for their extraordinary effect, perspective and color, met 
 with an immense success and are still most highly es- 
 teemed. 
 
 In 1746 Canaletto visited London and remained two years, 
 during which time he painted many of his most striking 
 views. It is commonly thought that he was the first artist 
 w^ho used the camera lucida for his pictures. The prin- 
 cipal public and private galleries of Europe possess exam- 
 ples of this master.'' 
 
 — Bryants Dictionary of Painters and Engravers. 
 
 *'He visited England twice and painted many successful 
 pictures there, examples of which are to be seen at Wind- 
 sor Castle. The gallery contains some of his finest pic- 
 tures, views in Rome and Venice. 
 
 "Ch. Blanc says Canaletto is unexcelled in painting 
 architecture in aerial perspective, and in rendering slight- 
 ly ruffled water. His drawing is always precise and 
 accurate and his coloring is wonderfully beautiful." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Francisco Guardi was a pupil of Canaletto. At a sale 
 of this artist's paintings in 1798 some brought as high as 
 $16,500." ^Painters and Their Work. 
 
 No. 13— "Grand Canal in Venice." 
 
 "Fete Day in Venice," marriage of the Adriatic. This is 
 one of the most striking examples of Canaletto, and is 
 charming in color and detail. The scene represents the 
 Canal at Venice with numerous gondolas bearing the guests 
 to the great fete. On the right is shown many of the most 
 
INDEX AND BIOGRAPHICAL NOTES. 19 
 
 imposing buildings in the city, including the Palace of the 
 Doges (Governors) with its tall square tower. On the left 
 in the distance is the Church of St. Stanislaus. His archi- 
 tecture is all but faultless; his colors soft and harmonious, 
 and the waters and sky effects very striking. 
 
 CHARLIER (P.). 
 
 V 
 
 No. 14— "The Sheep Fold." 
 
 21 x30^. 
 
 The sheep and lambs are assembled in an open shelter, 
 while the shepherdess fills the mangers with new mown 
 hay. The time is evening in early autumn, as the half grown 
 lambs, the green hay, and the turning leaves would indicate. 
 Some of the sheep, after a day in the pastures, are lying 
 down, while others are lazily eating of the proffered hay. 
 The chickens await anxiously their evening meal as the 
 shadows deepen, and the night draws on. 
 
 Little is known of this painter, but in this beautiful pic- 
 ture he has left enduring evidence of his ability not only 
 in design, but in harmony of color and pleasing effects. 
 CLAUS (Emil). 
 
 This artist has exhibited at a number of Paris Salons, 
 winning mention honorable once or twice. 
 
 H<No. 15— "Waiting for the Boat.'' 
 
 46x301/^. 
 
 This picture was exhibited in the Paris Salon in 1884, 
 and was one of sixty out of some six hundred that were 
 photographed on account of special excellence. Four bare- 
 footed French peasant children, with their backs turned 
 toward the observer, are eagerly watching the slow ap- 
 proach of a ferry propelled by hand from the other side 
 
20 
 
 T. B. WALKER COLLECTION. 
 
 of the river. The reflection of the trees in the water and 
 the shadows along the edges of the bank are produced in 
 a remarkable and wonderfully efYective way. It is a pic- 
 ture that looks well in any light, and seems to have a 
 phosphorescent quality of its own. It is considered Claus' 
 best work. 
 
 CHAIGNEAU (Ferdinand) Paris 
 
 Born at Bordeaux. 
 Pupil of Picot and Brascassat. 
 Pleasing and popular as Chaigneau's subjects always are, 
 his independent indifference toward the Salon Jury of 
 Award has deprived him of honors to which his masterly 
 little landscapes well entitle him. 
 
 *No. 16— "Shepherd and Sheep." 
 
 121^ X 16^4. 
 
 In the midst of his feeding flock stands the shepherd, his 
 head thrown back, drinking from a flask. A ragged little 
 dog stands at his feet, watching his master thirstily. 
 
 CROME (John— Old Crome). 
 
 Born at Norwich, England, 1769. Died 1821. 
 Founder of the Norwich School. 
 Exhibited in the National Gallery and at Norwich. 
 Founded the Norwich Society of Artists in 1803. 
 ''John Crome, commonly called 'Old Crome' (to distin- 
 guish him from his son, also a painter), the founder of the 
 Norwich School, was chiefly remarkable for grand effects 
 produced by simple means — a clump of trees or a bit of 
 heath becoming full of poetry in his hands." 
 
 — D'Anvers' History of Art. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 21 
 
 ''He studied and understood the woody scenery of his 
 native land with the skill of a botanist and the eye of a 
 poet; to him a grove was not a mere mass of picturesque 
 stems and foliage; each tree claimed a separate sort of 
 handling, and he touched them according to their kind." 
 
 — Allan Cunningham. 
 
 C No. 17— Yarmouth Jetties." 
 
 33 x251/^. 
 
 A scene at Yarmouth, on the coast of England, show- 
 ing the quays and fishing smacks. An attractive, rich and 
 beautiful picture. The tones are harmonious and the sky 
 skillfully painted. 
 
 COOMANS (Pierre Oliver Joseph). 
 
 Born at Brussels 1816. 
 Pupil of Van Hasselears of Ghent; DeKeyser, at Antwerp; 
 and of Baron Wappers. 
 Medal at the Hague, 1857; Metz, 1858. 
 His exhibition pictures, of 1863, were purchased by the 
 Emperor Napoleon III. 
 
 *No. 18— "Too Fast for Baby." 
 
 291^x241/^. 
 
 A Pompeiian interior with frescoed walls and marble 
 floor. Seated in a long, low chair of curious workmanship, 
 a mother holds her babe upon her knee. By a gay scarf 
 which is knotted through the back of the chair, a sturdy 
 boy is rocking mother and child vigorously to and fro. The 
 curly-headed baby is frightened at their rapid ride and 
 clutches in terror the front of the mother's robe. In the 
 back of the room, at the base of a marble column, a brazier 
 burns continual incense to the household gods. 
 
22 T. B. WALKER COLLECTION. 
 
 CORREGGIO (Antonio AUegri). 
 
 Born at Correggio in 1494 (?). 
 
 Died there March 5, 1534. 
 
 "Lombard school. Real name Antonio Allegri, son of 
 Pillegrino Allegri; probably pupil of his father's brother 
 Lorenzo, and of Antonio Bartolotti, both second rate paint- 
 ers of his native town. At Modeira he is said to have 
 found a better master in Francisco Bianchi, called Ferari, 
 who belongs to the school of Francia, but as Bianchi died 
 in 1510, this, like all that concerns Correggio's training, is 
 uncertain. An attempt to account for his peculiar develop- 
 ment has led to many conjectures, none of which give any 
 clue to the formation of his totally new method of painting 
 or to the distinguishing characteristics of his style. These 
 characteristics are sweetness of expression and ineffable 
 grace of pose; light in color, or, in other words, a certain 
 luminous quality which radiates and transfigures." 
 
 — Cyclopedia of Painters and Paintings, 
 
 "Allegri's art was thoroughly individual, but by the sen- 
 suous character of his painting he is more nearly allied to 
 the school of Venice than to the severer intellectual schools 
 of Padua or Florence." 
 
 "Allegri's use of chiaroscuro, his exquisite modelling and 
 his gracious manner, if we may so call it, bear so much 
 closer affinity to Leonardo da Vinci than to any other mas- 
 ter, that it seems almost impossible to doubt that in some 
 way or another he also caught inspiration from him." 
 
 ''Perhaps what mostly distinguishes his style from that 
 of every other master is his delicate perception of the mi- 
 nutest gradations of light and shade. His chiaroscuro has 
 been praised by artists as simply perfect. It sheds a won- 
 derful atmosphere of light and delight over all his works, 
 and his figures seem literally to live in radiant glory." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
INDEX AND BIOGRAPHICAL NOTES. 23 
 
 No. 19 — "Virgin and Infant Jesus." 
 
 7^x8]^. 
 
 From the collection of the Marquis de San Vitolia. 
 
 This painting was exhibited at the Royal Galleries at 
 Leeds in 1868, and at the Royal Academy, London, in 1886, 
 and had to pass to certification and inspection of the Royal 
 Art Association. The whole painting shows the character 
 of a master's hand. Although small, the design, the splen- 
 did grouping, the elegance in form of both figures, and the 
 pleasing harmony of colors throughout mark it a master- 
 piece of art. 
 
 Mr. Chas. D. Pratt, art critic of the Alaska-Yukon- 
 Pacific Exposition, says: "Coming down to the great 
 painters of the 16th century, we find a climax in Italian 
 art. "The Virgin and Infant Jesus,*' by Correggio, is a 
 gem-like example of this master of values, atmosphere and 
 color. His pictures are mostly of religious subjects, but 
 he was not a moralist or story teller; he was full of love 
 of life and worship of nature; all his work is joyous." 
 
 ANTOINE COYPEL. 
 
 Born in Paris, April 11, 1661; died there Jan. 1, 1722. 
 French school, history painter. 
 
 "Pupil of his father, Noel, with whom he went to Rome 
 in 1672^ and received a prize from the Academy of St. 
 Louis. After three years he returned to Paris, and there 
 obtained a second academical prize in 1676." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "He was the most rising painter of his time and was re- 
 ceived into the Academy in 1681, when only twenty. In 
 1714 he was appointed Director of the Academy, in 1716 
 First Painter to the King, and was made a noble in 1717. 
 
 "His art was well adapted to the times in which he lived. 
 
24 T. B. WALKER COLLECTION. 
 
 and very popular, for the grace in the faces and figures in 
 his works was French, although conventional and dra- 
 matic/' — James' Painters and Their Works. 
 
 ''An artist of some celebrity who painted chiefly for the 
 king and made many designs for tapestry. 
 
 "On his return to Paris, Antoine became a very popular 
 artist and was much employed in painting royal palaces." 
 
 — D'Anvers' Elementary History of Art. 
 
 "He was graceful in the airs of his heads, painted chil- 
 dren in the greatest perfection and was above all attentive 
 in expressing with propriety the passions of the soul. 
 
 "His principal works at Paris are, Christ Among the 
 Doctors, and The Assumption, in the church of the Notre 
 Dame; and at the Carthusians, Christ Curing the Blind at 
 Jericho." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 "His real strength, like that of Le Brun, lay in so ar- 
 ranging and combining vast subjects as to produce a whole 
 full of play and movement. Like Le Brun, too, he care- 
 fully studied costume. But he sought to refine on his pred- 
 ecessor by applying to the expression of the soul those 
 formal methods which the latter had only employed to give 
 the effect of external life and movement." 
 
 — Spanish and French Painters. 
 
 No. 20— *A Mythological Scene." 
 
 39 x 48. 
 
 From the Lady Buxton collection. Represents Pluto 
 capturing Prosperina, whom he took to his abode in the 
 lower regions. He takes her into his chariot and the team 
 is pitching headlong down the declivity on the way to his 
 habitation in the infernal regions. Painted in a classical 
 style and coloring and characteristic of this painter, whose 
 works are but little known in this country. 
 
INDEX AND BIOGRAPHICAL NOTES. 25 
 
 COROT (Jean Baptiste Camille) France 
 
 Born at Paris, 1796. Died 1875. 
 Pupil of Michallon and Victor Bertin. 
 Completed his studies in Italy. 
 Medals, 1833, 1848, 1855. 
 Legion of Honor, 1846. 
 Officer, 1857. 
 
 "In originajity of mind and force, purity and individual- 
 ity of aim and character, he seems to be the most consider- 
 able figure that has appeared in the art world of France 
 during the century.'' — L. G. W. Benjamin. 
 
 "Corot stands apart. Critics call him a master. He is 
 no profuse colorist. Browns, pale greens, and silver grays, 
 with an occasional shade of purple, or a bright spot of 
 intenser color, to represent flowers or drapery, are his re- 
 liance." 
 
 — Jarvis' Art Thoughts. 
 
 No. 21— "Dance of the Nymphs." 
 
 28 X 19. 
 
 From the second Seney Collection. Painted for his 
 family physician. Dr. Simoni, and sold by him to Leroy 
 & Co., of Paris. 
 
 This picture is well known to those familiar with the 
 work of this artist at his earlier period. Under the soft 
 green of a summer forest, in wild sport, the Nymphs dance 
 over the sward and among the flowers. The scene is beau- 
 tiful in the delicate lights and fine soft colors that compose 
 it. 
 
26 T. B. WALKER COLLECTION. 
 
 CONSTABLE (John). 
 
 Born at East Bergholt, Suffolk, June 11, 1776. 
 
 Died in London March 30, 1837. 
 
 Landscape painter; pupil of Royal Academy in 1779, and 
 later of Joseph Farrington and R. R. Reinagle. 
 
 "While there are many landscape painters who can paint 
 nature in her tranquil moods, when she sits motionless as 
 a model, there are but few who, like Constable, can hx 
 upon canvas the coming storm, the rising wind, and the 
 rapidly changing sunset. In treating masses of clouds driv- 
 ing across the sky or brooding over the tree tops, he has 
 no rival." 
 
 ■ — Cyclopedia of Painters and Paintings. 
 
 "The peculiar merit and novelty in Constable's works 
 cannot be expressed better than in the words used by Red- 
 grave: ^Landscape painters had hitherto usually painted 
 with the sun at their backs, to the right or to the left, out 
 of a picture,' and 'many had painted the sun in the picture 
 gradually sinking in the low horizon. But Constable chose 
 the time when the sun was high in the heavens, far above, 
 out of his canvas, but still in front of him, and painted al- 
 most always under the sun and much that is peculiar in his 
 art arose from this cause." 
 
 — Painters And Their Works. 
 
 "Constable was exclusively a landscape painter, depict- 
 ing nature in her grand and angry moments, and one to 
 whom our modern school of landscape painting is greatly 
 indebted. In color, he helped eliminate the brown land- 
 scape and substituted in its place the green and blue of 
 nature. His influence upon art was impressive, eventually 
 developing the famous Barbizon school." 
 — (Chas. D. Pratt, Art Critic, Alaska-Yukon Exposition, 
 Seattle, 1909.) 
 
INDEX AND BIOGRAPHICAL NOTES. 27 
 
 No. 22 — "Lockkeeper's Home on the Stour/' 
 
 34x413/4. 
 
 From the collection of General Biilwer Hayden Hall. 
 
 It is evident that Constable found in the quaint scenery 
 of this vicinity not only his greatest inspiration, but mate- 
 rial for his best paintings. In fact, his masterpiece, "Lock 
 on the River Stour," v^as painted in the immediate neigh- 
 borhood. In the foreground is one of the rustic locks and 
 two children fishing from the shore. On the right a grand 
 old elm spreads its boughs, casting its shadows into the 
 tranquil stream. On the left a gnarled oak, broken and 
 bent by the many passing storms, while near the end of the 
 bridge spanning the river is the gatekeeper's modest cot- 
 tage. To the left in the distance stands the artist home of 
 John Constable, almost hid from view by overhanging 
 trees. The shadows deepen as the sun dips low in the 
 west, obscured by threatening clouds. 
 
 No. 23 — '^Constable's Artist Home on the Stour." 
 
 38x50^/^. 
 
 From the collection of General Bulwer, Hayden Hall. 
 
 In the foreground is a shallow channel of the River 
 Stour, This shallow rapids, only a short distance above the 
 lock, afifords a crossing place for the farmer folk of the 
 vicinity. A rustic wagon drawn by two horses is crossing 
 the ford, while two cows from the adjoining meadows dis- 
 port themselves near the opposite shore. On the left, half 
 hidden by the spreading boughs of great elms, stands the 
 artist home of the great painter. Heavy clouds o'erspread 
 the sky^ while on the horizon the setting sun casts a pale 
 blush over the surrounding landscape. 
 
 The odor from the new mown hay. 
 Comes to the boy and dog at play; 
 While the old canoe with silent oar. 
 Lies idle on the reed-grown shore. 
 
28 T. B. WALKER COLLECTION. 
 
 DAVID (Jacques Louis) France 
 
 Born at Paris, 1748. 
 Founder of the Modern French School of Painting. 
 Studied under Vien at Paris and Rome. 
 Gained First Prize of Rome, 1774. 
 Appointed by Napoleon as his first painter, 1804. 
 
 As one of the regicides of Louis XVI, David was banished 
 from France in 1816, and died in exile at Brussels, 1825. 
 "David was the Napoleon, the dictator, who, with a 
 strong hand, arrested the corruption of art and gave it firm- 
 ness and purity.'' — Gleanings in the Field of Art. 
 
 *'One of the most eminent painters of modern times. His 
 countrymen have conferred on him the title of 'The Head 
 and Restorer of the French School,' which he brought back 
 from its previous gaudy and affected style to the study of 
 nature and the antique. At Rome he devoted himself par- 
 ticularly to historical painting, and his great talent soon 
 gained him the reputation of one of the most promising ar- 
 tists of the age. By 1788 his reputation was established as 
 the first painter of France. He painted several portraits of 
 the Emperor and other members of the Imperial Family, 
 the most celebrated of which were, 'Napoleon as First Con- 
 sul,' on horseback, crossing Mount St. Bernard and point- 
 ing out to his troops the path to glory, and 'Napoleon in 
 his Coronation Robes.' 
 
 "As a grand designer he undoubtedly ranks among the 
 first artists of modern times, and the praise of correct de- 
 lineation and harmonious coloring is universally conceded 
 to him. Had he lived in more peaceful and less exciting 
 times, so that he could have lent his whole time and ener- 
 gies to his favorite branch of the art, he doubtless would 
 have far surpassed himself, and his history would have 
 graced one of the brightest pages in the annals of the fine 
 arts." — Spooner's History of the Fine Arts. 
 
INDEX AND BIOGRAPHICAL NOTES. 29 
 
 No. 2A — "Napoleon in His Coronation Robes/' 
 
 72 X 98. 
 
 Napoleon stands with his right hand extended over the 
 purple spread table on which are seen the symbols of his 
 conquests and power, while his left supports a slender staff 
 surmounted with an eagle wrought in gold, the sceptre of 
 the empire. His crimson velvet robes of state are ermine- 
 lined and embroidered in gold with bees, palms, and laurel 
 wreaths. His robes fall in heavy folds on the floor behind 
 him. Among other symbols under his extended hand is 
 seen a large open volume inscribed the "Code Napoleon." 
 Pendant from the chain that overlays the crimson on his 
 shoulders is the silver star of the empire. Clasping his 
 forehead is the wreath of golden laurels with which he has 
 first crowned himself. Above are the golden folds of the 
 velvet canopy, and beyond the white marble columns and 
 walls of the apartment. 
 
 The picture was painted for Napoleon by David, in 1805. 
 It was afterwards presented by the Emperor to Field Mar- 
 shal Louis Nicholas Davout, Duke of Auerstadt and Prince 
 of Eckmuhl. Napoleon and Davout were friends and 
 schoolmates at Brienne. Davout possessed not only Na- 
 poleon's esteem and friendship, but also his confidence, as 
 he gave him command of the imperial guard, ihe crowning 
 feature of Napoleon's military establishment, and the most 
 invincible military corps known in history. The picture 
 was hung in the old chateau of the Duke's family at Sa- 
 vigne, and remained on the walls of the drawing room un- 
 til the estate was sold at public auction in 1889. From 
 that sale it came directly to this country, was cleaned, re- 
 canvased and re-framed and loaned by Mr. Walker to the 
 Exposition Board, and was first exhibited in 1891. It was 
 afterwards placed in the Public Library. 
 
30 T. B. WALKER COLLECTION. 
 
 DAHL (Hans) Norway 
 
 Born at Hardanger, Norway, 1849. 
 Pupil of the Carlsruhe Art School under Riefsthahl 
 and Hans Gude; then in Dusseldorf under 
 Wilhelm Sohn and E. Von Gebhardt. 
 Traveled in Norway and visited Berlin, Paris and London. 
 
 *No. 25 — "Crossing the Fiord on a Windy 
 Morning." 
 
 62^ X 281/4. 
 
 A party of Norwegians are crossing the fiord on a bright, 
 windy morning to attend church on the mainland. There 
 is a stiff wind blowing and their fisher boats dance through 
 the sparkling water as though endued with the life of the 
 rushing wind. The sun shines brightly on the broken wa- 
 ters of the rock-bound bay, and tips its rough surface with 
 a thousand points of flashing light. 
 
 DELPY (Camille Hippolyte). 
 
 Born at Joigny (Youne). 
 Landscape painter. 
 Pupil of Corot and Daubigny. 
 Medal, 1884. 
 
 *No. 26— "Landscape." 
 
 43x271/4. • 
 
 A powerful and weird rural landscape. On the left a 
 country road on which a solitary peasant woman is walk- 
 ing towards the little cottages near by. On the river a 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 31 
 
 small steamboat is receding. There is a peculiar light 
 which is enhanced by the somewhat windy-looking, yet 
 thoroughly well painted sky. A true and unexaggerated 
 view of nature. 
 
 DOBSON (Wm.) 
 
 ^ Born at Holborn in 1610. 
 
 Died in London October 28, 1646. 
 
 "After Vandyck's death, Dobson became sergeant-paint- 
 er and groom of the privy chamber. He painted Charles I, 
 Charles II, Prince Rupert, and many other notable per- 
 sonages." — Cyclopedia of Painters and Paintings. 
 
 "Sir Joshua Reynolds speaks of him as one of the great- 
 est artists England has produced. His touch was bold and 
 free, his coloring warm and harmonious^ and, though in- 
 ferior to Vandyck in the gracefulness of his figures, yet he 
 gave a life, dignity and truth to his portraits which has 
 seldom been surpassed. His works are highly esteemed, 
 and are to be found only in the big galleries and the col- 
 lections of the nobility of England. Specimens can be seen 
 in the superb galleries at Wilton, Belvoir, Chatsworth, 
 Blenheim., Stowe, Windsor, Chiswick, Devonshire House, 
 Castle Donnington, Althorpe, etc." 
 
 — Spooner's History of the Fine Arts. 
 
 "Vandyck, passing a shop on Snowhill, perceived a pic- 
 ture exposed for sale in the window which had sufficient 
 merit to excite his curiosity to discover the painter, whom 
 he found at work in a miserable garret. The well known 
 liberality of Vandyck soon relieved him from his wretched 
 situation; he afterwards introduced him to the king and 
 zealously recommended him to his Majesty's protection. 
 On the death of Vandyck, Dobson was appointed sergeanr- 
 painter to the king, whom he accompanied to Oxford, 
 
32 T. B. WALKER COLLECTION. 
 
 where he painted his portrait, that of Prince Rupert and 
 several of the nobility. 
 
 **Of the painters of his time, Dobson appears to have 
 approached nearest to the excellent Vandyck. His por- 
 traits are faithful transcripts of nature, and although he 
 was not equally successful in his historical pictures, the 
 few of them that he painted are not without considerable 
 merit. One of his best works in history is the 'Decollation 
 of St. John,' at Wilton. Several portraits by Dobson are 
 in the Northumberland House, at Chatsworth, in Devon- 
 shire House, and other mansions of nobility/' 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "Charles I distinguished him by the name of the Eng- 
 lish Tintoret. While at Oxford he also painted the por- 
 traits of the Prince of Wales, Prince Rupert, and many of 
 the nobility. 
 
 "He was certainly one of the most eminent painters of 
 his time, and an equal honor to the art and to his native 
 country. His manner is bold and free and has an abun- 
 dance of sweetness with a charming tone of color; and 
 though inferior to Vandyck in the gracefulness of his fig- 
 ures, yet he gave life, dignity, and sentiment to his por- 
 traits; and for truth, character and resemblance few have 
 surpassed him." — Pilkington's Dictionary of Painters. 
 
 **The portraits by him are warmer in color than those 
 by Vandyck, but they are lifelike, and, it is said, were 
 capital likenesses." — Painters and Their Works. 
 
 No. 27— "Crowning of the Virgin." 
 
 26^/^ x38i/^. 
 With Henrietta Maria as the Virgin. 
 She is represented as seated by a table holding two 
 white doves which (as the custom was) she has brought to 
 the temple as an offering for her purification. Her simple 
 
INDEX AND BIOGRAPHICAL NOTES. 33 
 
 dress and flowing mantle are done in the beautiful colors 
 and arrangement peculiar to this great English master. 
 Three angels hover over her, holding a wreath of laurel, 
 with which to crown her as soon as her offering is made. 
 This is said to be a splendid likeness of Henrietta Maria. 
 
 DUPRE (Jules) France 
 
 Born at Nantes, 1812. 
 Landscape painter — one of the most original and powerful 
 of the modern French school. 
 Medals, 1833 and 1867. 
 Legion of Honor, 1849. 
 Officer of the Legion of Honor, 1870. 
 Died, 1890. 
 
 "As a boy this painter studied design in the porcelain 
 manufactory of his father; at length he essayed oil paint- 
 ing and made his debut at the Salon of 1831 with five 
 landscapes. He became almost immediately one of the 
 favorites in public opinion; his farms, his cottages, his old 
 oaks on the borders of pools, with cows ruminating about, 
 his plentiful pastures where horses run with flowing manes, 
 his mills which profile their silhouettes on a stormy sky, 
 have a simple and truthful side which captivates all the 
 world. 
 
 "One may have more or less sympathy with the works 
 of Rousseau, or with those of Dupre, but these two mas- 
 ters will remain incontestably as the two grandest color- 
 ists in landscape which the contemporaneous school has 
 produced." 
 
 — Clement and Mutton's Artists of the Nineteenth Century. 
 
 "Dupre is original, powerful and brilliant, and now 
 stands as the oldest representative French landscapist." 
 
 — Radcliffe's Schools and Masters of Painting. 
 
34 T. B. WALKER COLLECTION. 
 
 No. 28— "A Wooded Pasture in Brittany." 
 
 18x30^/^. 
 
 As far as the eye can reach is one expanse of wooded 
 meadows with waving reeds and grisses. In the fore- 
 ground some cows are seen coming down to the pool of 
 crystal water, in which is mirrored the sunset glory of 
 the summer clouds and the deep blue of the southern sky. 
 A very interesting example of this master's work. 
 
 ERNST (Rodolphe) Hungary 
 
 Born at Vienna. 
 
 Pupil of Feurbach at Vienna Academy. 
 
 One of his paintings was purchased by the French Gov- 
 ernment and is on exhibition in the Luxembourg Gallery. 
 
 No. 29— "Queen Salome and Her Pet Tigers." 
 
 28x36. 
 
 Queen Salome was the wife of King Alexander Jannseus. 
 She reigned as queen of Israel from the death of her hus- 
 band B. C. 79 until B. C. 69. She was renowned as one of 
 the most beautiful women of that period. The painting por- 
 trays the queen surrounded by oriental grandeur, ascending 
 a stairway in the palace. On either side of the stairway 
 are seen her pet Bengal tigers who arise to meet their royal 
 mistress. The subject is well chosen, the work that of a 
 master, and the completed painting very pleasing and har- 
 monious. 
 
 FAULKNER (Herbert W.). 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 35 
 
 *No. 30— "Settling the Quarrel." 
 
 60 X 80. 
 
 A characteristic scene from the times of the thirty years' 
 German war. Two cavaliers have had a quarrel which 
 arose from drinking. One of them has become intoxicated 
 and is asleep in his chair. The other is returning with his 
 weapon, determined to settle the quarrel by the sword, 
 while the landlord of the inn is seeking to mollify the 
 angry Teuton and avoid a scene in his house. The pic- 
 ture is very realistic and would be a credit to any of the 
 best known artists of recent times. 
 
 FERRIER (J. M. A. Gabriel) France 
 
 Born at Nimes, 1847. 
 Pupil of Lecoq de Boisbaudran. 
 Won Grand Prix de Rome, 1872. 
 Medals, 1876 and 1878. 
 Legion of Honor, 1884. 
 
 No. 31— "Hamlet and Ophelia." 
 
 27 X 381/4. 
 
 Who can look on a picture of that nearly distracted 
 Prince of Denmark without feeling pity and consideration 
 for his youthful suffering? We are apt to think of Hamlet 
 only as he is portrayed on the stage. In the play we lose 
 our feeling for the boy in our admiration for the actor. 
 There is none of this in Ferrier's treatment of the subject. 
 There is no taint of the stage scene about it. The young 
 Hamlet, scarce more than a boy, his white, drawn face a 
 pitiful contrast to his dark and mourning attire, stands 
 erectj his straight^ slim figure relieved by the sweeping 
 
36 T. B. WALKER COLLECTION. 
 
 folds of his black mantle. Ophelia, seated by his side, one 
 hand on his shoulder, the other clasped in his, her sweet, 
 sad face, questioning, upraised to his, shows sorrowing, 
 frightened solicitude. Beyond, can be seen the play in 
 progress, and the startled king and queen on their throne. 
 The picture is pitiful and strong; the colors soft and deli- 
 cate, dark and rich. 
 
 FOSCARI (A.). 
 
 An Italian painter. 
 Studied under Zeim and Rocco. 
 
 ^No. 32— "Evening in Venice." 
 
 39 X 20. 
 
 View of the Grand Canal, Venice, at night. In the cen- 
 ter of the canvas, and just above the building tops, the 
 full moon is rising. Through the darkness the dim out- 
 lines of the Palace of the Doges, and the spires and turrets 
 of the surrounding buildings are visible. In the fore- 
 ground a gondolier is propelling his barge. The many 
 lights from the windows of the buildings along the shore 
 aid in making the scene one of placitude and repose. 
 
 GIGNOUX (Regis). 
 
 Born in Lyons in 1816. 
 Died in 1882. 
 Landscape painter. 
 First instructed at Freiburg, Breisgau, then pupil of Lyons 
 Academy, and in Paris of the Ecole des Beaux Arts, 
 and of Delaroche. 
 Went to America in 1844, became member of the National 
 Academy in New York in 1851, and returned to 
 prapce in 1870, 
 
INDEX AND BIOGRAPHICAL NOTES. 37 
 
 No. 33 — "A Mountain Landscape." 
 
 35 X 49. 
 
 This is one of Gignoux's larger and most successful 
 American landscapes. In the center of the picture is a 
 small lake of crystal water in which is mirrored the pre- 
 cipitous mountains surrounding it on every side, the one 
 on the left rearing its summit to a point above the clouds. 
 In the valley at the foot of the rugged peaks a settler has 
 built a humble cottage, pasturing his flocks in the foot- 
 hills, and rearing his family in these most pleasant sur- 
 roundings where Nature seems to have exhausted itself in 
 making a beauty spot for man's abiding place. In the 
 higher valley to the right the mellow rays of the sun dis- 
 pel the shadows, while farther on arises peak after peak, 
 until their outline is lost to view in the dim distance. 
 
 GAINSBOROUGH (Thomas), R. A. 
 
 Born at Sudbury in 1727. 
 Died at London, 1788. 
 Pupil of Gravelot. 
 Went to London in his fifteenth year (1741). 
 Worked for three years in the Martins Lane Academy 
 
 under Frank Hayman, the historical painter. 
 Returned to Sudbury in 1745 and began as a portrait 
 painter. Removed to Ipswich, and in 1760 to Bath. 
 On the foundation of the Royal Academy, in 1768, he was 
 one of the thirty-six original members. 
 Bryant says: 
 
 "Gainsborough will always occupy one of the highest 
 places in the English school, whether as a portrait or land- 
 scape painter. In his early landscapes he showed traces of 
 the influence of the Flemish school, but as time went on 
 nature alone became his mistress. As a colorist he ranks 
 
38 T. B. WALKER COLLECTION. 
 
 with Rubens, and in technical work Ruskin says, 'Turner 
 is a child to him.' All the great galleries contain his works, 
 there being twelve in the National Gallery at London." 
 Ruskin says: 
 
 "Gainsborough's power of color is capable of taking 
 rank beside that of Rubens; he is the purest colorist (Sir 
 Joshua himself not excepted) of the whole English school, 
 Turner himself being, in management and quality of single 
 and particular tint, in the purely technical part of painting, 
 a child to Gainsborough." 
 
 Mr. Chas. D. Pratt, art critic of the Alaska-Yukon- 
 Pacific Exposition, says of this artist's work represented: 
 "There are three Gainsboroughs: ''Gentleman in Blue," 
 "Girl Tending Pigs" and "Miss Margaret Burr," the ar- 
 tist's wife. Gainsborough disliked all conventionalities 
 and formulas, going direct to nature. He strove for all 
 that was noble, pure and true. His portraits are remark- 
 able for their striking resemblance." 
 
 No. 34 — "Gentleman in Blue.'' 
 
 From the collection of S. T. Smith, Duke Street, London. 
 
 (Mr. Smith is the author of the important Catalogue Rai- 
 
 sonne.) 
 
 This picture was painted soon after the "Blue Boy," 
 which Gainsborough painted in order to prove to Sir Josh- 
 ua Reynolds that blue was a most beautiful pigment when 
 rightly used; to which Sir Joshua most strenuously ob- 
 jected. After seeing Gainsborough's "Blue Boy," how- 
 ever, Reynolds acknowledged this to be one of the finest 
 pictures ever painted. This color at that time was the 
 most popular for gentlemen's and boys' wear and was em- 
 ployed again in this no less wonderful painting, "The Gen- 
 tleman in Blue." The portrait is that of a prominent man 
 
MLrEX AND BIOGRAPHICAL NOTES. 39 
 
 of the times, and is a characteristic painting by this great 
 English colorisl. 
 
 DE HAAS (J, H. L.) Holland 
 
 B(.rn at Rotterdam, Holland, 1832. 
 Pupil of Van Oos and the Brussels Academy. 
 Chevalier and Commander (with the star) of the Order 
 of Isabella the Catholic, of Spain. 
 Chevalier and Commander of the Order of Leopold, 
 of Belgium. 
 
 Chevalier and Commander of the Order of the 
 Couronne d'Cheve of Holland. 
 Chevalier and Officer of the Order of Merit of St. Michael 
 of Bavaria. 
 
 Chevalier of the Order of the Crown of Prussia. 
 Chevalier of the Order of Francis Joseph de Suesse. 
 Member of the Academy of St. Ferdinand of Spain. 
 Member of the Royal Academies of Amsterdam, Rotter- 
 dam and Antwerp. 
 Grand gold medal, Utrecht Exposition, 1868 
 Grand gold medal, Munich Exposition, 1869. 
 Medal of Honor at Amsterdam, 1883. 
 Thirteenth Exhibition New Bristol Museum. — *'On en- 
 tering we find the 'place of honor' nobly filled by J. H. L. 
 De Haas, one of the greatest of living animal painters. A 
 group of well-fed cattle, splendidly drawn and modeled, is 
 resting at summer-noon on the pastures which run down 
 on the 'Sea-coast at Picardy.' The fidelity with which the 
 breed of cattle is represented, the local truthfulness of the 
 scene, and the solidity with which the whole is painted 
 must call forth the admiration of everyone." 
 
 — London Art Journal. 
 
40 T. B. WALKER COLLECTION. 
 
 *No. 35— 'Contentment/' 
 
 22x IQi/^. 
 
 In a sunny, open field, a pair of cattle stand, calm-eyed 
 and quiet. In the distance others are seen feeding upon 
 the tall grass. 
 
 HAMILTON (James) Ireland 
 
 Born in Ireland, 1819. Died, 1878. 
 Studied in Philadelphia and in England. 
 Was selected by Dr. Kane as illustrator on his 
 Arctic Explorations. 
 Particularly successful for his marine views. 
 ''But our ablest marine painter of this period seems to 
 have been James Hamilton, of Philadelphia, who was be- 
 yond question an artist of genius. He was inspired with a 
 genuine enthusiasm for the sea, and rendered the wildest 
 and grandest effects of ocean with breadth, massiveness 
 and power. We have no marine painter about whose works 
 there is more of the raciness and flavor of the blue water.'* 
 
 — Benjamin's Art in America. 
 
 *No. 36— "After a Storm off the Coast of 
 Newfoundland." 
 
 43^^x29. 
 
 In the foreground the sea swells in long rollers under 
 a gray and windy sky. A fishing smack with sails furled 
 is weathering the storm. To the right and left other fish- 
 ing smacks are seen. The sea is lashing the little boats 
 and their occupants on its foam-fringed waves, which break 
 in heavy lines across the foreground. 
 
INDEX AND BIOGRAPHICAL NOTES. 41 
 
 HART (James McDougal), N. A New York 
 
 Born at Kilmarnock, Scotland, 1828. 
 Brother of Wm. Hart, N. A. 
 Brought to America, 1831. 
 Studied with Schirmer, in Diisseldorf. 
 Member of the National Academy, New York, 1859. 
 
 c 
 
 *No. 37— "Landscape and Cattle." 
 
 13x17. 
 
 A herd of cattle on a country road leading through a 
 densely wooded district. By the roadside is a small pool 
 into which one of the animals has strayed. Farther down 
 the road, on the right, is a cottage among the trees. 
 Through the opening in the tree-tops a clear blue sky is 
 seen. In this landscape the artist has shown great knowl- 
 edge of natural beauties. One of his later works. 
 
 HIGHMORE (Joseph). 
 
 Born in London in 1692. 
 Died at Canterbury in 1870. 
 History and portrait painter. 
 Pupil of the Academy under Sir Godfrey Kneller. 
 
 No. 38— "Miss Adair Playing the Lute." 
 
 661/^x39. 
 
 Daughter of James Adair, Sergeant-at-Arms and Re- 
 corder of London. At the time of his death (July 21, 1798) 
 he was the King's Prince Sergeant-at-Law, M. P. for 
 Higham Ferras, and Chief-Justice of Chester. During his 
 life he wrote several notable works on law and practice. 
 
42 T. B. WALKER COLLECTION. 
 
 It is not probable that Highmore ever painted a more beau- 
 tiful portrait. Being most fortunate in selection of a sub- 
 ject, he has succeeded in portraying in a pleasing and ar 
 tistic manner a beautiful woman in the very springtime of 
 mature womanhood, as well as the attainments that make 
 her attractive. One can all but hear the rustle of the silk- 
 en robes and the sweet tones of the mellow lute. 
 
 INNESS (George), N. A.......... New York 
 
 Born at Newburgh, N. Y., 1825. 
 
 Died at the Bridge of Allan, Scotland, 1894. 
 
 Studied art at Newark, N. J., and engraving at New York. 
 Elected Associate of the National Academy of Design, 
 1853, and a full Academician, 1868. 
 
 Visited Europe twice and lived some time at 
 
 Florence and Rome. 
 
 "Mr. Inness was the foremost American landscape paint- 
 er and one of the most able and individual of contemporary 
 landscapists. He takes rank with such masters as the 
 men who have made the Barbazon school the most bril- 
 liant phase of French art, Corot, Rousseau and Dupre. 
 While his technique was faultless, his drawing forcible, and 
 his coloring brilliant, his fame rested upon the subjective 
 quality of his art. He loved Nature^ and sympathized with 
 her in her moods." 
 
 — New York World, August 5, 1894. 
 
 */Mr. Inness ranked as a painter with Rousseau, Corot, 
 Diaz and Dupre. His death, with that of Wyant, a couple 
 of years ago, removes from the scene the two great Amer- 
 ican painters of landscape." 
 
 — News, Newark, N. J., 1894. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 43 
 
 *No. 39— "Cromwell's Bridge.'' 
 
 30x19^. 
 
 This bridge was built by Cromwell in Ireland, 1649. 
 
 INNESS (George, Jr.). 
 
 Born in New York City, July 5th, 1854. 
 V Pupil of his father, George Inness, Sr. 
 Studied under Leon Bonnat in Paris. Sketched in different 
 parts of Europe. 
 
 Mr. Inness has produced some of the finest landscapes of 
 any of the modern artists, somewhat in the manner of the 
 work of his father, yet more refined and beautiful in color, 
 tone and effect. George Inness, Sr., produced some mag- 
 nificent paintings, but it was only when he caught an in- 
 spiration and color scheme and composition that he occa- 
 sionally reached. His son is more successful in producing, 
 almost always^ a fine landscape. He has also added figures 
 and with success produced religious pictures. He is better 
 known in France than in this country, as he has been there 
 for a number of years, studying and working with the 
 French art schools. 
 
 Arsene Alexandre, who is regarded, perhaps, as foremost 
 art critic in Europe, says of the exhibition containing In- 
 ness' pictures as follows: "The profoundest sentiment, the 
 simplicity of motive, and the richness of execution, render 
 the landscapes of George Inness, Jr., particularly attract- 
 ive. They show the mark of a true artist and an excel- 
 lent painter. Thus do they command the greatest consid- 
 eration. It would be impossible to come before the pub- 
 lic with more discretion and modesty than Mr. Inness has 
 put into his work. In truth, this is contrary to all the 
 examples shown. In return he gives us beautiful motives, 
 very simple, taken from the grandest nature, or more ex- 
 actly in the grandest meditation before nature, his color 
 
44 T. B. WALKER COLLECTION. 
 
 always very rich and sometimes of great intensity, but 
 without unnecessary violence. Finally, this reflection, 
 this personal participation of the painter, in the scenes 
 which he gives us, is an indispensable condition, not 
 only to make good studies, but more to make fine pic- 
 tures." 
 
 The painter truly deserving the name makes provision of 
 sentiment from nature, but it is only when shut into his 
 own home that he begins really to be free — when he ar- 
 ranges, enriches, embellishes and composes his work. By 
 this operation the painting becomes a rare object, and one 
 remains a long time before it in repose, because it was a 
 long time loved. There la very little chance that Ruysdael, 
 Corot, Rousseau, who worked thus, should be mistaken. 
 
 Inness is an American who had for his master, his fath- 
 er, a celebrated artist of the United States. He has worked 
 much in France and it is here that he feels himself most 
 at his ease to dream and work. 
 
 "There is a great variety of motive in these pictures and 
 a grand unity of temperament. This sentiment is earnest 
 and profound. The silver hours, and the golden hours, 
 please him above all — the clear hours, but still always mys- 
 terious, where the earth and the sky embrace, or again, the 
 hours most mysterious, where the earth awakes and the 
 sky dreams — silver fogs of the morning, golden fogs of the 
 evening, veils infinitely rich and transparent, which the 
 painter so well sees from a distance, but in which he makes 
 one feel the palpitation of life. 
 
 *'From time to time he shows the fresh and bright ap- 
 pearance of things, but there still, as in certain pictures of 
 forests, one sees the richness of the pictorial matter invest- 
 ed by clearness of motive. Several pictures amidst the 
 numerous witnesses show to us mighty effects in different 
 styles. 
 
 "The Venice, so harmonious, and in which the lines take 
 so much grandeur. The pond, in the charming fresh 
 
INDEX AND BIOGRAPHICAL NOTES. 45 
 
 morning, so delicately surrounded by vapors. The plain 
 over which rolls a stormy sky and in which advances a 
 black and smoking train — a canvas as happy as courageous. 
 Or still another picture which shows not less courage, and 
 is not less successful, where one sees the tops of the 
 houses lit by the sun of an evening in autumn, while in the 
 sky, changeable like silk, are proudly lifted the chimneys 
 of a factory. This is what can be made of a subject in 
 which fceauty is not perceived by the greater part of the 
 passing world — by a man who is a true colorist and has 
 the emotions of a poet. 
 
 *'A11 this makes the joy of painting, but a calm, reflect- 
 ive joy, which is only gotten at the price of much trouble, 
 many struggles and intense anxiety. 
 
 "Mr. Inness does not show himself a landscapist. He 
 has several times tried to render his thoughts under sub- 
 jects borrowed from the Scriptures, as in 'The Entomb- 
 ment,' or in 'The Golgotha,' where he shows an original 
 composition, and a fine light. More than once one sees 
 appearing before him his destiny of rich and moving land- 
 scapist, the sight of which will be the reward offered by 
 his imagination to his merit." 
 
 No. 40— "Simple Country Life." 
 
 25x31. 
 
 In the broad meadows of the Delaware two girls are 
 watching the herd, while several cows regale themselves in 
 the running brook. The sun dips low in the west, shedding 
 his glory in the o'erhanging clouds, while the robin sings 
 his evening song in the neighboring trees, A very satis- 
 factory picture, 
 
46 
 
 T. B. WALKER COLLECTION. 
 
 No. 41 — "Delaware Meadows." 
 
 241/^x31^4. 
 
 Another of Inness' favorite subjects. As the shadows 
 deepen and the subdued rays of sunset turn the sky to 
 gold, an old lady brings home from the pasture the lazy 
 cows. The birds forget their song and seek their nests in 
 neighboring trees^ while far away in the shadowy forests 
 is heard the shrill tone of the whippoorwill. This paint- 
 ing portrays, in a marked degree, th'^ oeculiarities of this 
 artist. 
 
 JACQUE (Charles Emile) Paris 
 
 Born at Paris, 1813. 
 
 First President of the French Society of Animal Painters. 
 Medals, 1851, 1861, 1863, 1864. 
 Hors Concours. 
 
 He died in 1893, rich and honored, and the sale of his 
 studio collection in 1894, by auction in Paris, produced the 
 noteworthy return of over 600,000 francs. 
 
 "His pictures of life are marvelous in their minute repre- 
 sentations, not only in the larger objects, but in the de- 
 tails." — Artists of the Nineteenth Century. 
 
 "Why have Charles Jacque's works such a powerful 
 charm? It is because they always show us things or per- 
 sons such as they are in nature; because he studied them 
 in the course of their usual life and avocations; and be- 
 cause this sincerity carries us without effect to the scene- 
 that he chooses to represent." 
 
 — Artists of the Nineteenth Century. 
 
 "Few artists have a more widely extended or a better 
 d^serv^d reputatioq." — Cyclopedia of Painter^. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 47 
 
 "But the most incredible and ironical fact, in the glorious 
 existence of an artist^ is that medaled for painting in 1849, 
 1863 and 1864 — all third class medals, Charles Jacque has 
 obtained in all seven medals, of which not one, it seems 
 incredible, has gone beyond the third class. He is, without 
 doubt, the only one among the painters and engravers who 
 has received seven third-class medals. Certainly he would 
 be justified in lightly valuing official recompenses, for he 
 is superior to the highest." 
 
 — Jules Claretie, GoiipiTs Great Modern Painters^ i8g4. 
 
 ^No. 42— "The Corner of the Meadow." 
 
 27 X 161/^. 
 
 In a pasture lot_, among the scattering clumps of trees, a 
 number of sheep and cattle are feeding. The central 
 figure, a white cow, stands strongly drawn against a ground 
 of dark green foliage. 
 
 JAZET (Paul Leon) Paris 
 
 ' Born at Paris. 
 
 Pupil of Barrais. 
 
 *No. 43— "Death of Nelson." 
 
 92 X 42. 
 
 This time the French have done with Nelson. "There 
 is no hope, Hardy, I am dying." 
 
 Jazet is more than an illustrious soldier painter, he is 
 a master. None but a master could compose such a pic- 
 ture as this. The picture is whole — complete in one scene. 
 The mind is impressed at the first glance with that group 
 around the capstan, the solicitous Hardy as he springs to 
 
48 T. B. WALKER COLLECTION. 
 
 the assistance of his stricken commander, the blanched 
 face and reeling figure of Lord Nelson, the dying sailors, 
 the wounded surgeon, struck while flying to his master's 
 aid; all form a central group that would hold the attention 
 if there were nothing more to the picture. But there is 
 more — the fearful realities of marine warfare are seen on 
 every side. See this poor boy; that awful gash in his side 
 will soon end his young life. See on the deck beside him 
 that stalwart black, how his dark skin contrasts with the 
 boy's pale face. See those gunners, how grimly in ear- 
 nest; and this officer, shouting orders through his trumpet. 
 See those men trying to board the vessel on a spar; how 
 the gunners are fighting them back with ramrods, spong- 
 es, hatchets, anything they can lay their hands on. All 
 around the boat is a forest of masts and rigging, swarming 
 with men. Everywhere smoke and bloodshed attest the 
 presence of grim-visaged war and compel the spectator to 
 live over again that battle around the ''Victory." 
 
 This picture has been copied, re-copied and engraved, 
 until its fame has become world-wide. 
 
 JOHNSON (David), N. A New York 
 
 Born at New York, 1827. 
 Elected a member of the National Academy, 
 New York, 1862. 
 Medal, Philadelphia, 1876. 
 One of the founders of the Artists' Fund Society. 
 
 *No. 44— A Clearing— Mt. Lafayette, N. H." 
 
 14x26^/^. 
 
 Painted to order. 
 
 A New Hampshire clearing. In the distance are the 
 cloud-capped mountains. Just outside the meadow fence 
 an old-fashioned four-horse coach can be seen. 
 
INDEX AND BIOGRAPHTCAL NOTES. 49 
 
 KAULBACH (Wilhelm von). 
 
 A German historical painter. 
 
 Born at Arolsen, Westphalia, 1805. 
 
 Studied under Cornelius, at Diisseldorf Academy. 
 
 Went to Munich in 1825. 
 
 In 1847 he was called to Berlin to decorate the Staircase 
 
 Hart of the New Museum, which occupied him many 
 years. 
 
 Appointed Director of the Munich Academy in 1849. 
 Officer of the Legion of Honor. 
 Grand Commander of St. Michael. 
 Commander of the Order of Francis Joseph. 
 
 Corresponding member of the Institute of France, and 
 member of several Academies. 
 
 ''Kaulbach made many designs for book illustrations, 
 among them those of Reynard the Fox, Goethe's Faust, 
 The Gospels, Dance of Death, the works of Shakespeare 
 and Schiller and Wagner's operas. Despite his manner- 
 isms, he was one of the greatest modern German painters, 
 and, with his master, Cornelius, represents the new Munich 
 school during the reign of King Louis of Bavaria." 
 
 — Cyclopedia of Painters. 
 
 "Kaulbach, who has just passed away, is the German 
 artist of this century — perhaps the best known abroad. 
 Less conventional than his predecessors, he undoubtedly 
 possessed a vast genius." — Benjamin. 
 
 "The training, experience and opportunities of Kaulbach 
 have been extraordinary; he became a prime mover in one 
 of the most signal of art manifestations known in modern 
 times; he matured, after example of the masters of the 
 
50 
 
 T. B. WALKER COLLECTION. 
 
 middle ages, the practice of mural or monumental decora- 
 tions; he once more conjoined painting with architecture 
 and display, a creative fertility and readiness of resource 
 scarcely found since the era of Raphael and Michael An- 
 gelo." — Encyclopedia Britannica. 
 
 *No. 45— "The Fall of Babel." 
 
 72x60. 
 
 Cartoon for mural painting, Staircase Hall, New Mu- 
 seum, Berlin. The dispersion of the nations at the fall of 
 Babel. Nimrod, seated with his wife and children upon 
 the golden throne in front of the Tower of Babel, which 
 is falling in ruins, an overthrown idol at his feet, defies 
 Jehovah, who is seen above in the clouds, surrounded by 
 angels hurling thunderbolts. At the right his servants and 
 priests deride the Almighty; below the children of Shem, 
 Ham and Japhet are dispersing. 
 
 This painting was purchased by Wimmer 8i Co., of Mu- 
 nich, of Kaulbach's son after his father's death, and sold b}^ 
 them to Sir James Duncan, of London, and, at the sale of 
 his collection, which constituted one of the largest and 
 finest private galleries in the world, was purchased by the 
 present owner. 
 
 "This artist is one of the most distinguished of the 
 modern German school. As regards the first picture above 
 mentioned, 'Tower of Babel,' according to the Holy Scrip- 
 tures, this memorable event referred to coincides with the 
 building of Babel and the tyranny and wickedness of Nim- 
 rod. The artist undertook to represent in a grand and 
 highly poetical manner the fall of the despot, the derelic- 
 tion of his subjects and the distribution of the nation after 
 the generation of Shem, Ham and Japhet." 
 
 — Henry Oiterly. 
 
INDEX AND BIOGRAPHTCM. NOTES. 51 
 
 KNELLER (Godfroid) (Sir Godfrey). 
 
 Born at Lubeck. 1646. 
 Died at Twickenham, Nov. 7, 1723. 
 Studied under Rembrandt and Bol. 
 ''From the reign of Charles IT to that of George I, Knell- 
 er was court painter, and there was hardly a person of dis- 
 tinction who lived in that period whose portrait was not 
 pamted by Sir Godfrey Kneller." 
 
 — Painters and Their Works, Vol. 2, Page 42. 
 "Dutch school; portrait painter, studied under Rem- 
 brandt and Ferdinand Bol^ at Amsterdam, and in Rome 
 (1672-74) under Carlo Maratta and Bernini (?). Went 
 afterwards to Venice, where he was well received by the 
 leading families whose portraits he painted." 
 —Encyclopedia of Painters and Paintings, Vol. 2, Page S93' 
 
 No. 46— "Nell Gwynn." 
 
 22x301/^. 
 
 From the collection of Lord Edward Fitzgerald, Dublin. 
 
 Eleanor Gwynn — Nell Gwinne, an English actress and 
 celebrated beauty — born in London in 1650. After she had 
 achieved success as an actress she became a mistress to 
 Charles IL Died about 1690. 
 
 No. 47— **The Duke of Marlborough.'' 
 
 211/^x29. 
 
 From the collection of W. Delafield, London. 
 Originally John Churchill, born at Ashee, in Devonshire, 
 Tune 24th, 1650. Queen Anne created him Duke of Marl- 
 borough in December, 1702. As commander-in-chief of the 
 armies of Great Britain he achieved many wonderful vic- 
 tories. 
 
52 
 
 T. B. WALKER COLLECTION. 
 
 He was married in 1678 to Sarah Jennings. The Duke 
 once remarked, speaking of his wife, "I can without fear 
 stand before the cannons of the enemy, but I can not 
 stand before Sarah when she is in a passion." 
 
 He died in 1722. 
 
 LAWRENCE (Sir Thomas) England 
 
 Born at Bristol, 1769. Died at London, 1830. 
 Entered the schools of the Royal Academy 
 as a student, 1787. 
 Elected an Associate of the Royal Academy, 1791. 
 Received the Honor of Knighthood, 1815. 
 Elected President of the Royal Academy, 1820. 
 Chevalier of the Legion of Honor, 1825. 
 ''The first great name which meets the student of paint- 
 ing in England in the nineteenth century is that of Sir 
 Thomas Lawrence." 
 
 — N. D'Anvers' Elementary History of Art. 
 ''Sir Thomas Lawrence takes rank next to Reynolds in 
 the numerous band of British portrait painters." 
 
 — Pilkington's Dictionary of Painters. 
 
 -No. 48— "Two Brothers/' 
 
 38 X 53. 
 
 Painted by Sir Thomas Lawrence in 1800; engraved by 
 George Clint in 1802. This picture represents a couple of 
 boys whom Lawrence found in the mountains, and who so 
 attracted his attention that he made this picture. The 
 older boy is leaning against the rocks on the mountain 
 side, and the smaller brother is leaning against him, with 
 his hand on his breast. It is painted in the characteristic 
 style of the artist, with finely toned, rich colors, and deep, 
 strong background. 
 
INDEX AND RTOGRAPHTCAT. NOTES. 
 
 53 
 
 LELY (Sir Peter) (Real name Peter Van der Eaes). 
 Born at Soest, Westphalia, 1617. 
 Portrait painter, Elemish school. 
 Appointed court painter to Charles II. 
 Died in London, 1680. 
 "Through the influence of William, Prince of Orange, 
 Lely was presented to Charles I, whose portrait he paint- 
 ed, as well as those of William and the Princess Mary. 
 Thus he gained great reputation and encouragement, and 
 for many years was the most eminent painter in England. 
 His works are characterized by a beautiful and permanent 
 coloring and graceful attitudes." 
 
 — Spooner's History of the Fine Arts. 
 "For thirty years he was the most popular portrait 
 painter in England, and amassed a great fortune. His por- 
 traits are of elegant conception, clear and warm coloring, 
 hands especially finely drawn." — Cyclopedia. 
 
 No. 49— "Portrait of Miss Cavendish/' 
 
 24 X 29. 
 
 Beautiful daughter of Lord Cavendish, Earl of Devon- 
 shire, during the reign of Charles II and appointed Lord 
 Steward of the Royal Household under King Charles III 
 in 1689, and created first Duke of Devonshire by the same 
 sovereign in 1694. The graceful attitude and permanent, 
 harmonious colors are manifest as in all of Sir Lely's 
 work. 
 
 No. 50— "The Duchess of Portland.'' 
 
 From the collection of the Viscount Powerscourt. 
 This fine example of Lely's art is a portrait of the wife 
 of Hans William Bentick, a notable Dutch statesman 
 
54 
 
 T. B. WALKER COLLECTION. 
 
 who was born at The Hague in 1648. Sir Peter Lely paint- 
 ed this portrait of Mrs. Bentick while Bentick resided 
 at The Hague. Lely went to England in 1640, but Ben- 
 tick remained at The Hague until 1688, when he went to 
 England accompanied by the Prince of Orange, who after- 
 wards became King William IIL The portrait remained 
 in the Bentick family until after William III had con- 
 ferred the title of First Duke of Portland upon Hans Wil- 
 liam Bentick, when the painting became the portrait of 
 the Duchess of Portland, which was upwards of twenty 
 years after the portrait was painted. The painting then 
 went to the family of Richard Wingfield, Viscount of 
 Powerscourt, and remained in the collection of this family 
 upwards of one hundred years. 
 
 LEFEVRE (Robert) France 
 
 Born at Bayeaux, 1756. Died, 1831. 
 Genre and portrait painter. Pupil of Regnault. 
 Removed to Paris, 1784. 
 Legion of Honor, 1814. 
 Exhibited in many Salons from 1791 to 1827. 
 
 His celebrated painting "Cupid Disarmed by Venus" 
 (1795) hangs in the Louvre. 
 
 *'He painted the portraits of Napoleon and Josephine, 
 and made twenty-seven copies for different princes and 
 dignitaries of Europe. At the restoration of the Bour- 
 bons he was employed to paint the portraits of Louis 
 XVIII for the Chamber of Peers, which gained for him 
 the appointment of painter to the King, and admission to 
 the Legion of Honor. Among his other portraits are those 
 of Charles X and the Duchesses d'Angouleme and de 
 Berri." 
 
 — Spooner's History of the Fine Arts. 
 
INDEX AND BIOGRAPHICAL NOTES. 55 
 
 '*As a portrait painter he enjoyed a high reputation. He 
 painted the Emperor Napoleon I, the Empress Josephine, 
 Pope Pius VII, and all the principal i)ersonages of the Em- 
 pire and the Restoration. In 1814 he was commissioned 
 to paint the portrait of Louis XVIII for the Chamber of 
 Peers, and was appointed principal painter of the Cabinet 
 and Chamber of the King, and made a Knight of the Le- 
 giori of Honor. He died in consequence of an accident at 
 Paris, January, 1831." 
 
 — Ottley's Painters and Engravers. 
 
 "^^o, 51 — "Josephine, Empress of the French." 
 
 59 X 86. 
 
 This portrait is signed "Robert Lefevre, 1808," in the 
 lower left-hand corner. The Empress is shown seated in 
 her coronation robes in the low^ red throne chair in the 
 throne-room at Fontainebleau. Her dress, made in the 
 high-waisted style of the period, sleeveless and decollette, 
 is of w^hite brocaded satin, embroidered with gold. She 
 wears a tiara of pearls and emeralds, a necklace of the 
 same costly jewels encircling her shoulders. Over one 
 shoulder, and down over the arm of the throne chair, 
 sweeps the ermine lined folds of her velvet robe with its 
 border of gold and sprinkling of golden bees, piling in 
 crimson richness over the steps that lead down from the 
 dais. On a pedestal at her left^ resting on a green velvet 
 cushion, is the imperial crown with which she has just 
 been crowned. The gold colored linings of the canopy 
 drape down behind the chair. Beyond, on the right, the 
 base of a great fluted pillar of marble is seen. 
 
56 
 
 T. P>. WALKER COLLECTION. 
 
 ^No. 52 — "Portrait of the Empress Maria Louisa." 
 
 59 X 86. 
 
 ''Maria Louisa, the second wife of Napoleon I, was 
 born at Vienna, December 12th, 179L She was the eldest 
 daughter of the Emperor Francis L of Austria, by his sec- 
 ond wife. Having been taught, like all her relatives, to 
 execrate the name of Napoleon, she was at first appalled 
 at the idea of marrying him, but resigning herself to her 
 fate she left Vienna on March 13th, 1810. She met Napo- 
 leon near Soissons, March 28th. The civil marriage took 
 place at St. Cloud, April 1st, and the religious ceremony 
 was performed the next day by Cardinal Fisch at the 
 Louvre. Most of the Cardinals declining to attend, as the 
 Pope had not ratified the divorce from Josephine, they 
 were banished from the capital and forbidden to wear their 
 scarlet gowns, and hence were called the Black Cardinals. 
 Among the brilliant festivities of the marriage w^as a grand 
 ball at the Austrian embassy, in the midst of which the 
 building took fire, and the Empress was borne from the 
 flames in the arms of Napoleon. She seemed at first to 
 respond to her husband's warm affection, but could not 
 adapt herself to the society of the Tuilleries, and her 
 apathy and dififidence formed a striking contrast to her 
 predecessor's vivacity. Her husband became still more 
 attentive to her after the birth of a son, March, 1811. But 
 she was as undemonstrative in her maternal as in all her 
 other aflfections. She accompanied Napoleon to Dresden 
 in May, 1812, where all the German princes paid homage to 
 her. During the Emperor's absence he appointed her Re- 
 gent, with a board, to the decision of which she left the 
 direction of public affairs. The Emperor having ordered 
 her to leave Paris on the entrance of the allies, she did 
 not venture to disobey him, though urged by several of 
 her relatives to remain at her post. She placed herself with 
 her son under the protection of her father and was easily 
 
INDEX AND RTOGRAPTTTCAT. NOTES. 
 
 57 
 
 persuaded to refrain from joining? her husband at Elba. 
 She never saw him again and evinced no interest in his 
 fate. After the death of Napoleon, in 1821, she contracted 
 a morganatic marriage with Count Albert Adam von Neip- 
 perg, an Austrian general. She was highly educated and 
 attractive in person, her beauty being of the blonde Tyrol- 
 ese style; but Lamartine properly characterizes her as a 
 commonplace and motherly woman, fitted rather to shine 
 in Vprivate life than to be associated with memorable 
 events. She died in Vienna, December 18th, 1847." 
 
 — Century Cyclopedia. 
 The portrait of the Empress Maria Louisa, taken full 
 length, standing. One hand rests Hghtly on a small cor- 
 onet that lies on its blue cushion on the table by her side. 
 The other hangs at her side clasping a small fan. Her 
 white satin gown is fairly stiff wath pearl embroideries, as 
 is the train which lies piled in folds beside her. The dark 
 blue coronation chair from which she has just risen bears 
 a golden "N" on the cushion of its upholstery. On the 
 crimson spread table the queen's artistic and musical ac- 
 complishments are recorded in the form of a sketch, a 
 crayon holder and a sheet of music. The background is 
 the mahogany pillars of the room and a pair of green 
 Egyptian marble pillars that flank it. The picture is signed 
 in the lower left-hand corner. 
 
 LEVERIDGE (Clinton) ...America 
 
 A young American artist, whose work is fast 
 gaining prominence. 
 
 *No. 53— "Cattle Grazing in Pasture/' 
 
 36 X 22. 
 
 In a level, verdant pasture, on the right of which a 
 
 stream flows, some cows are grazing. The animals are 
 
58 T. B. WALKER COLLECTION. 
 
 well in the foreground, and beautiful animals they are, so 
 natural and lifelike. The drawing and coloring are excel- 
 lent. In the center of the picture, but somewhat back, 
 some fine elms stand. A road on the left leads up to a 
 gate in the rail fence, which encloses the pasture. The 
 perspective is good, the sky clear, the atmospheric effect 
 well produced; but all this must remain subservient to the 
 excellent coloring and fine arrangement of the cattle. 
 
 LEROLLE (Henri) France 
 
 Born at Paris. 
 
 Pupil of Lamothe. 
 
 Medals, 1879; first class, 1880. 
 Hors Concours. 
 
 His picture of 1880 is in the Luxembourg Museum, and 
 that of 1885 in the Metropolitan Museum of New York. 
 
 A real impressionist, like Breton, Millet, and Cazin. 
 
 *No. 54— ^*By the Harvest Fields/' 
 
 18^ x 22. 
 
 In a sky, soft with the early morning shades of pink 
 and pearl, a few clouds float. Across the yellow fields 
 the breath of the morning comes fresh and cool, laden 
 with the scent of opening flowers wet with dew. In the 
 foreground a rustic female figure, whose draperies fall 
 into outlines classic in their purity, stands beside a single 
 gray sheep that feeds by the way. 
 
INDEX AND BIOGRAPHTCAT. NOTES. 59 
 
 LE BRUN (Charles) Paris 
 
 Born at Paris in 1619. Died in 1690. 
 Studied under Simon Vouet in Paris, and Nicholas Poussin 
 in Rome. 
 
 Was made Premier Court Painter in 1648. 
 In 1662 he was ennobled, appointed Director of all the 
 ^ public works, and Director General of the 
 ^ manufacture of tapestry at the Gobelins. 
 He was also appointed Director General of the 
 Academy of Painters. 
 
 "He was justly called the Louis XIV of Art, and at the 
 zenith of his fame well might have said, in the sentiment 
 of his royal master, ^le peinture, c' est mot.' He developed 
 early the vigour and industry which characterized him 
 through life, and while a mere boy obtained the patronage 
 of such men as Richelieu and the Chancellor Seguier. So 
 well did Le Brun follow the teachings of the great master 
 that he painted, at this time, some pictures that were at- 
 tributed to Poussin, such as the 'Mucins Scsevola,' now in 
 the Louvre. A few of his later works also recall the same 
 influence. But after his return to Paris, in 1646, whither 
 his great reputation had preceded him, his natural talent, 
 favoured, perhaps, by circumstances, soon led Le Brun in 
 a different direction. His success was great and uninter- 
 rupted and it was equaled by his industry. 
 
 "But to 1660, the year in which he was made Director of 
 the Gobelins, by Colbert, belong the first important v/orks 
 which he executed for the king. These were the celebrated 
 series of pictures on the life of Alexander, now in the Lou- 
 vre, comprising the 'Entry into Babylon,' the 'Tent of Da- 
 rius,' the 'Passage of the Granicus,' and the 'Battle of Ar- 
 bela.' They are completely typical both of the artist and 
 his time. They are splendid decorative pictures, in which 
 great subjects are represented with an inexhaustible fertil- 
 
60 T. B. WALKER COLLECTION. 
 
 ity of invention, nobility of conception and a power of 
 vividly expressing outward action. Their technical excel- 
 lence is also great, and the costumes are carefully studied. 
 These pictures are the work of several years, but on the 
 completion of the 'Darius/ Le Brun was made first painter 
 to the king, and thenceforth became supreme in the world 
 of art." 
 
 — Spanish and French Painters, by Gerard W. Smith. 
 
 "The whole arrangement of the Royal Palaces was en- 
 trusted to his care, and to his intuition was due in great 
 measure the foundation of the Academy of Painting by 
 Louis XIV in 1648, and the establishment of the French 
 school in Rome. 
 
 'Tn the Louvre there are twenty-two of his pictures, at 
 the head of which stands the 'History of Alexander.' This 
 famous series, which was ordered by Louis XIV in 1660 
 and which was completed in 1668, is no less important 
 among his works than the 'History of S. Bruno,' among 
 those of Le Sueur. It comprises the 'Passage of the 
 Granicus,' the 'Battle of Arbela,' the 'Family of Darius 
 made Captive,' the 'Defeat of Porus,' and the 'Triumph of 
 Alexander at Babylon,' an evident allegorical flattery of 
 the early triumphs of the great Louis. The painter had 
 the good fortune to have it engraved by Edelinck and Au- 
 dran. The other great painting of Le Brun are the 'Day 
 of Pentecost,' where he has introduced himself in the 
 figure of the disciple standing on the left; the 'Christ with 
 Angels,' painted to immortalize a dream of the queen- 
 mother; and the 'Repentant Magdalen,' which is called by 
 some 'Mademoiselle de la Valliere.'" 
 
 — History of Art, by N. D'Anvers. 
 
 "Recalled to Paris in 1648, he was received into the 
 Academy, protected by Fouquet, presented to Louis XIV 
 by Cardinal Mazarin, and made court painter. In 1662 the 
 king ennobled him, gave him the general care of all works 
 of art in royal buildings, and made him director of the 
 
INDEX AND BIOGRAPHICAL NOTES. 61 
 
 Gobelins, and successively rector, chancellor and director 
 of the Academy of Painting. In 1666 Le Britn induced the 
 king to found the French Academy at Rome, where, though 
 absent, he was made prince of the Academy of St. Luke." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Le Brun excelled in composition, and there is often 
 great ingenuity and poetry in his works. His works were 
 very numerous in the palaces of France, and easel pictures 
 by hini are to be found in all the galleries of Europe." 
 
 — Painters and Their Works, by R. N. James. 
 
 ''Le Brun belongs to the classical and artificial school, 
 of which he is a favorable example. His best works are 
 a series of pictures representing the battles of Alexander, 
 now in the Louvre. In composition and in execution they 
 have much merit." 
 
 — Famous Painters and Paintings, by Mrs. J. A. Shedd. 
 
 There are twenty-two important paintings by Le Brun 
 in the Louvre, also examples in the Versailles Museum; 
 Rennes Gallery; Bordeaux Museum; Lyons Gallery; Caen 
 Gallery; Nantes Gallery; Geneva Gallery; Old Pinakothek 
 Gallery, Munich, Stuttgart, Gallery, Liechtenstein 
 Venice Academy; Dulwich Gallery; Royal Academy of 
 England; Earl of Darnley Gallery; Earl of Yarborough 
 Gallery; National Gallery, Pesth; Lord Nelthorp Gallery; 
 and in the great staircase and ceiling of the gallery at Ver- 
 sailles; also in the gallery at St. Germain, and in the Castle 
 and Pavilion of Sceaux. 
 
 *No. 55 — "Marius on the Ruins of Carthage." 
 
 451/^x36. 
 
 The picture represents Caius Marius, of whom the his- 
 torian says, ''No Roman ever rendered greater service to 
 the state, and no Roman ever rose so high to fall so low, 
 with the single exception of Pompey." He was seven 
 
62 
 
 T. B. WALKER COLLECTION. 
 
 times Roman Consul. Having been finally defeated by 
 Sulla, Marius was compelled to fly, and while concealed in 
 the marsh, was found by his pursuers and imprisoned at 
 Minturn^E. A Cimbric soldier was ordered to dispatch 
 him, but was so afYected by his appearance and language 
 that he lost his courage and could not kill him. The peo- 
 ple of the town rose in his favor and furnished him a ves- 
 sel in which he sailed to Africa, meeting with many dan- 
 gers on the way. He landed at Carthage, where a mes- 
 sage was sent him by the Roman praetor, ordering him to 
 leave the country. His answer^ as represented in the pic- 
 ture, was, ''Tell the prretor that you have seen Caius 
 Marius a fugitive sitting on the ruins of Carthage;" a re- 
 ply which was recorded by Plutarch as aptly comparing 
 the fate of that city with his own changed fortunes. 
 
 This is perhaps the only example of his paintings in 
 this country. It is a very effective, finely drawn and attrac- 
 tive historical painting. 
 
 From the Hunter Sale in New York, 1853. 
 
 LINGELBACH (Johannes). 
 
 Born at Frankfort on the Main, 1625. 
 
 Died at Amsterdam, 1687. 
 
 ''Johannes was the son of David Lingelbach, who was 
 in 1639 the proprietor of a place of recreation at Amster- 
 dam called the "Old Maze," and of the "New Maze" from 
 1646. His mother's name was Agniet Jans, and Johannes 
 was born in Frankfurth-am-Main. The family, however, 
 was in Holland when Johannes was a child, and in 1642 he 
 went to France, where he remained two years, and then 
 visited Rome, in which city he resided for eight years. He 
 then returned to Amsterdam by way of Germany and in 
 1653 bought the right of citizenship in that city. Lingel- 
 bach excelled in representing seaports or market places, 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 63 
 
 into which he was fond of introdncing elegant buildings, 
 obelisks, etc. His coloring was, in his best pictures, sil- 
 very and his drawing correct." 
 
 — Painters and Their Works. 
 
 "It is not mentioned by whom he was instructed, but the 
 ability of the master may be presumed from the talents of 
 the pupil. He went to Amsterdam in 1637, and after 
 spending five years there, he returned home and remained 
 two years, and then in 1644 visited Italy. He passed six 
 years at Rome sketching the most remarkable objects in 
 and near the capitol. In 1652 he returned to Amsterdam 
 with the studies he had accumulated during his residence 
 in Italy, of which he made an ample use in the composi- 
 tion of his pictures. His pictures are embellished with 
 architecture and the ruins of ancient monuments and stat- 
 ues. His ability in painting small figures and animals in- 
 duced several of the landscape painters of his time to have 
 recourse to him to decorate their pictures, particularly 
 Wynants and Wouwerman, by whom his style of painting 
 was largely influenced." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "His style was influenced by Wynants, to whose pictures 
 he often supplied figures and animals, and G. Wouwerman, 
 whom he successfully imitated. The cool, delicate, silvery 
 tone of his pictures sometimes degenerates into coldness. 
 His composition is skillful, the drawing good, the execu- 
 tion careful." — Cyclopedia of Painters and Paintings. 
 
 No. 56— ''Scene in the Foothills/' 
 
 351/^x46. 
 
 Although Lingelbach excelled in painting small figures 
 and elegant buildings, yet in this interesting picture he 
 clearly demonstrates his ability as a landscape painter and 
 colorist. 
 
 In the foreground a peasant woman is seen carrying a 
 
64 
 
 T. B. WALKER COLLECTION. 
 
 fowl, and accompanied by her son and faithful dog. At 
 a turn in the shaded roadway a poor beggar sits asking 
 alms from passers-by, while a lone horseman approaches 
 from the direction of the crystal lake lying at the foot of 
 the mountains, reflecting like a mirror the outlines of the 
 old castles which adorn its shores. Far away the moun- 
 tain rises abruptly, its precipitous summit obscured by 
 billowy clouds which overspread the azure sky. The sil- 
 very freshness of his atmosphere, the pleasing invention, 
 and the delicate coloring complete a very agreeable paint- 
 ing. 
 
 LORRAINE (Claude). (Claude Gellee.) 
 
 Born at Chamagne, in Lorraine, in 1600. 
 Died in Rome in 1682. 
 
 French School; landscape painter; real name was Gellee. 
 Studied under Agostino Tassi and Godfrey Waal. 
 
 ''From morning until night he was seen in the fields con- 
 templating, with an attentive eye, the effects produced by 
 the sun at the different hours of the day, and the vapory 
 veil which air and distance throw over the various objects 
 as they recede from the sight. 
 
 "His landscapes do not, like those of the Dutch painters, 
 exhibit cold portraiture of a prescribed portion of a coun- 
 try; he soars above the servile representation of ordinary 
 nature, and transports his sp^ectators into the regions of 
 poetry and enchantment. In this point of view Claude will 
 ever be regarded as the first of landscape painters; and it 
 will not be disputed that his compositions are the richest 
 and most studied of all those who have excelled in that 
 branch of art. 
 
 ''He presented to the beholder such an infinity of objects, 
 and conveys him over such a variety of hill and dale and 
 misty mountains, that the eye may be said to be con- 
 
INDEX AND BIOGRAPHICAL NOTES. 65 
 
 strained, as it wanders, to repose itself on the way. The 
 superb temples, the lofty architecture, with which he em- 
 bellished his compositions; his ample lakes, peopled witli 
 aquatic birds; the glittering luster of his skies; the diver- 
 sity of his foliage; strictly suited to each plant or tree; 
 every object is stamped with the genuine feature of select- 
 ed nature. In his pictures of morning, the rising sun dis- 
 sipates the dews, and the fields and verdure brighten at 
 the ^approach of day; his evening skies expand a glowing 
 splendor over the horizon; vegetation, oppressed by a sul- 
 try aridity, sinks under the burning heat of the sun. 
 
 ''His marines and magnificent seaports contend for the 
 superiority with his inimitable landscapes, in the purity 
 and freshness of the air, and the gently undulating swell 
 of the water sparkling with the lucid reflection of a clear 
 and brilliant sunshine. 
 
 "The pictures of Claude bear visible evidence that they 
 are the result of much thought, deliberation and cultivated 
 taste. In their execution, both patience and elaborate care 
 are equally manifest. His best works are painted through- 
 out with a full body of color, and a liberal use of ultra- 
 marine. He appears to have commenced his operations 
 entirely in grey, in which that valuable color is freely 
 used; so that when the super colors in the completion of 
 the work are applied, the silvery hues beneath contribute 
 greatly to the atmospheric effect, which constitutes one of 
 the chief charms in his pictures. It is also worthy of no- 
 tice that the same careful attention to details is as ob- 
 servable in the half tones, shadows, and distances as in the 
 more prominent and luminous parts. Above all, the high 
 quality of his genius is best discovered in the selecting of 
 objects of the most pleasing forms, tastefully grouping 
 them together, so as to produce, by the various combina- 
 tions, a scene replete with the most enchanting beauties." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "He searched for true principles by the incessant exam- 
 
66 
 
 T. B. WALKER COLLECTION. 
 
 ination of nature, usually studying in the open fields, where 
 he frequently continued from sunrise till the dusk of the 
 evening, sketching whatever he thought beautiful and strik- 
 ing. 
 
 "Every curious tinge of light on all kinds of objects he 
 marked in his sketches with a similar color, by which 
 means he gave his landscapes such an appearance of na- 
 ture as has rarely been equaled by any artist. 
 
 ''His skies are warm and full of luster, and every object 
 is properly illumined. His distances are admirable, and in 
 every part a delightful uniformity and harmony never fail 
 to excite admiration. His invention is pleasing, his color- 
 ing delicate, his tints have such an agreeable sweetness and 
 variety as to have been imperfectly imitated by the best 
 subsequent artists and were never equaled. 
 
 "His pictures are scarce, especially such as are undam- 
 aged, and they are so valued that no price is thought to 
 be superior to their merits. There are some of uncommon 
 excellence in this country." 
 
 — Pilkington's Dictionary of Painters. 
 
 "His works are combinations of beautiful objects bor- 
 rowed from the inexhaustible source of nature, enriched 
 by art, exhibited under the most lovely forms and alluring 
 media. Sir Joshua Reynolds says in his Discourses, that 
 Claude Lorraine 'was convinced that taking nature as he 
 found it seldom produced beauty.' If the scene represents 
 the early morning, the hemisphere is suffused with light 
 and warmth, and all nature visibly feels their influence; 
 the mists are seen dispersing, and the cool freshness of 
 the dawn of day is yielding to the absorbing rays of the 
 sun; the soft zephrys appear to agitate in gentle ripples 
 the surface of the lucid streams and to breathe in whispers 
 among the foliage of the surrounding groves. The shep- 
 herd is seen leading his flocks to the pastures, or Diana 
 with her attending nymphs is sallying forth to the chase. 
 Every period of the day, with all its elemental vicissitudes. 
 
INDEX AND BIOGRAPHICAL NOTES. 67 
 
 has been successfully embodied by his magic pencil, and 
 even the gorgeous splendor of a summer evening, with all 
 its dazzling brightness, was not beyond the reach of his 
 master hand. His pictures are enriched with palaces, tem- 
 ples, and other noble edifices; and the ruins of ancient 
 mighty structures are so appropriately introduced and com- 
 posed with so much skill and taste^ that it is easy to imag- 
 ine, that they once had existence at some glorious era of 
 the Greek OJT Roman states. 
 
 ''This illustration is still further heightened by the intro- 
 duction of some event from sacred or profane history, 
 poetry, or romance, which accords with the style of the 
 buildings and the scenes depicted. The landscapes of other 
 great artists, as Gaspar Poussin and Salvator Rosa, engage 
 little of our time and contemplation to run over the scanty 
 confines of their scenery, compared with the august and 
 boundless expanse of Claude. He presents the beholder 
 such an infinity of objects, and conveys him over such a 
 Variety of hill and dale and misty mountains' that the eye 
 seems to be constrained, as it wanders, to repose on the 
 way. His marines and magnificent sea ports contend for 
 superiority with his inimitable landscapes, in the purity 
 and freshness of the atmosphere, and the gentle, undulat- 
 ing swell of the water, sparkling with the reflection of a 
 clear and brilliant sunshine." 
 
 — Spo oner's History of the Fine Arts. 
 
 No. 57— "Classic Harbor Scene." 
 
 521/^x41. 
 
 It is difficult to describe a "Lorraine," as nothing short 
 of seeing and studying his harmony of colors and detail 
 can convey to the mind anything like an idea of their nat- 
 ural beauty and artistic value. To the right is a castle or 
 palace built partially into the bay. The morning sun casts 
 
68 T. B. WALKER COLLECTION. 
 
 his golden glory over sea and sky, bringing to view in the 
 shadows of the stately trees two women in earnest conver- 
 sation. The emerald waters lazily ripple on the shore, 
 fanned by a gentle breeze of the early morning. The head- 
 lands are seen in the distance and some boats lie almost 
 hidden in the shadows of the castle wall. As in all of Gal- 
 lee's work, one cannot but note the naturalness of detail 
 and the harmony of color. 
 
 Mr. Pratt, art critic, Alaska-Yukon-Pacific Exposition, 
 Seattle, 1909, says: '^There is a beautiful "Classic Harbor 
 Scene," by Lorraine, who rivaled Turner in painting the 
 luminosity of the air. His landscapes are poetical." 
 
 MICHEL (Georges) France 
 
 Born, 1763; died, 1843. 
 Neglected during his life, his paintings are now sought 
 for by connoisseurs. He is represented in the Louvre and 
 other public galleries. 
 
 *No. 58— "The Old Castle." 
 
 27x201/4. 
 
 Few pictures have such an effect of power and motion 
 in the sky as this. The yellow clouds seem driven along 
 by a very storm in the heavens. The blending of sky and 
 sea, in a far perspective, is perfect. It carries the eye ovei 
 the water of the bay till the curving ocean melts into the 
 sky. 
 
 MILLONE (A.). 
 
 *No. 59— "Rounding up the Herd." 
 
 36 X 24. 
 
 A drove of cattle on a prairie in charge of a drover and 
 his daughter. Behind the herd the daughter is seen seated 
 in a side-saddle on a mule. The herd are well in the fore- 
 ground. 
 
INDEX AND BTOGRAPHTCAT. NOTES. 69 
 
 MINOR (Robert C.) New York 
 
 Born in New York, 1840. 
 Studied in Paris under Diaz and in Antwerp under 
 Van Tuppen, Boulanger and others. 
 Member of the Society of American Artists. 
 
 ( ^No. 60— "After the Storm/' 
 
 20 X 16. 
 
 The storm has spent itself and the clouds have rolled 
 away. The setting sun gives the scene his last beams and 
 is attesting his sovereignty by turning even the angry 
 storm-clouds into royal purple to deck his throne. The 
 whole scene shines and glistens in the newly-fallen rain 
 and the evening sunshine. 
 
 MORAN (Thomas), N. A New York 
 
 Born at Bolton, Lancashire, England, 1837. 
 Brought to America, 1844. 
 Brother of Edward and Peter Moran. 
 Returned to Europe 1862 and 1866, and studied the 
 works of Turner and the old masters. 
 
 Elected N. A., 1884. 
 Member of Society of American Artists. 
 
 *No. 61— "Summer Squall." 
 
 24 X 36. 
 
 Over the verdant meadow flit alternate patches of sun- 
 light and shadow. On the grove in the center distance 
 rests a heavy shadow, while just beyond the sunshine may 
 be seen. Overhead drift the broken clouds which make 
 
70 
 
 T. R. WALKER COLLECTION. 
 
 this bright landscape alternately smile and frown. In the 
 center sky a very dark cloud, denser and more threatening 
 than the rest, indicates, as it scurries across the sky, that 
 a "Summer Squall" is imminent. 
 
 MONTICELLI (Adolphe), Deceased Paris 
 
 Born at Marseilles, 1824. 
 Pupil of Rossi and of Diaz. 
 Large sums of money have been paid for fine specimens 
 from this artist's brush. Both in this country and on the 
 continent, connoisseurs have come to appreciate Monticelli 
 as a great colorist. 
 
 *No. 62— "The Bridal Procession/' 
 
 2AV2 X 19. 
 
 How richly fantastic are the colors of this artist. A 
 bridal procession is passing under the arched entrance to 
 the church. The stone of the edifice^ the liveries of the 
 attendants — all but the dresses of the bride and her maid, 
 are dark. The bridegroom can scarcely be discerned in 
 the shadows by the archway. 
 
 MURILLO (Bartholome Esteban). 
 
 Born in Seville, January 1, 1618. 
 Died there, April 3, 1682. 
 Spanish School. Studied under Juan del Castillo. 
 "The fertility of his talent, only paralleled by that of 
 Lope de Vega in literature, enabled him to cover the walls 
 of private and public buildings at Seville with the pictures 
 now scattered all over Europe at prices which, to the 
 artist, would have seemed fabulous.^' 
 
 — Cyclopedia of Painters and Paintings. 
 
INDEX AND BIOGRAPHICAL NOTES. 71 
 
 ''Few painters have a juster claim to originality of style 
 than Murillo, and his works show an incontestable proof of 
 the perfection to which the Spanish School attained and 
 the real character of its artists — for he was never out of 
 his native country, and could have borrowed little from 
 foreign artists; and this originality placed him in the first 
 rank among the painters of every school. All his works 
 are distinguished by a close and lively imitation of nature. 
 His pictures of the Virgin, Saints, Magdalenes, and even 
 of the Savior, are stamped with a characteristic expression 
 of the eye, and have a natural peculiarity of countenance 
 and habiliments which are very remarkable. There is little 
 of the academy discernable in his design or his composi- 
 tion. It is a chaste and faithful representation of what he 
 saw or conceived; truth and simplicity are never lost sight 
 of; his coloring is clear, tender and harmonious, and 
 though it possesses the truth of Titian and the sweetness 
 of VanDyck, it has nothing of the appearance of imitation. 
 His works now command enormous prices." 
 
 — Spo oner's History of the Fine Arts. 
 
 "With the work of this admirable artist, the English col- 
 lector is more intimately acquainted than with those of 
 any painter of the Spanish School; and their intrinsic merit 
 amply justifies the admiration which is bestowed on them." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 No. 63— "The Coronation." 
 
 39 X 52. 
 
 From the Lord Townsend Collection. 
 The Virgin Mary, robed in spotless white, with a blue 
 mantle thrown over her shoulders, is represented as rising 
 above the serpentine devil and his angels, while an angel 
 of God places upon her head a crown of twelve stars, and 
 cherubs bring garlands of flowers and shout with joy. The 
 
72 
 
 T. B. WALKER COLLECTION. 
 
 serpent still holds in his month the apple with which he 
 had tempted "the first man Adam," and with which he 
 tempted the son of this woman, **the second man Adam, 
 who became a living spirit" after his forty days' fast. Here, 
 however, his subtlety failed and one was found "who, being 
 tempted in like manner as we, yet sinned not." The horn 
 in prophecy represents Power, and the great horn in the 
 lower corner of the painting no doubt is emblematic of the 
 power of Satan which Jesus destroyed. In this wonderful 
 painting Murello represents faithfully what his fertile mind 
 conceived, and has given to his figures, truth and simplic- 
 ity, and although his coloring is modest, yet it is clear, 
 tender and harmonious. 
 
 OPIE (John). 
 
 Born, 176L Died, 1807. 
 
 "The works of Opie are distinguished by great simplicity 
 in the composition, masterly boldness of efifect, and uncom- 
 mon strength of character, though sometimes defective 
 in dignity and faithful expression of individual nature. 
 His best works possess, in an eminent degree, what artists 
 term breadth. Few painters have shown so perfect an eye 
 to the purity of color, and in some of his works he appears 
 to have emulated the rich and harmonious tones of Rem- 
 brandt and Titian; and even Fuseli says that nature had 
 endowed him with an exquisite eye for color, and pro- 
 nounces his coloring in the 'Murder of James V unrivalled 
 among the productions of his contemporaries and ap- 
 proaching the excellence of Titian. His conduct of the 
 chiaro-scuro was intelligent and masterly." 
 
 — Spooner's History of the Fine Arts. 
 
 "The pictures he painted on these occasions were 
 amongst the most admired productions of the British 
 school. The works of Mr. Opie are distinguished by a sim- 
 plicity in the composition, masterly boldness of effect, un- 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 73 
 
 common strength, though not dignity of character, and 
 a faithful expression of individual nature. Few painters 
 have shov^n so perfect an eye to the purity of color; and 
 in some of his works he appears to have emulated the 
 harmonious toning of Rembrandt and Titian. His conduct 
 of the chiaro-scuro is masterly and intelligent. He demon- 
 strated by his works how highly he was endowed by na- 
 ture with a strength of judgment and originality of con- 
 cepl^ion. His thoughts were always new and striking, as 
 they were the genuine offspring of his own mind; and it 
 is difficult to say if his conversation gave more amusement 
 or instruction. The toils and difficulties of his profession 
 were by him considered as matter of honorable and de- 
 lightful contest; and it might be said of him, that he did 
 not so much paint to live as live to paint." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "His best work was in portraiture. He became an A. R. 
 A. in 1787 and R. A. in 1788; in 1805 he was chosen pro- 
 fessor of painting in the Royal Academy." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Untaught, he gained proficiency in portrait painting. 
 Not being circumscribed in talent, he gained great success 
 in various branches; and Boydell's Shakespeare, Macklin's 
 Poets, and Bowyer's edition of Hume soon afforded ample 
 scope for Opie's abilities, who produced upon these oc- 
 casions some of the best specimens of the English school. 
 His best pictures possess great expansions, his coloring 
 is chaste and his chiaro-scuro perspicuous." 
 
 — Pilkington's Dictionary of Painters. 
 
 " 'The Cornish Wonder' grew rich and fashionable, 
 studied diligently, became professor at the Academy, won- 
 derfully improved his portraits and extended his ambition 
 to high art, where his best effort is 'The Assassination of 
 Rizzio.' To him belongs that often-quoted anecdote of 
 
74 
 
 T. R. WAT.KER COLLRCTTON. 
 
 the painter who, when asked with what he mixed his col- 
 ors, replied, ''With brains, sir.' " 
 
 — Radcliife's Schools and Masters of Painting. 
 
 "As an artist, his works prove his great genius and origi- 
 nal powers. Later his compositions were more simple, his 
 light and shade better understood, and his works have a 
 vigorous and manly strength which contrasts wnth the 
 feeble inanities of many of his contemporaries." 
 
 — Redgrave's Dictionary of Artists of the English School. 
 
 No. 64— "Jeune Fille (A Young Girl)." 
 
 The young lady is seated near a great marble pillar sup- 
 porting the roof of a high portico or porch. She is turned 
 three-quarters to the left. Her dress of some soft material 
 is creamy white, cut decollete, thus displaying the shapely 
 shoulders and neck. The silken scarf has slipped from the 
 shoulders and lies in delicate folds across her lap, part- 
 ly covering the plump bare arms. The well poised 
 head is crowned with a profusion of auburn hair braided, 
 and looped back into a bewitching fold on top; while stray 
 ringlets hang down over the forehead. The brown eyes, 
 the dignified bearing, the modest intellectual face are all 
 done in this artist's usual strength and originality, making, 
 on the whole, a very pleasing and interesting portrait. 
 
 PLASSAN (Antoine Emile) Franc* 
 
 Born at Bordeaux. 
 Medals, 1852, 1857 and 1859. 
 Chevalier of the Legion of Honor, 1859. 
 
INDEX AND BTOGRAPTTTCAT. NOTES. 75 
 
 No. 65— "Baby's Return." 
 
 271/2 X 19/2. 
 
 It was the custom of long ago for the Grand Dames tc 
 entrust the rearing of their children to one of their retain- 
 ers. Here, through babyhood, the child knew only the 
 care of its foster mother. Upon reaching its third or 
 fourth year, baby was allowed to return to its mother. It 
 is this return that forms the subject of the picture. The 
 littld blue-gowned baby is standing at its foster mother's 
 knee, looking wonderingly at the grand lady, richly at- 
 tired, who is holding out her arms to her little one. The 
 crimson costume of "My Lord," the rich dress of ''My 
 Lady,'' together with the children and their attendants, 
 form a strong contrast to the dark carvings of the interior. 
 The colors are rich and dark, and the whole picture soft 
 and beautiful. 
 
 PHILIPPOTEAU (Paul) France 
 
 This artist studied in France, where he became so well 
 known as a landscape and battle painter, that he was en- 
 gaged by Americans to paint panoramic scenes on the 
 Southern battle fields. 
 
 He has been employed for several years by the Khedive 
 of Egypt painting Egyptian scenes for the royal household 
 at a salary of $75,000 per year. 
 
 >KNo. 66— "Battle of Five Forks." 
 
 67 X 42. 
 
 "On April 1st, 1865, Sheridan fought and won the glori- 
 ous battle of Five Forks against this detached rebel force, 
 and, besides capturing six thousand prisoners and six pieces 
 of artillery, dispersed the rest to the north and west, away 
 from the balance of Lee's army. That night, after Grant 
 
76 T. B. WALKER COLLECTION. 
 
 received the news of this victory, he went into his tent, 
 wrote a dispatch, sent it by an orderly, and, returning to 
 the fire outside his tent, calmly said: 'I have ordered an 
 immediate assault along the lines.' This was afterwards 
 modified to an attack at three points on the Petersburg 
 works, at four o'clock in the morning, a terrific bombard- 
 ment, however, to be kept up all night. Grant also sent 
 more reinforcements to Sheridan. On the morning of 
 April 2d the assault was made and the enemy's works were 
 gallantly carried, while Sheridan was coming up to the 
 west of Petersburg." 
 
 — John A. Logan's "Great Conspiracy'' Page 633. 
 
 ^'After reading the instructions I had given him, Sher- 
 idan walked out of my tent, and I followed to have some 
 conversation with him by himself — not in the presence of 
 anybody else, even of a member of my stafif. In prepar- 
 ing his instructions I contemplated just what took place; 
 that is to say, capturing Five Forks, driving the enemy 
 from Petersburg and Richmond, and terminating the con- 
 test before separating from the enemy. But the Nation 
 had already become restless and discouraged at the prolon- 
 gation of the war, and many believed that it would never 
 terminate, except by compromise. 
 
 "I told him that, as a matter of fact, I intended to close 
 the war right here with this movement, and that he should 
 go no further. His face at once brightened up, and, slap- 
 ping his hand on his leg, he said: *I am glad to hear it, 
 and we can do it.' 
 
 "It was dusk when our troops, under Sheridan, went 
 over the parapets of the enemy. The two armies were 
 mingled together there for a time in such manner that it 
 was almost a question which one was going to demand 
 the surrender of the other. Soon, however, the enemy 
 broke and ran in every direction, some six thousand pris- 
 oners, besides artillery and small arms in large quantities, 
 falling into our hands. The flying troops were pursued in 
 
INDEX AND BTOGRAPHTCAL NOTES. 77 
 
 different directions, the cavalry and Fifth corps under 
 Sheridan pursuing the larger body, which moved north- 
 west. 
 
 "I notified Mr. Lincoln at City Point of the success of 
 the day; in fact, I had reported to him during the day and 
 evening as I got news, because he was so much interested 
 in the movements taking place that I wanted to relieve 
 his mind as much as I could. 
 
 *'Le^ made frantic efforts to recover at least part of the 
 lost ground. Sheridan, after he had returned to Five 
 Forks, swept down to Petersburg, coming in on our left. 
 This gave us a continuous line from the Appomattox River 
 below the city to the same river above." 
 
 — Personal Memoirs of U. S. Grant. 
 
 POOLE (Paul Falconer) England 
 
 Born at Bristol, 1810; died, 1879. 
 
 Of his education, little is known; said to have been 
 entirely self-taught. 
 
 At twenty years of age he went to London, and exhibited 
 at the Royal Academy his first picture. 
 Elected Royal Academician, 1862. 
 
 "He is accounted one of the most original and success- 
 ful of English artists of the present time." 
 
 — Dr. Thomas in Lip pine otfs Biographical Dictionary. 
 
 "There has always been in Mr. Poole's work some ac- 
 knowledgment of a supernatural influence in physical phe- 
 nomena, which gives a more noble character to his storm 
 painting than can belong to any merely literal study of the 
 elements." —Ruskin. 
 
 "In 1850 and 1851, he produced 'Job's Messengers,' and 
 the *Goths in Italy,' two pictures of the highest character 
 and importance." —Dr. Thomas. 
 
78 
 
 T. B. WALKER COLLECTION. 
 
 *No. 66 — "Jot)'s Messengers/' 
 85x56^. 
 
 "The subject of this picture is the messenger announc- 
 ing to Job the irruption of the Sabeans, and the slaughter 
 of his servants, as we find the incident narrated in the 
 Scriptures: 
 
 " *And there came a messenger unto Job and said: "The 
 oxen were ploughing and the asses feeding beside them; 
 
 "And the Sabeans fell upon them and took them away; 
 yea, they have slain the servants with the edge of the 
 sword; and I only am escaped alone to tell thee." 
 
 " 'While he was yet speaking, there came also another, 
 and said: ''The fire of God is fallen from heaven and hath 
 burned up the sheep, and the servants, and consumed 
 them; and I only am escaped alone to tell thee." — Job 
 1: 14, 15, 16. 
 
 "As an expression of religious art^ this is a remarkable 
 picture. Job sits on the right, and opposite to him are his 
 three consoling friends; but the principal figure in the work 
 is the first messenger, a semi-nude figure, his back turned 
 to the light as he addresses Job. There are other supple- 
 mentary figures, male and female; one of the latter, on the 
 extreme left, is squeezing the juice of grapes into a vase. 
 On her right is another female figure carrying a basket of 
 fruit on her head. A boy, in the center of the picture, pours 
 out wine. 
 
 "The picture is exceedingly rich in color, a quality to 
 which the dark green curtain enclosing the pavilion mate- 
 rially contributes." — Magazine of Art. 
 
 RAVENSTEYN (Jan Van). 
 
 Born at The Hague, 1572. 
 Died (was buried) June 21, 1657. 
 "Pupil of Michael Mierevelt, was at Delft in October, 
 1597; settled at The Hague and joined the Guild of St. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 79 
 
 Luke. In 1656 he and many others left the Guild and be- 
 came the first members of the Pictura Brotherhood." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 "Dutch school, portrait painter, master of the ITa^uc 
 Guild in 1615, painted assemblies of magistrates and cor 
 porations with great skill in the manner of Mierevelt." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Hjs composition is good and full of spirit, his attitudes 
 are easy and have an agreeable variety, his lights and 
 shadows are judiciously distributed; his coloring is re 
 markably clear and his touch is broad and firm. His 
 knowledge in perspective, particularly the aerial, was exclu- 
 sive, nor was there any painter of his time who showed 
 more skill in the harmonious mixture of colors." 
 
 — Pilkington's Dictionary of Painters. 
 
 No. 67— "Portrait of a Dutch Lady." 
 
 20 X 36. 
 
 From the collection of the Marquis of Hastmgs. 
 The portrait is that of a noble lady in middle life, at- 
 tired in the peculiar costume of the Dutch capital at that 
 period. The dress appears to be black velvet, trimmed 
 with gold braid. The neck is encircled with the large 
 ruche or collar. She wears, on her head, a modest cap of 
 silk and fine lace. The coloring is clear and harmonious, 
 the composition faultless and the whole painting full of 
 life and interest. 
 
 RIBALTA (Juan de). 
 
 Born in Valencia in 1597. 
 Died there Oct. 10, 1628. 
 Spanish School; son and pupil of Francisco de Ribalta. 
 "He painted so nearly in his father's style that their 
 
80 T. B. WALKER COLLECTION. 
 
 works are often confounded. When only eighteen years 
 old, he painted the admirable 'Crucifixion/ now in the 
 Valencia Museum. Had he lived he would probably have 
 taken rank among the most famous of Spanish painters." 
 
 — Cyclopedia of Painters and Paintings. 
 
 No. 68— "Madonna of the Bloodstain." 
 
 45 X 58. 
 
 Mary is represented as seated upon a throne, attired in 
 queenly robes, with a crown upon her head. The Christ 
 child stands erect upon her lap, holding in his hands an 
 apple, indicative, no doubt, of the temptation and fall of 
 man. Immediately back of the throne are the everlasting 
 hills, crowned with the bow of promise. The peculiar 
 blood stain upon the left cheek of the Madonna portends 
 the crucifixion and the shedding of the innocent blood for 
 fallen man. 
 
 RIBERA (Josef De), (Spagnoletto, Lo.). 
 
 Born at Jativa, Spain, January 12, 1588. 
 
 Died at Naples in 1656. 
 
 Valencian and Neopolitan schools. 
 
 Pupil in Valencia of Francisco Ribalta. He went when 
 quite young to Rome, lived while studying on the charity 
 of his comrades, who nicknamed him "Spagnoletto" (Lit- 
 tle Spaniard). 
 
 — Cyclopedia of Painters and Paintings. 
 
 "Few painters have excelled Ribera's portraits either in 
 force or spirit." 
 
 — Stotherfs French and Spanish Painters. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 81 
 
 No, 69— **Saint Sebastian/' 
 
 One of the most realistic portrayals and striking repre- 
 sentations of the scene of the shooting of this most able 
 and humane martyr to the cause of religion. St. Sebastian 
 was shot by arrows until he was supposed to be dead, but 
 being still found alive by Irene, the widow of St. Castulus, 
 he was nursed back to health, but was afterwards discov- 
 ered by the Emperor, who had him beaten to death with 
 cudgels and his body thrown in the common gutter. Luci- 
 na, however, had the body buried in the catacombs. 
 
 No. 70-^"Saint Andrew (Strong Man)." 
 
 36 X 44. 
 
 From the Shandon Collection, Norfolk. 
 
 He was a brother of Peter, and a native of Bethsaida, in 
 Galilee. He was first a disciple of John the Baptist, but 
 followed Jesus on John's testimony^ and informed his 
 brother Peter of what he had found, viz., that Jesus was 
 the Christ. He was present at the feeding of the five thou- 
 sand at Jerusalem, and on Olivet when they asker* lesus 
 what he meant by his strange words about destroying and 
 rebuilding the temple. Of his after life and death nothing 
 is recorded. Tradition says he preached in Scythia or 
 Achaia, and was crucified on a cross now called *'St. An- 
 drew's cross/' which is of a peculiar shape, and still bears 
 his name. 
 
 The early writers mention the ''Gospel of St. Andrew," 
 but they were rejected and lost. He was a fisherman, and 
 is represented as holding a fish in his right hand. The out- 
 lines are still perfect, the expression on the face profound, 
 and the display of strength of body most natural. 
 
82 T. B. WALKER COLLECTION. 
 
 RICHET (Leon) France 
 
 Born at Solesmes. 
 Pupil of Diaz, whose style he has adopted. 
 Exhibited in the Salons of 1876, 1877 and 1878. 
 Medal, 1888. 
 
 *No. 71— "Near Fontainebleau." 
 
 29x21. 
 
 The old farm house, with its gray walls and thatched 
 roof, is in the foreground. On the left stretches a mea- 
 dow, and behind, to the right, a grove of trees. The whole 
 is rugged and picturesque. 
 
 RITZBERGER (Albert). 
 
 While not in the least an imitator of Vibert, this art- 
 ist possesses strong affinities with him. He excels in 
 fine technique, with an eye for details, yet without that 
 elaborate trifling so destructive to the unity of interior 
 compositions. He has rather more strength and depth of 
 color than Vibert, with less vigor of thought and compo- 
 sition. 
 
 *No. 72— "In the Morning Room." 
 
 32x44. 
 
 The strength of this picture lies in the surpassing 
 beauty of its coloring. Though not in a particularly low 
 key, there is a warm depth in the whole scheme of colors 
 employed that is seldom excelled. 
 
 The scene represents the window recess of an English 
 mansion. A gentleman sits at a table reading. At his 
 right sits a lovely lady, and another, with charming face 
 
INDEX AND BTOGRAPHTCAL NOTES. 
 
 83 
 
 and pose, stands opposite. Not an especially striking situ- 
 ation, one might say; but it is not in the situation that the 
 artist has told his story, but in the fine drawing, the s])l('n- 
 did painting and the capital composition. The light falls 
 through the window upon the book and table with wonder- 
 ful realism, throwing the reader's face into the shadow, 
 and giving a rare effect to this portion of the picture. The 
 lady sitting at the table is in full light, and the effect upon 
 h^r handsome form and rich dress is pleasing in the ex- 
 treme. 
 
 ROMNEY (George). 
 
 Born at Dalton-Ie-Furness, Lancashire, England, 
 Dec. 15, 1734. 
 Died at Kendal, November 15, 1802. 
 Studied under Steele. 
 "In 1762 and in 1765 he gained premiums from the So- 
 ciety of Arts for his pictures of the Death of Wolfe and 
 the Death of King Edward. In 1773 he visited Italy, and 
 after a two years' absence established himself in London, 
 where, until 1797, when he removed to Hampstead, he 
 divided public patronage with Reynolds and Gainsborough. 
 He painted with few colors, with great breadth of treat- 
 ment, and in some instances with exceeding grace and 
 sentiment." 
 
 — Cyclopedia of Painters and Paintings. 
 "Grandeur and simplicity became the principal objects of 
 his ambition. He perceived these qualities distinctly and 
 employed them judiciously, even whilst imitating nature 
 in his occupation of portrait painting. His style of color- 
 ing was simple and broad. In that of his flesh, he was 
 very successful, exhibiting a great variety of complexion 
 with much warmth and richness. The executive part of 
 his work was free and precise, without being trifling and 
 
84 T. B. WALKER COLLECTION. 
 
 minute, possessing great simplicity and exhibiting a purity 
 of feeling consonant with the style of his compositions. 
 He aimed at the best of all principles in the imitation of 
 nature, that of generalizing its effects; and he even carried 
 it so far as to subject himself to the charge of negligence 
 in the completion of his forms; but the truth of his imita- 
 tion is sufficiently perfect to satisfy those who regard na- 
 ture systematically and not individually or too minutely." 
 
 — Pilkington's Dictionary of Painters. 
 
 "He was more employed in painting portraits than his- 
 torical subjects, and his pictures were esteemed inferior to 
 those of few artists of his time." 
 
 — Bryants Dictionary of Painters and Engravers. 
 
 No. 73— "The Widow." 
 
 21 X 26. 
 
 From the Collection of Sir Cecil Miles, Leigh Court. 
 
 The portrait is that of a woman yet in the springtime of 
 life, when the heart beats young and all the world seems 
 glad. In the midst of the springtime of her joy she has 
 been robbed of the companionship of the only one in all 
 the world to her. The black dress and heavy veil are 
 outward indications of mourning, but the real sorrow is 
 wonderfully portrayed in the face and eyes of the be- 
 reaved woman. 
 
 Mr. Chas. D. Pratt, art critic of the Alaska-Yukon Ex- 
 position, says: "Romney was one of the best painters 
 of that time, known principally as a painter of Bacchantes 
 and Nymphs. In the two Romneys, in both of which the 
 beautiful Lady Hamilton is the inspiration for the artist, 
 we have the work of a man painting in a style far beyond 
 
INDEX AND RTOGRAPHICAL NOTES. 85 
 
 his day; especially is this so in 'The Widow,* which is 
 quite modern in treatment. His flesh painting is tender 
 and good color." 
 
 SCHENCK (August Frederic-Albrccht) Germany 
 
 Born at Gluckstadt, Holstein, 1828. 
 ^ Went to Paris, and studied under Leon Cogniet. 
 First exhibited at the Salon in 1855. 
 Medals at Paris, 1865; and Philadelphia, 1876. 
 
 *No. 74 — "Lost on the Mountain/' 
 
 58x36. 
 
 Schenck's animal subjects are not always melancholy 
 like the present one, for he has a caustic humor of his 
 own, but he is best known by subjects such as this, 
 where the condition of the animals, exposed to the dan- 
 gers of snow and cold, is depicted inj a way that spares 
 none of the agony. 
 
 One who has never suffered the experience of being 
 lost in a storm can have little conception of the horrors 
 such a fate entails. Only one familiar with the desola- 
 tion and loneliness of a mountain snow storm could have 
 pictured the scene as this artist has in this painting. 
 
 A flock of sheep are huddled together in a blinding 
 snow storm. The shepherd is doing his best to protect 
 his gentle charge, but the fury of the storm seems likely 
 to overcome them all. Just above them two birds of prey 
 are poised, waiting the time when they may pounce upon 
 the dead bodies. The picture is strong, not only in its 
 painting and drawing, but in its feeling. It appeals to 
 one's sympathy keenly. 
 
86 T. B. WALKER COLLECTION. 
 
 SCHENDEL (Petrus Van) Brussels 
 
 Born at Ter Hayden, North Brabant, 1806. 
 Died at Brussels, 1870. 
 History and Genre painter. 
 Pupil of Antwerp Academy under Van Bree, 1822-1828. 
 Settled first in Amsterdam, then in Rotterdam, where 
 he made a reputation with his portraits. 
 Went to The Hague, and in 1845 to Brussels. 
 Became known especially through his market scenes 
 with light effects. 
 
 Medals, Amsterdam, 1844; Paris, 1845 and 1847. 
 Chevalier of the Order of Leopold of Belgium. 
 21>^x26^. 
 
 *No. 75— "The Night Market." 
 
 A characteristic Van Schendel. Two women, with in- 
 tensely German faces, are buying vegetables at a market 
 stall. The yellow candle light makes the far-away moon 
 look pale and white as it shines on the distant buildings. 
 The figures are strong and realistic, and the coloring rich- 
 ly beautiful. 
 
 SMITH (H. P.) America 
 
 Born at Waterford, Connecticut, 1855. 
 
 *No. 76— "Landscape" (Sunset). 
 14x11. 
 
 A hilly eminence crowned with trees which stand out in 
 bold relief against the reddish glow of the setting sun. 
 Fine sky and cloud effects. 
 
INDEX AND BTOGRAinnCAL NOTES. 87 
 
 SMITH (F. Carl) Washington, D. C. 
 
 Was born at Cincinnati, Ohio. His parents came from 
 Stuttgart, Germany, in 1849. Carl was a student of the 
 Cincinnati Museum of Art, whence he won a medal. Fin- 
 ishing the course at this institution, he went to Paris, 
 where he remained six years, was a pupil of Bouguereau, 
 Ferrier, and Benjamin Constant at Julian Academy where 
 he received honors. He exhibited several times in the 
 Sklon in Paris, also in the leading art exhibitions in this 
 country. Mr. Smith is an indefatigable worker, painting 
 portraits of notable persons in Washington, D. C, during 
 the winter months, and usually passes his summers in 
 Holland "sketching and painting genre subjects. His color- 
 ing is clear and true to life. His portraits are designed 
 with exquisite taste, not only in likeness and finish, but 
 he has to a marked degree that rare gift of portraying 
 even character and individuality. In addition to his por 
 trait and genre works in Europe, he has painted portraits 
 of many notable people in America, including ^Secretary 
 Shaw, Mrs. Fairbanks and others. 
 
 "F. Carl Smith, who painted the portrait of Mrs. Fair- 
 banks, which was unveiled tonight at Continental Hall, 
 has an attractive studio in his new home in this city, 
 where some of the best known people in official life give 
 him sittings. He has at present an unfinished canvas of 
 Speaker Cannon and a vividly realistic pose of Senator 
 Hanna." 
 
 — N. Y. Tribune, Washington Bureau, April 17, 1903. 
 
 "Although widely known, both in this country and in 
 Europe, for his excellent figure work, Mr. F. Carl Smith 
 in this portrait (of Secretary Shaw) has surpassed, his 
 friends claim, his previous efforts. He was handicapped 
 apparently, as the Secretary posed for him in all only six 
 hours and a half, but he threw into his work that nervrus 
 enthusiasm which is characteristic of *he artist, and fhe 
 
88 
 
 T. B. WALKER COLLECTION. 
 
 result achieved is a fine example of American portrait art." 
 
 — Evening Star, Washington, May 23, 1903. 
 
 No. 77— Joseph G. Cannon." 
 
 Born at Guilford, North Carolina, May 7th, 1836. His 
 parents emigrated to Illinois when Joseph was a boy. By 
 the time he was twenty-five years of age he had acquired a 
 legal education and standing and was elected state attor- 
 ney for Illinois. He was a member of the state govern- 
 ment all through the Civil war and until 1868, when he was 
 elected as a member of the Forty-Third Congress, and with 
 the exception of the Fifty-Second Congress has served his 
 district continuously to this time (1909). He was chosen 
 as speaker of the House of Representatives for the Fifty- 
 Eighth Congress and has with dignity and devotion held 
 this high judicial position through each succeeding Con- 
 gress to and including the present extra session. This 
 portrait of "Uncle Joe" was painted by the artist for his 
 own studio out of admiration for the strong character of 
 this astute politician, in the Speaker's office under constant 
 interruptions. When finished, however, it was pronounced 
 a very remarkable likeness. 
 
 SCHUCH (Werner Wilhelm Gustav) Prussia 
 
 Born at Hildesheim, Prussia, 1843. 
 
 Began life as an architect, and did not take up paint- 
 ing until he was thirty years old. 
 
 In 1872 he began, without any teacher, to practice 
 himself in oil painting, copying pictures in the 
 
 Dresden Gallery, and making sketches from 
 nature in Tyrol and Upper Italy. 
 
INDEX AND BIOGRAPHICAL NOTES. 89 
 
 *No. 78— "Episode from the Thirty Years War.' " 
 
 96 X 90. 
 
 "A body of troops is crossing a wild stretch of country 
 with a baggage-wagon and its guard. The ravages of war 
 are hinted at in the ruins of a castle, with its shattered 
 tower and dismantled gable, while some nearer trees serve, 
 w^ith their blackened trunks and blasted branches, as em- 
 blems of its former pride, now fallen. The baggage-wagon 
 is a cumbrous structure, too heavy, apparently, for the 
 work it has to do in carrying only a barrel of wine and a 
 man whose business seems to be to tap the barrel occa- 
 sionally for a thirsty officer. The sturdy wheels j^lough 
 deep in the muddy road, but the outrider on one of the two 
 horses that drag the vehicle has only an inefifectual dog- 
 whip to urge his beasts. By the side of the team, tlie cap- 
 tain, bare-headed, and with his leathern doublet protected 
 by pieces of armor, sits on a sturdy cob and draws the rein 
 as he turns to throw back some jest nt the man on the 
 wagon. He holds in his hand a flagon, the cover raised, 
 from which he will drink again when his jest is sped. By 
 the side of the wagon a man-at-arms is walking, match-lock 
 on shoulder, pipe in mouth and hand in pocket. He is 
 dressed in doublet and breeches, with iron helmet and big 
 boots, his thick beard just allowing us to see the corners 
 of his falling linen collar. Behind the wagon comes the 
 rest of the convoy — a band of musicians with fife and drum 
 and mounted warriors following, some in armor with hel- 
 met and plume, some in laced jerkins and broad brimmed 
 hats and feathers — a motley crowd, characteristic of this 
 time of change, when old faiths and customs were giving 
 way to new, and the world seemed for the time being in 
 chaos. So, at least, the donkey by the roadside thinks, as 
 he plants his fore-feet, shakes his head, lifts his remon- 
 strating ears and lets his angry owner thwack him with 
 the stout oaken cudgel at his will. Meanwhile, the woinan 
 
90 
 
 T. B. WALKER COLLECTION. 
 
 on his back, with the nursing baby in her arms, joins in 
 the laugh of the soldiers at her plight, and shakes her fist 
 at the beast, as if she thought the affair a joke. Not so 
 the little daughter, however, who stands by the donkey's 
 side crying, half for pity at the beating he is getting and 
 half for fear of the soldiers. To her the affair is any- 
 thing but a joke." — Art and Artists of Our Time. 
 
 Onward they come, man and charger, wife and goods, 
 those troops, which, during Germany's darkest days, 
 worked the people's bitterest woe. 
 
 Who has not heard of the two brave leaders of the con- 
 tending forces of the Thirty Years War — Ernst von Manns- 
 feld and Christian, of Brunswick, surnamed "Mad Halber- 
 stadt?" 
 
 As early as the year 1622 they had ravaged the terri- 
 tories about Mayence, in Alsatia and Westphalia, and 
 apain in the year 1625 their bloodthirsty marauders over- 
 ran the Arch-bishopric of Cologne, plundering and devas- 
 tating to their hearts' content, flaunting their device: 
 ''Eriends to God — Eoes to Priests." 
 
 Ernst, Count Mannsfeld, born in 1580 and educated in 
 the Catholic faith at the Court of the Archduke Ernst of 
 .Austria, afterwards joined the League and enlisted in the 
 Bohemian service in the year 1618. He took Pilsen by 
 storm and was put under the ban of the Empire. When 
 the Count Palatine Frederick laid down his arms, Manns- 
 feld, in company with Christian of Brunswick, took service 
 in the armies of the United Provinces of the Netherlands, 
 until he disbanded his demoralized army in 1623. At the 
 head of a new army he entered the Provinces of Moravia 
 and Hungary, intending to pass through the Turkish do- 
 minions and penetrate as far as Venice. On the way thith- 
 er, on November 26th, 1626, in the Bosnion village of 
 Wrakowitz, he ended his career, meeting death calmly, 
 propped in the arms of two of his officers. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 91 
 
 Christian, Ducal Prince of Brunswick, born 1599, ex- 
 changed the mitre of the Monastery of Halberstadt, which 
 had been forced upon him, for the sword, at the moment 
 when the unfortunate Frederick, the Elector Palatine, the 
 so-called "Winter King," lost his crown at the battle of 
 "Amweissen Berge," fought against Tilly. Swearing alle- 
 giance to the colors of the fugitive king, he is said to have 
 enthusiastically espoused the cause of the beautiful Eliz- 
 abeth, Electress Palatine. After knightly fashion — thus 
 the tradition reads — he carried on his hat, in lieu of plume, 
 his lady's gauntlet, and the device of his sword read: Tout 
 pour Dieu et tout pour elle. 
 
 While yet a youth of twenty-seven, he died from the 
 effects of exposure endured during his marches. 
 
 SCHUSSELLE (E.) Philadelphia, Pa. 
 
 For many years the Art Director of the Academy in Phil- 
 adelphia and one of the best known painters 
 of his time. 
 
 >KNo. 79— "General Jackson Before Judge Hall." 
 
 [Fined for contempt of court, at New Orleans, in 1815.'] 
 
 62x42. 
 
 Painted in 1859. Schusselle devoted ten years of care- 
 ful work to reproducing this scene. The characters are 
 all reliable portraits of the parties and the painting is a 
 correct historical reproduction of this celebrated scene. 
 
 "General Jackson, like a true soldier, did not relax his 
 vigilance after the victory that saved Louisiana from Brit- 
 ish conquest. He maintained martial law in New Orleans 
 rigorously, even after rumors of a proclamation of peace 
 reached that city. When an official announcement of 
 peace was received from Washington, he was involved in 
 
92 T. B. WALKER COLLECTION. 
 
 a contention with the civil authorities, who had opposed 
 martial law as unnecessary. In the Legislature of Louis- 
 iana was a powerful faction opposed to him personally, 
 and when the officers and troops were thanked by that 
 body (February 2d, 1815), the name of Jackson was omit- 
 ted. The people were very indignant. A seditious publi- 
 cation soon appeared, which increased their indignation, 
 and, as this was a public matter, calculated to produce 
 dissatisfaction in the army, Jackson caused the arrest of 
 the author, and his trial by martial law. 
 
 "Judge Dominic A. Hall, of the Supreme Court of the 
 United States, issued a writ of habeas corpus in favor of 
 the ofTender. Jackson considered this a violation of mar- 
 tial law, and ordered the arrest of the judge and his ex- 
 pulsion beyond the limits of the city. The judge in turn, 
 when the military law was revoked in consequence of the 
 proclamation of peace, required Jackson to appear before 
 him and show cause why he should not be punished for 
 contempt of court. He cheerfully obeyed the summons, 
 and entered the crowded court-room in the old Spanish- 
 built court house in citizen's dress. He had almost 
 reached the bar before he was recognized, when he was 
 greeted with huzzas by a thousand voices. The judge was 
 alarmed and hesitated. Jackson stepped up, procured si- 
 lence, and then, turning to the trembling judge, said: *There 
 is no danger here — there shall be none. The same hand 
 that protected this city from outrage against the invaders 
 of the country will shield and protect this court, or per- 
 ish in the effort. Proceed with your sentence.' The agi- 
 tated judge pronounced him guilty of contempt of court 
 and fined him $1,000. This act was greeted by a storm 
 of hisses. The general immediately drew a check for the 
 amount, handed it to the marshal and then made his way 
 to the court house door. The people were intensely ex- 
 cited. They lifted the hero upon their shoulders, bore 
 him to the street, and there an immense crowd sent up a 
 
INDEX AND BIOGRAPHICAL NOTES. 93 
 
 shout that blanched the cheek of Judge Hall. Jackson 
 was placed in a carriage from which the people took the 
 horses, and dragged it themselves to his lodgings, where 
 he addressed them, urging them to show their apprecia- 
 tion of the blessings of liberty and a free government by 
 a willing submission to the authorities of their country. 
 Meanwhile $1,000 had been collected by voluntary subscrip- 
 tions and placed to his credit in a bank. The general 
 politely refused to accept it, and begged his friends to dis- 
 tribute it among the relatives of those who had fallen in 
 the late battles. 
 
 ^'Nearly thirty years afterwards (1843) Congress re- 
 funded the sum with interest, amounting in all to $2,700." 
 
 — Cyclopedia of United States History. 
 
 TAIT (Arthur F.), N. A New York 
 
 Born at Liverpool, 1819. 
 Came to America, 1850. 
 Elected a member of the National Academy, 1858. 
 
 *No. 80— "Maternal Solicitude." 
 
 19 X 25 
 
 An example of maternal solicitude. A valiant little hen 
 defending her chickens against a black spaniel. 
 
 THORPE. 
 
 No. 81— Tortrait of Thomas B. Walker." 
 
94 
 
 T. B. WALKER COLLECTION. 
 
 TURNER (Joseph Mallord William) England 
 
 Born at London, 1775. 
 Died, December 19, 1851. 
 Entered Schools of Royal Academy in 1789. 
 Became A. R. A. in 1799; R. A., 1802. 
 Professor of Perspective in Royal Academy in 1807. 
 Turner's genius was early recognized by the Royal Acad- 
 emy, for in 1799, when only twenty-four, he was elected an 
 Associate, and three years later became an Academician. 
 His famous ''Liber Studiorum," ranks among the important 
 labors of his life. The Turner Room in the National Gal- 
 lery, London, contains seventy of his best works. He died 
 at Chelsea and was buried in St. Paul's Cathedral. 
 
 "Turner was not only the greatest English landscape 
 painter, but the greatest interpreter of nature of any time 
 or country. No landscapes convey so natural and complete 
 a sense of light and shadow and atmosphere, or so entire a 
 mastery of color as his." 
 
 — D^Anvers' Elementary History of Art. 
 
 "The exhibition of 1815 was a remarkable one as regards 
 Turner. Of the eight works by him contained in it, four 
 were in their several characters of the utmost degree mas- 
 terly— The Battle of Ford Bard in the Vale of Aosta,' a 
 large water-color drawing; 'Blind Sand,' 'Crossing the 
 Brook,' and 'Dido Building Carthage' — all different, and 
 each sufficient to have made a painter's reputation. They 
 are all four now in the National Collection." 
 
 — The Turner Gallery. 
 
 "Turner, the best known name in English art, is rep- 
 resented (in the Alaska-Yukon-Pacific Exoosition) by one 
 of his famous Venetian scenes and a classic landscape in 
 the tropics. He renders the poetry of nature as no other 
 artist, and the composition of his pictures is faultless; in 
 portraying gorgeous effect and the phenomena of nature, 
 
INDEX AND BTOGRAPTTTCAL NOTES. 
 
 95 
 
 he excels. Ele was the apostle of light, and an artist of 
 sublime genius." 
 
 "^Chas. D. Pratt, Art Critic Alaska-Yukon Expo. 1909. 
 
 No. 82— "Venice/' 
 
 44 X 56. 
 
 From the Collection of Lord Townscnd. 
 Mr. Turner was engaged by Lord Townscnd to paint 
 this large picture for his private galleries. It is without 
 doubt one of the best and largest of this master's many 
 Venetian scenes. There is not likely extant another paint- 
 ing more representative of Turner's peculiar and attractive 
 style than this Townsend picture. His colorings run from 
 rich deep reds to the most delicate shades of pink and 
 green, all blended with such harmony as to be most pleas- 
 ing and beautiful. The vari-colored reflections in the wa- 
 ters of the canal have probably never been equaled by 
 himself or any other master of the brush. 
 
 VAN DYCK (Sir Anthony). 
 
 Flemish School. 
 English School. 
 Born at Antwerp, 1599. 
 Died in England, 1641. 
 Pupil of Rubens. 
 *'He is chiefly distinguished as a portrait painter, al- 
 though he executed many historical paintings. Wornum 
 says: 'As a portrait painter Van Dyck is generally allowed 
 to dispute the palm with Titian. His portraits are in- 
 ferior to Titian's in color and in solidity of efifect. In all 
 other respects Van Dyck was fully equal if not superior 
 to the great Venetian painter.' " 
 
 —Hoyfs The Historic Schools of Painting. 
 
96 
 
 T. B. WALKER COLLECTION. 
 
 ^'Inferior to Rubens in imagination and energy of char- 
 acter, he excelled him in feeling for spiritual beauty, in 
 elevation of sentiment and refinement of execution. Van 
 Dyck was pre-eminently a portrait painter, and as such is 
 admitted to rank with Titian; but he also attained to high 
 excellence in the treatment of sacred subjects. 
 
 'Tn portraiture Van Dyck rises to the greatest height, 
 and fears no rival but Titian, Holbein, Velasquez and 
 Rembrandt." — D'Anvers' Elementary History of Art. 
 
 **Van Dyck's best work is in portraiture, and he is one 
 of the most accomplished masters of that art. First in 
 Italy, and then at the court of Charles I of England, he 
 had frequent opportunity to immortalize the princes, the 
 prelates and the brilliant aristocracy of his time. All of 
 these pictures are remarkable for a thoroughly dignified 
 conception, a wonderful refinement of psychological por- 
 traiture and for the charms of their incomparably clear, 
 soft and finely-treated coloring." 
 
 — Lubke's The History of Art. 
 
 ^'Refined, elegant, exquisite in taste and sweet in color, 
 his is almost unrivalled. His hands are noted for their 
 beauty, his heads unconstrained and full of life and truth; 
 the action, simplicity and dignity of his figures and grace 
 of his draperies are unsurpassed." 
 — Redgrave's Dictionary of Artists of the English School. 
 
 'Tn portraiture Van Dyck will not be denied the most 
 honorable place after Titian, and it will then be admitted 
 that Titian only retains this superiority in the heads of 
 his portraits, and that in the hands and accessories he was 
 inferior to our painter, both in correctness and elegance. 
 His attitudes are easy and natural and they captivate by 
 an air of unafTected simplicity for which his portraits are 
 singularly remarkable. His heads are full of life and ex- 
 pression, without anything of the coldness and insipidity 
 
INDEX AND BIOGRAPHICAL NOTES. 97 
 
 which arc frequently found in the productions of the por- 
 trait painter." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 ''According to Fuseli, Van Dyck deserves the next pLace 
 after Titian in portrait painting. Inferior to that master 
 in richness and warmth of coloring, he surpassed him in 
 almost every other respect. He is unrivalled for the deli- 
 Ctjte drawing and beauty of his hands; he was a perfect 
 lAaster of drawing and chiaroscuro; he was admirable in 
 draperies; with simplicity of expression and graceful atti- 
 tudes he combined both dignity and individuality; his heads 
 are full of life and expression without anything of the 
 coldness and insipidity which are frequently found in the 
 productions of the portrait painter." 
 
 — Spooner's History of the Fine Arts. 
 
 ^'No master from beyond the Alps ever took up a higher 
 position than Van Dyck among the most celebrated repre- 
 sentatives of Italian art. 
 
 *'Van Dyck is one of the most brilliant figures in the 
 history of art. That he should, in the same subjects cho- 
 sen by Rubens, have attained the same degree of expression 
 was scarcely possible. Rubens was exceptional precisely 
 through the sweep and power of his imagination; but Van 
 Dyck, applying the same principles to portrait painting, 
 was no less exceptional. Titian, Raphael, Rembrandt, Ve- 
 lasquez and Frans Hals are not, on the whole, superior to 
 him in this branch. They often delight us with their tech- 
 nical excellence or penetrating study of individuality, but 
 their conception remains entirely different from that of 
 Van Dyck. With him, as with Rubens, physiognomical 
 mterpretation is so intimately connected with picturesque 
 necessity that his portraits scarcely ever fail to leave an 
 indelible impression on the mind." 
 
 — Encyclopedia Britannica. 
 
98 T. B. WALKER COLLECTION. 
 
 No. 83— "Mother and Child." 
 
 32 X 26. 
 
 "This beautiful painting is a genuine Replica of a larger 
 one which is in Dulwich Gallery, London. It came from 
 the collection of Lord Jersey, and was purchased many 
 years ago, when its authenticity was not doubted." 
 
 Chas. D. Pratt, art critic of the Alaska-Yukon Exposi- 
 tion says: 'This painting, "Mother and Child," is an 
 earlier work, and shows evidence of his sojourn in Italy." 
 
 No. 84— "Portrait of the Duke of Stafford." 
 
 35 x47>^. 
 
 From the Collection of the Duke of Fife. 
 
 Thomas Wentworth Stafford, Earl of, an English Gen- 
 eral, born in London abort 1593. In 1614 he was elected to 
 Parliament for Yorkshire. In 1628 he was created a baron 
 and appointed lord councilor of the North and privy coun- 
 sellor. In 1631 he was appointed Lord Deputy of Ireland, 
 which he governed in a tyrannical manner. He was creat- 
 ed Earl of Stafford in 1639. His design was to make the 
 royal power as absolute in England as it was in Ireland. 
 The revolt of the Scotch, whom the King foolishly pro- 
 voked to fight for their religious rights, interfered with the 
 success of Stafford's scheme. At this juncture (1640) 
 Charles I appointed Stafford General In Chief of the army. 
 But before he could join the army it was driven from the 
 border by the insurgents and the war was ended by a 
 treaty. Parliament in November, 1640, impeached Stafford 
 for high treason. After a trial lasting several months, the 
 Duke of Stafford was beheaded in May, 1641. 
 
 This splendid portrait shows the Earl in full uniform ac- 
 companied by his faithful dog. 
 
INDEX AND BIOGRAPHICAL NOTES. 99 
 
 Mr. Pratt, art critic for the Alaska-Yukon Exposition, 
 says: "Van Dyck's best work was his portraiture, for 
 which he becarhe famous. He has refined color and great 
 dignity of purpose. His Duke of Strafford is a man of 
 breeding and distinction." 
 
 No. 85— "Children of Charles I." 
 
 From the Collection of the Duke of Sutherland, Trenham 
 Hall, Stoke in Trent. 
 The children are Prince Charles, who became King 
 Charles II, Prince James, who became King James II, and 
 Princess Elizabeth. A beautiful and interesting portrait 
 in Van Dyck's finely treated coloring. 
 
 VERNET (Claude Joseph) France 
 
 Born at Avignon, 1712. 
 Died at Paris, 1789. 
 French School. 
 Marine painter. 
 Son and pupil of Antoine Vernet, and pupil of Adrien 
 Manglard. 
 
 Went to Rome in 1732 and studied with Fergioni, Panini 
 and Solimena. 
 
 He became the first marine painter in Europe and was 
 patronized by many courts. 
 Was commissioned by the King to paint all the seaports of 
 France. He completed fifteen of the twenty, when 
 he became wearied of traveling, and returned 
 to France. 
 
 "His marines and seaports vie with his landscapes for su- 
 periority and nothing can exceed the purity of his skies. He 
 
100 T. B. WALKER COLLECTION. 
 
 effected a revolution in art by simply setting the sun in 
 heaven. Until his time no one had thought of painting 
 the sun except conventionally. He painted the effects of 
 misty shadows and other delicate aerial transitions as no 
 one had ever done before. 
 
 No. 86— "Italian Seaport" (Sunset). 
 
 62 X 42. 
 
 In a quiet harbor some caravels are moored. On the 
 shore on either side are some fine old castles, the one on 
 the right being high up on the hill side. In the fore- 
 ground some fisher-folk are lighting a fire. The sky is 
 bright v^ith the last rays of the setting sun, which is just 
 sinking beneath the horizon. The water sparkles under 
 its bright rays and light clouds sweep across the sky. 
 
 Chas. D. Pratt, art critic, Alaska-Yukon-Pacific Exposi- 
 tion, 1909, says: ^'Hanging near by Lorraine's ''Classic 
 Harbor Scene" is an "Italian Seaport," by Claude Vernet, 
 who painted more than two hundred marine pictures." 
 
 VERONESE (Paolo). 
 
 Born in Verona in 1528. 
 Died in Venice in 1588. 
 Venetian School. 
 Real name was Paolo Caliari or Cagliari. 
 "As Titian was then very old, Veronese shared with 
 Tintoretto the most important commissions. He received 
 orders from the Emperor Rudolph II, Duke of Savoy, and 
 the Duke of Modena." 
 
 — Cyclopedia of Painters and Paintings. 
 
 "His first works in Venice were for the church of San 
 Sebastiano. Here, after painting the ceiling of the Sacris- 
 
INDEX AND BIOGRAPHICAL NOTES. 101 
 
 ty, he was commissioned to undertake the ceiling of the 
 church itself^ which he decorated with gorgeous scenes 
 from the history of Esther. These were so much admired 
 that the prior further employed him to paint a beautiful 
 altar piece of the Madonna in glory, and several smaller 
 works. * * Indeed., the whole church of San Sebastiano 
 glows with his work and remains a splendid monument of 
 his masterly power and skill." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 ^'His taste was better adapter to large and small compo- 
 sitions, for though in the latter his merit in coloring and 
 design was evident, yet in the former he displayed all 
 the fire of his imagination and the vertility and magnifi- 
 cence of his invention. In most of his large works he 
 was either the associate or competitor of Tintoretto; nor 
 was the prominence of either ever determined. If Tin- 
 toretto was allowed to imitate nature with superior force 
 and vivacity and more truth of color, Veronese was ac- 
 knowledged to have a finer invention, more grace in his 
 figures, more dignity in his characters and more elegance. 
 His composition is grand, his design noble, and executed 
 with truth and spirit." 
 
 — Pilkington's Dictionary of Painters. 
 
 'Taolo Veronese rivaled even Titian in the grandeur of 
 his individual forms, and Tintoretto in the magnificence 
 of his compositions. 
 
 "Paolo worshipped beauty for its own sake only, and 
 was thoroughly in touch with it in its every manifesta- 
 tion. His imagination was, it has been somewhat carp- 
 ingly said, neither exalted or profound; but even if this 
 be true, he was undoubtedly able to reproduce what he 
 saw with a truthfulness and skill rarely, if ever, sur- 
 ^^assed. To interpret faithfully the relations and mutual 
 effect of the various figures and objects brought together 
 in one scene; to translate successfully every subtle effect 
 of light on an infinite variety of surface and gradation of 
 
102 T. B. WALKER COLLECTION. 
 
 color; to immortalize the lovely women and noble-looking 
 men with whom he was brought into contact, and to 
 transmute into one harmonious whole, in which there was 
 never any confusion, all the scattered and conflicting ele- 
 ments of charm in the great banqueting scenes, at which 
 he himself often assisted, were the chief aims of the Mas- 
 ter, and that he fully realized them not even the most 
 grudging critic can deny." 
 
 — Biography of Paolo Veronese, by Mrs, Arthur Bell. 
 
 No. 87— "Bacchus and Nymph." 
 
 39j4x29^. 
 
 Bacchus, the god of wine, is seen pleading with a beau- 
 tiful nymph, and although not convinced, she seems an 
 interested listener. Age has darkened this splendid can- 
 vas somewhat, yet the grace of his figures, the dignity of 
 his characters, and the elegance of his composition show 
 plainly the handiwork of this great master. 
 
 VUILLEFROY (Dominique Felix de). 
 
 Born at Paris, 184L 
 Animal and landscape painter. 
 Pupil of Hebert, Bonnat and Tryon. 
 Medals, 1870 and 1875. 
 Legion of Honor, 1880. 
 Hors Concours* 
 
INDEX AND BIOGRAPHICAL NOTES. 103 
 
 *No. 88— "Troop of Cattle Coming Down the 
 Mountain." 
 
 45>^x3l5^. 
 
 A scattered herd of cattle, sturdy, and well-drawn, follow 
 a wandering path down the grassy slope of the mountain. 
 In the sky a heavy mountain mist hangs over, as though 
 threatening any instant to break into a storm. 
 WART (A. Van). 
 
 A prominent American sculptor who died before reach- 
 ing middle age, but became quite famous by producing in 
 marble busts and statues of many noted Americans. 
 
 No. 89 — "Marble Bust of Washington Irving." 
 
 From the collection of William L. Worthington, New York. 
 
 WEBBER (John), R. A England 
 
 "Born in London, 1751, but his father, who was a sculp- 
 tor, was a native of Berne, Switzerland. Part of his edu- 
 cation as an artist he received at Paris, but he completed it 
 in the Royal Academy, of which institution he was elected 
 an associate in 1785 and a Royal Academican in 1791. 
 
 In the last voyage made by Captain Cook round the 
 world, Mr. Webber was appointed draughtsman to the 
 expedition. He returned to England in 1780. He died in 
 1793." — Pilkington's Dictionary of Painters. 
 
 No. 90— "The Cliffs of Dover." 
 
 33^4 X 53. 
 
 The Straits of Dover is a narrow channel between Dover, 
 England, and Calais, France. At the narrowest part it is 
 only twenty-one miles wide, and its depth at the highest 
 
104 T. B. WALKER COLLECTION. 
 
 spring tides is about twenty-five fathoms. On both the 
 French and English sides those chalky cliffs show a cor- 
 respondency of strata, which leaves no room for doubt that 
 they were once united, although this fact is otherwise 
 known. 
 
 The celebrated castle of Dover stands on one of those 
 chalky cliffs, 350 feet high. 
 
 WEST (Benjamin). 
 
 Born at Springfield, Pennsylvania, 1738. 
 
 Left America in 1760 for three years' study in Italy. 
 On his return he stopped in England, where the 
 profitable patronage of George III induced him 
 to remain. He then inaugurated what Hay- 
 don calls "high art/' and was praised as 
 an English Raphael. 
 
 He died in 1820 and was buried with great pomp in 
 St. Paul's Cathedral. 
 
 "There has not yet appeared a learned, just and academic 
 critique upon the works of West, but there can be no doubt 
 that such an one would pronounce him the greatest histor- 
 ical painter of the eighteenth century." 
 
 — Spooner's History of the Fine Arts. 
 
 "West, who was much patronized by the King (George 
 III), was one of the first members of the Royal Academy 
 and succeeded Sir Joshua Reynolds as President of that 
 institution in 1792." 
 
 — D'Anvers* Elementary History of Art. 
 
INDEX AND BIOGRAPHICAL NOTES. 105 
 
 '''No. 91 — **Lear Discovered in the Hut by 
 Gloucester." 
 
 28 X 22. 
 
 By the lurid light of the flaring lamp, Gloucester discov- 
 ers the raving Lear in the dark and discomfort of the half- 
 ruined hut. The long hair and drenched garments of the 
 King whip in the roaring v^ind and rain, as he peers in 
 half-conscious frenzy into the face of the faithful Glouces- 
 ter. All around is the storm, darkness, and rain. On the 
 left a lurid flash of lightning cracks the inky sky with an 
 instant's blinding fire. In the background, the shadowy out- 
 lines of the hut are discernible. 
 
 WESTERBEEK (C.). 
 
 *No. 92— 'Returning from the Fields." 
 
 40 X 20. 
 
 A flock of sheep are being driven along a country road 
 by a peasant woman. The road leads straight up through 
 the center of the picture, the flock in the immediate fore- 
 ground receding from the spectator. The picture is painted 
 in a soft tone, with careful effect and conscientious finish 
 of execution. 
 
 WILSON (Richard). 
 
 Born at Pinegas, Montgomeryshire, Aug. 1, 1713. 
 Died at Llanberris, Carnarvonshire, May, 1782. 
 Landscape and portrait painter. 
 Pupil of Thomas Wright. 
 Later studied in Italy. 
 His picture of "Niobe" gained him recognition on its ex- 
 
106 T. B. WALKER COLLECTION. 
 
 hibition at the Society of Fine Arts. It was purchased by 
 the Duke of Cumberland. Wilson was one of the original 
 members of the Royal Academy and, in 1776, was appointed 
 its librarian. 
 
 Long after his death the popular taste became educated 
 to his standard and he is now regarded as one of the great- 
 est of English landscape painters." 
 
 — Cyclopedia of Painters and Paintings, 
 
 "In 1749 he was employed by Dr. Hayter, then their tutor, 
 to paint the portraits of the Prince of Wales and the Duke 
 of York. There are many portraits by him at the Garrick 
 Club and in private collections. Richard Wilson was the 
 greatest landscape painter which the British School pro- 
 duced up to the end of the last century." 
 
 — Painters and Their Works, 
 
 "The style of Wilson is altogether original. Following 
 nature as his guide, he adopted a varied and interesting 
 manner, distinguished for its boldness and fidelity to nature, 
 yet entirely classical. He avoided the acquisition of all ad- 
 ventitious beauties and escaped the mannerism which gen- 
 erally arises from the too partial study of favorite masters." 
 
 — Spo oner's History of the Fine Arts. 
 
 "Of the style of Wilson it might be sufficient to observe, 
 that it formed an epoch in English landscape painting; 
 being equaled by none before, and perhaps not surpassed 
 by any who have followed in the same line. His claims 
 to praise are: grandeur in the choice or invention of his 
 scenes, felicity in the distribution of his lights and shadows, 
 freshness and harmony in his tints. Mr. Fuseli says, in his 
 figurative manner, that 'Wilson's taste was so exquisite, 
 and his eye so chaste, that whatever came from his easel 
 bore the stamp of elegance and truth. The subjects he 
 chose were such as did credit to his judgment; they were 
 selections of taste; and whether of the simple, the elegant, 
 or the sublime, they were treated with an equal felicity. In- 
 deed, he possessed that versatility of power as to be one 
 
INDEX AND BIOGRAPHICAL NOTES. 107 
 
 minute an eagle sweeping the heavens and the next a wren 
 twittering a simple note on the humble thorn.' His color- 
 ing was in general vivid and natural; his touch spirited 
 and free; his composition simple and elegant; his lights 
 and shadows broad and well distributed; his middle tints 
 in perfect harmony; while his forms in general produced 
 a pleasing impression." 
 
 — Pilkington's Dictionary of Painters. 
 "Richard Wilson was the greatest landscape painter 
 wh^ch the British School produced up to the end of the last 
 century. Fashion may at one time cause works of an artist 
 to rise artificially above, and at another to sink below, their 
 real value, but where, as in the case of Wilson's, the prices 
 paid for them at auctions have remained about the same for 
 a century, no amount of adverse and prejudiced criticism 
 will prove that they are worthless, or that the favorable 
 opinion of those who purchased them was wrong." 
 
 — Painters and Their Works, Vol. 3, Page 308. 
 
 No. 93— "The Ancient City." 
 
 31x39^. 
 
 In the left foreground are seen the ruins of a great castle, 
 or cathedral; its sombre walls overlooking the rough wood- 
 ed valley below, and the plain far beyond where lie the 
 ruins of a city of the ancients. The vicissitudes of time 
 have left but little from which to judge of the architecture 
 or design, yet these bleak ruins are a mute reminder that 
 unknown ages ago there existed here a people far advanced 
 in civilization and the arts, but whose passing or decay is 
 shrouded in even deeper mystery than that of Tyre and 
 Sidon. How much, if any, of these earlier civilizations has 
 been handed down to more modern peoples can never be 
 known; but no doubt much of the knowledge and advance- 
 ment attained in these early times is as completely lost as 
 
108 T. B. WALKER COLLECTION. 
 
 is the history of the people who built and inhabited these 
 cities. What was once the fertile plains is now a barren 
 waste, save here and there kind nature finds sufficient s:,i\ 
 to produce a semblance of vegetation. 
 
 The color arrangement and distribution of light show 
 this painting to be the work of a master. 
 
 ZAMPIGHI (E.) Italy 
 
 *No. 94— "The First Steps." 
 
 42 X 30. 
 
 There is a certain naive charm of childhood about this 
 picture. It represents the interior of a laborer's home, in 
 which a mother and grandmother are seen endeavoring to 
 persuade a little child to attempt its first steps unaided, into 
 the outstretched arms of its grandmother. The mother is 
 supporting the child in a standing position, while grand- 
 mamma, a few feet away, is lovingly persuading the little 
 one to make the attempt to walk the short distance alone. 
 Through the open door other children can be seen at play 
 in the street. This picture is striking in its simplicity and 
 remarkable for its realism. The blending of the colors and 
 the drawing are excellent. All the little details have been 
 so thoroughly worked out that one does not feel the want 
 of knowledge to appreciate its attractiveness. As an ex- 
 ample of realism in art, one little detail may be commented 
 upon. Notice the little map of Italy that is upon the wall! 
 See how it stands out! At first sight it becomes a question 
 with many as to whether the map is not a small piece of 
 paper that has been pasted on the canvas. Few artists 
 have reached such a climax in their attempts in this direc- 
 tion. 
 
INDEX AND BIOGRAPHICAL NOTES. 109 
 
 ZEIM (Felix). 
 
 Born at Beaune (Cote-d'Or), 1821. 
 Architectural and marine painter. 
 Pupil of Art School at Dijon. 
 Traveled in 1845-1848 in Southern France, Italy and 
 the East. 
 Medals, 1851, 1852 and 1855. 
 
 Legion of Honor, 1857; Officer, 1878. 
 "His pictures, especially his views of Venice, have won 
 for him a world-wide reputation." 
 
 — Cyclopedia of Painters and Paintings. 
 *'Felix Zeim must not be forgotten for the glowing 
 Venetian views, architectural and marine, which we owe 
 to his brush. His tastes are all oriental, though he has 
 painted a splendid *View of Antwerp,' as well as *View of 
 Constantinople.' " 
 
 — Radcliife's Schools and Masters of Painting, 
 
 No. 95— "A Noontime Siesta," 
 
 25 x3554. 
 
 In this beautiful picture the artist presents a magnificent 
 view of the Grand Canal, the principal thoroughfare of 
 Venice. Facing the canal on either side are the principal 
 buildings of the city, the tall steeple in the center marking 
 the Palace of the Doges or Governors. The day is hot, and 
 the boats lie quiet in the shadows, while only an 
 occasional gondola plies the crystal waters. It is a noon- 
 time siesta. When evening breezes cool the heated air, 
 the canal will be filled with numerous pleasure craft and 
 the song of the gay gondolier. 
 
110 
 
 LIBRARY COLLECTION. 
 
 ADDENDA. 
 
 AAGAARD (Carl Frederick). 
 
 Born at Odense, Denmark, Jan. 29, 1833. 
 Landscape painter. First instructed in his native place. 
 Then pupil of Copenhagen Academy and in 1853 of 
 P. C. Skovgaard. Visited in Italy before 1871 and 
 in 1875-76. 
 
 Member of Copenhagen Academy in 1874. 
 
 A — "Early Morning at Oresund." 
 
 68x48. 
 Loaned by the Exposition. 
 In the foreground is a low, sandy beach and a lone fish- 
 erman's wife looking intently at the shipping lying just off 
 shore. In the offing are several ships, some scarcely dis- 
 cernible through the gray dawn of the early morning, 
 while the slanting rays of the sun shining through a rift 
 in the clouds form streams of subdued light through the 
 crisp air of the early dawn. The crystal waters of the 
 harbor mirror back the deep blue of the northern sky, and 
 the shadows of the numerous vessels lying on its smooth 
 surface. A splendid picture of ''The land of the midnight 
 sun." 
 
 ACTON (J. Adams), Sculptor. 
 
 B_"Marble Bust of James A. Garfield/' 
 
 Presented by Philip Schufeldt, New Brighton, Minn., 
 Aug. 2, 1897. 
 
INDEX AND BIOGRAPHICAL NOTES. Ill 
 
 BIERSTADT (Albert) New York 
 
 Born at Diisseldorf, Germany, 1830. 
 Brought to New Bedford, Massachusetts, when 
 very young. 
 
 Studied at Diisseldorf and Rome. 
 Elected member of National Academy, 1860. 
 Chevalier of the Legion of Honor, 1867. 
 ^ Order of St. Stanislaus, Russia, 1869. 
 
 Again visited Europe in 1867, 1875 and 1883. 
 Imperial Order of the Medjidii from the Sultan of Turkey. 
 Medals: Austria, Germany, Bavaria and Belgium. 
 In 1867 he was sent to Europe upon a government com- 
 mission to make studies for a painting of the "Discovery 
 of the North River by Hendrik Hudson." Several of his 
 pictures are owned by the United States government. 
 
 "The same careful finish of detail, skilful management 
 of light and eye for picturesque*, possibilities which made 
 Bierstadt's Old World subjects so impressive and suggest- 
 ive, have rendered his studies of American scenery full 
 of bold and true significance. He is not a mere copyist 
 of nature, but an artist having definite artistic intentions, 
 and carrying them out with care and resolution. He is 
 always trying for luminous gradations and useful opposi- 
 tions, and reaches what he tries for." 
 
 — London Saturday Review, 
 
 C— "Mount Whitney." 
 
 68x116. 
 
 A peak of the Sierra Nevada, in the southeastern part of 
 California, altitude 14,522 feet. It is the highest elevation 
 in the United States, outside of Alaska, On the east side 
 the slope is precipitous, rising abruptly from Owens Val- 
 ley about 11,000 feet. No doubt this view of the mountain 
 
112 LIBRARY COLLECTION. 
 
 is from Owens Valley, as the mountain on the right rises 
 abruptly to a great altitude, while the summit is seen in 
 the distance. The sides of the mountains are obscured in 
 a measure by clouds, yet peak after peak rise like sentinels 
 over the valleys below. The tall pines in the valley give 
 the observer some idea of the enormous height of the 
 towering mountain, and the melting snow sends a torrent 
 down the side of the mountain, forming a small lake in the 
 valley below in whose waters are mirrored the splendid 
 grandeur of its surroundings. This is one of Bierstadt's 
 largest and most important paintings. 
 
 BOHN (Max), 
 
 Born in Cleveland, Ohio, 1868. 
 Studied in Paris. Medal in Paris Salon, 1898. 
 He has a studio at Etaples, just outside of Paris. 
 
 D — "Fisher Folk on the Beach." 
 
 38 X 53, 
 
 Presented by the Students' Christian Scientist 
 Association No. 39, 1902. 
 The boats have been fastened to their moorings. The 
 fishermen with their nets come up from the sea as the 
 women and children give them a hearty welcome and aid 
 in bringing up the catch from the boats. 
 
 COURTOIS (Guglielino Cortese) France 
 
 Also called N. Borgognone. 
 Born at St. Hyppolyte in 1628. 
 Studied in Rome under Pietro da Cortona. 
 He did not follow this master, however, but he sometimes 
 
INDEX AND BIOGRAPHICAL NOTES. 113 
 
 seems to have wished to resemble Guercino. 
 He painted several notable works. 
 Died at Rome in 1679. 
 
 E — "French Lady in Japanese Costume." 
 
 17x24. 
 
 Presented by James J. Hill. 
 AVdaughter of sunny France, clothed in the flowing robes 
 of the Japanese. The dignity of pose and the many colors 
 of the beautiful drapery make a very pretty picture. 
 
 FOURNIER (Alexis J.). 
 
 Born at St. Paul, Minn. 
 Studied at Minneapolis School of Fine Arts under Douglas 
 Volk and under J. P. Laurens, Benj. Constant, 
 Gustaf Courtois, Academy-Julien, Paris, So- 
 ciety of Western Artists and Minneapolis 
 Art League. 
 Now located at East Aurora, N. Y. 
 
 F— "A Sylvan Melody." 
 
 36x52^. 
 
 Presented to the Library Board by Mrs. Frank H. Peavey, 
 
 1902. 
 
 Late on a hot afternoon the shepherd boy, with his little 
 flock of sheep, has selected a shady spot on the green hill 
 overlooking the field of yellow grain. The mellow rays of 
 the setting sun are tinted to a delicate purple as they 
 meet the heated atmosphere near the earth, and all nature, 
 including, the lazy sheep, seems prone to rest. But hark! 
 a sylvan melody comes o'er the fields and through the 
 
114 
 
 LIBRARY COLLECTION. 
 
 wooded valley, awakening the whippoorwill and the sleepy 
 owl. 'Tis the magic flute of the happy shepherd boy pip- 
 ing a glad song to the departing day. The sunset glory 
 of the clouds and that peculiar haze at the horizon are 
 magnificent, while the whole painting is well chosen and 
 pleasingly executed. 
 
 GARDNER (Elizabeth Jane). 
 
 Born at Exeter, N. H. 
 Figure painter. Pupil of H. Merle, Lefebvre and 
 Bouguereau in Paris. 
 
 G — **Reply to the Grandson/' 
 
 50>4 x36>^. 
 Bequest of Mrs. Geo. A. Pillsbury. 
 
 Grandmother having received a letter from an absent 
 grandson is dictating to her little granddaughter the reply. 
 The yarn reel for once is idle and the old family clock 
 slowly ticks the passing moments, while the dear old 
 grandmother tries to frame one more encouraging sentence 
 or add one more loving word. Even the faithful dog 
 seems to study the dear old face as though wondering how 
 those ever busy hands can refrain from work thus long, 
 and the granddaughter earnestly listens for the next w^ord 
 that she would have her write into the letter. 
 
 GUILLOU (Alfred). 
 
 Born at Concarneau (Finistere). 
 Landscape painter; pupil of Cabanel and Bouguereau. 
 
INDEX AND BIOGRAPHICAL NOTES. 
 
 115 
 
 H— "Fishing." 
 
 15x23. 
 
 Presented by James J. Hill. 
 
 The boat containing the quaint old fisherman and his 
 daughter floats lazily over the crystal waters of the lake, 
 which mirror back the deep blue of the summer's sky. 
 The old gentleman has made a strange catch and, while 
 he is disengaging it from the hook, the daughter makes an 
 earnest inspection of this peculiar specimen of the finny 
 tribe. 
 
 JACOMIN (Marie Ferdinand). 
 
 Born in Paris, 1843. 
 
 Died, Aug. 3, 1902. 
 
 Landscape painter. 
 
 "His subjects were mostly chosen from the scenery of 
 the environs of Paris; to all his works he gave a note of 
 distinction." 
 
 — Bryan's Dictionary of Painters and Engravers. 
 
 I— *Xandscape." 
 
 30x40. 
 
 Presented by James J. Hill. 
 
 On the border of the woods a small brook is almost hid- 
 den by the reeds and grasses along its shores. Through 
 an open space the western sky is visible, reflecting the 
 glory of the afternoon sun. The sun's rays still peep 
 through the branches, yet the shadows lengthen and the 
 twilight will soon envelop the landscape, 
 
116 
 
 LIBRARY COLLECTION. 
 
 KOEHLER (Robert). 
 
 Born at Hamburg in 1850. 
 Brought to America in 1854. 
 Genre painter. 
 
 Pupil of the National Academy under Professor Wilniarth 
 and of the Art Students' League under Walter 
 Shirlaw. Afterwards studied in Munich under 
 Loeftz and Defregger. 
 Now Director of School of Fine Arts, Minneapolis, Minn. 
 
 j_"The Strike." 
 
 71^x108^. 
 
 The scene of this great painting is from a well known 
 manufacturing city of England, and the painting gains ad- 
 ditional interest when it is known that every individual 
 represented was painted by Mr. Koehler from life, the 
 grouping only being imaginary. 
 
 The painting is a sermon without words, an artistic re- 
 buke to present day methods and has in it a lesson to em- 
 ployer and the em.ployee alike. The smoking chimneys of 
 other factories would indicate prosperous times, yet we see 
 the wives and children of this man's employes ragged, 
 hungry and cold. He has given his men to understand 
 that their appeal for better pay and better conditions would 
 not be granted, men who had worked faithfully at bench 
 or forge were loath to leave their accustomed places, but 
 the poverty and want of their families drove them to des- 
 peration. 
 
 Agitators among them emphasized their wrongs, and 
 now that a general strike has been determined and their 
 employer doggedly ignores' every entreaty, the men lose 
 their self-control and so forget their manhood, their fam- 
 
INDEX AND BIOGRAPHICAL NOTES. 117 
 
 ilies and their citizenship as to resort to violence and seem 
 ready to stain their hands with blood. 
 
 There is something radically wrong in our social fabric 
 or these things could not be, but let us hope that the night 
 is far spent and the day will soon dawn when one law 
 shall rule all classes and conditions of men and that law 
 will be the law of universal brotherhood. 
 
 c 
 
 NEUVILLE (A^ohonse Marie de). 
 
 Born at St. Omer (Pas-de-Calais), May 31, 1836. 
 
 Died in Paris, May 20, 1885. 
 
 Battle and genre painter. 
 
 He was the pupil of Picot. Studied three years in Ecole 
 de Droit, Paris, but gave up law for art and soon won 
 a place among the foremost French military 
 painters. 
 
 K— "Storming of Tel-el-kebir." 
 
 77^ X 140. 
 
 Presented by James J. Hill. 
 
 Tel-el-kebir is midway between Ismailia and Cairo, 
 Egypt. Here, on the morning of September 13, 1882, the 
 English armies under Sir Garnet Wolseley, stormed the 
 entrenched camp of Arabi Pasha on Tel-el-kebir hill. The 
 place was defended by about 26,000 Egyptians. The Brit- 
 ish captured the stronghold with a loss of 430 killed and 
 wounded, while the Egyptians lost 1,500. This battle de- 
 cided the fate of Egypt and it has since been under a Brit- 
 ish Protectorate or Domination. 
 
118 
 
 LIBRARY COLLECTION. 
 
 PASINI (Alberto). 
 
 Born Sept. 3, 1826, at Busseto near Parma. 
 Died at Cavoretto, near Turin, Dec. 14, 1899. 
 Genre painter, pupil of Eugenio Ciceri, of E. Isabey 
 
 and Theodore Rousseau. 
 "He painted subjects taken from Turkey, Arabia and 
 Persia, where he lived several years. His treatment is 
 broad, the light effects in his pictures are often peculiar 
 and the aerial perspective especially fine." 
 
 — Cyclopedia of Painters and Paintings. 
 
 L — "Constantinople." 
 
 40 X 30. 
 
 Presented by James J. Hill. 
 In the foreground is a market place where a group of 
 natives are exhibiting their produce to prospective buyers. 
 Just outside the retaining wall is the Bosphorus, while 
 on the farther shore are mosques and other large buildings. 
 
 WALLANDER (A.) Holland 
 
 M— "New Year's Morning.'' 
 
 87>4x64^. 
 
 The first rays of the sun turn the leaden clouds to gold, 
 dispelling the shadows and ushering in, not only anothef 
 day, but the beginning of another year. The keen air of 
 winter has stripped the trees of their leaves and covered 
 the earth with a mantle of snow. 
 
 It is the winter solstice when all nature seems to rest, 
 preparing for the glorious resurrection and the life which 
 
INDEX AND BIOGRAPHICAL NOTES. 119 
 
 shall come again with the Icngthenini:^- days of joyous 
 spring. The old couple are making their way to the neigh- 
 boring church to offer a thanksgiving for the old year past, 
 and a blessing for the year just dawning. 
 
 The old lady carries her bible or prayer book, while the 
 philosophic old gentleman carries an umbrella, fearing a 
 sudden change in the weather. 
 
 A pleasing subject, well executed. 
 V 
 
 WAGNER (Alexander). 
 
 Born in Pesth, April 16, 1838. 
 History and genre painter. 
 Pupil in Munich of Piloty. 
 
 N— "The Gates of Justice, Granada." 
 
 48 X 32. 
 
 Presented by James J. Hill. 
 
 Granada is a city in the south of Spain, the capital of 
 the province of Granada. The streets rise picturesque 
 above each other with a number of turrets and gilded cupo- 
 las, the whole being crowned by the Alhambra, or palace 
 of the Ancient Moorish kings. It is a walled city and the 
 painting shows one of the gates into the city. It has a 
 population of 73,000. 
 
 WITT (John Harrison). 
 
 Born in Dublin, Wayne County, Ind., May 21, 1840. 
 Genre and portrait painter. 
 Began to study art in Cincinnati in 1862. 
 
120 
 
 LIBRARY COLLECTION. 
 
 O 
 
 The Widow's Christmas. 
 
 45 X 35. 
 Loaned by Exposition. 
 
 As the winter's sun dips low in the west and the shad- 
 ows deepen in the valleys, the widow with her two children 
 gather evergreens for Christmastide. On the snow-capped 
 hill the wind blows bleak and cold, yet the children take 
 deep interest in the work at hand and little realize the 
 pangs of sorrow in the mother's heart. This great sorrow 
 must not come to her loved ones, and although the mor- 
 row must of necessity be somewhat of a disappointment to 
 them, yet she bends every effort to make their hearts glad 
 that they may not recall the happy Christmas of only one 
 short year ago. 
 
GETTY RESEARCH INSTITUTE 
 
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