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Digitized by the Internet Archive 
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 https://archive.org/details/executrixsaleent1872geor 
 
26 
 
 EXECUTRIX’ SALE. 
 
 > - 
 
 THE ENTIRE COLLECTION 
 
 / ** ' 
 
 *v t OF IMPORTANT 
 
 Modern Paintings, 
 
 • f tafmirj), ^von^e, Articles of |leriu, (!hc., 
 
 BELONGING TO THE LATE 
 
 Mr. LE GRAND LOCKWOOD, 
 
 WILL BE SOLD BY AUCTION 
 
 AT THE 
 
 Clinton Hall Book Sale Rooms, 
 
 ON 
 
 THURSDAY & FRIDAY EVENINGS, 
 
 April 18th and 19th, at 8 o’clock. 
 
 THESE MAGNIFICENT PAINTINGS 
 
 Are now on Exhibition, Day and Evening-, Free, at the 
 
 Leavitt Art Booms, 817 Broadway, 
 
 THE STATUARY, THE UNIQUE AND SUPERB CLOCK, VASES, Etc.. 
 
 ARE NOW ON EXHIBITION FREE, 
 
 At the CLINTON HALL SALE ROOMS. 
 
 GEO. A. LEA^TTT & Co., Auctioneers. 
 
 NEW V QRK, 1873. 
 
 

 S 
 
 
 CATALOGUE. 
 
 FIRST EVENING’S SALE. 
 
 [The figures in the catalogue give the size in inches of the canvas of each 
 painting— the height and width; in each instance the figures coming first show 
 the height, thus indicating the upright of the picture.] 
 
 I 
 
 C. E. BOETTCHER, Dusseldorf. 
 
 A Slight Misunderstanding. 
 
 12 X IO. 
 
 2 
 
 C. E. BOETTCHER, Dusseldorf. 
 
 “ Now Don’t You Tell!” 
 
 12 X 10. 
 
 This artist is renowned as amongst the most successful of the painters 
 of child-life in all its phases. In these companion pictures, we 
 have two sides of it—the quarrelsome and the confidential, admir 
 ably painted in all their details. 
 
 / 
 
 
 3 
 
New Yoik. 
 
 JAMES M. HART, 
 
 Landscape. 6 x 9 . 
 
 A covetable little gem. expressing this favorite artist’s skill most 
 satisfactorily. 
 
 4 
 
 DAVID JOHNSON, New York. 
 
 Essex County Scenery. I0 x i 5 . 
 
 A most pleasing, silvery picture, witli the effect oi distance well 
 managed. 
 
 5 
 
 WILMS, Dusseldorf. 
 
 Fruit and Wine. i 5 x i 3 . 
 
 A very careful and elaborately painted piece of still life, from an 
 artist second only to Preyer. 
 
 6 
 
 GEO. H. SMILLIE, New York. 
 
 Lake in the Woods. I0 x us. 
 
 7 
 
 A. BIERSTADT, New York. 
 
 Italian Landscape. 2 8 x 3 s. 
 
 An Italian scene, painted by Bierstadt in 1859, and considered a fine 
 example of his brilliant color and effective arrangement of light 
 and shade. In the foreground is one of the ancient and picturesque 
 fountains seen beneath the hills on the road-sides in Italy—favorite 
 places for gossip with the women water-carriers, and of the wag¬ 
 oners on their way to the city. The distant landscape and the 
 city on the hill are eminently picturesque. 
 
 4 
 
8 
 
 R GIGNOUX, New York. 
 
 Landscape—Summer. 2I x , 0 . 
 
 A vigorous example of this well-known artist, for many years resi¬ 
 dent in Europe. This specimen is in his best manner, broad in 
 treatment and brilliant in color. 
 
 9 
 
 W. J. HAYS, . New York. 
 
 Deer. 
 
 A thoroughly satisfactory example of the skill of the naturalist- 
 painter Hays, whose life study has been of the forms and habits of 
 such subjects. 
 
 10 
 
 A. ARNZ, Dusseldorf. 
 
 Castle St. Angelo, Rome. 
 
 26.x 37. 
 
 Of the Dusseldorf school, as expressed in the works of the Achen- 
 bachs, of whom Arnz is a most successful pupil. A brilliant 
 summer sunset effect; view of St. Peter’s in the distance, Castle St. 
 Angelo and the Bridge in the middle distance, with the Tiber 
 passing into the foreground. 
 
 I I 
 
 J. ROPES, Rome. 
 
 Italian Landscape. 
 
 A picturesque view of a Roman highway and its surroundings passing 
 into a city. In this particular, it is pronounced a very faithful 
 work. 
 
 46 X 38. 
 
 5 
 

 J. ROPES, 
 
 I 2 
 
 Rome. 
 
 Italian Landscape. 
 
 An Italian lake scene, suggesting a delightful place to spend a sum 
 mer’s leisure. 
 
 13 
 
 J. DUNTRE, Dusseldorf. 
 
 The Old Mill. 
 
 30 x 44 . 
 
 Unique in subject, and painted with exceeding care. The frozen pool 
 in the foreground, with its figures, is good work. The ice tex¬ 
 ture is remarkably well suggested. 
 
 14 
 
 J. FAY, Dusseldorf. 
 
 Italian Cattle Drovers. 34 x 4 e. 
 
 A scene near an Italian city, with drovers and their cattle moving 
 towards it. This picture is quite fine in its atmospheric elfect, and 
 full of life and motion. It is drawn with great care, and well com¬ 
 posed and painted in all its parts. 
 
 15 
 
 A. SIEGERT, 
 
 / 
 
 The Luncheon. 
 
 Dusseldorf. 
 
 5 V* 
 
 -£ 
 
 
 II X 12. 
 
 A capital cabinet example of this artist, and a most pleasing picture 
 of a bon vivnnt. 
 
 6 
 
i6 
 
 J. M. CULVERHOUSE, 
 
 New York. 
 
 Market Scene—Moonlight 
 and Candlelight Effect. 
 
 A good specimen oi' this English artist, second only to Van Schendel 
 in his treatment of this class of subjects. 
 
 17 
 
 L. CALLE, Munich. 
 
 Church Interior. 
 
 32 X 42. 
 
 18 
 
 R. W. HUBBARD, 
 
 New York. 
 
 Autumn Landscape. 
 
 4 7 x 41. 
 
 An autumn landscape, in which this well-known artist gives fine 
 expression to the wealth of color which characterizes the season in 
 this country. The view r is from the heights looking down upon 
 Lake Champlain. 
 
 19 
 
 T. S. COOPER. London. 
 
 Landscape and Cattle. 
 
 This is pronounced by the critics to be one of the best specimens 
 of this famous English painter. It is inch in color, fine in its mas¬ 
 sive cloud effect, and remarkably suggestive of the character of the 
 long stretch of English moor. 
 
 27 X 36. 
 
 7 
 
20 
 
 A. LEU, Dusseldorf. 
 
 Scene in Bavarian Alps. 
 
 33 x 38. 
 
 A highly picturesque and ably painted scene in the Bavarian Alps. 
 Time, after sunrise, with tl*e clouds lifting and the vaporous light 
 flooding the valley. 
 
 2 I 
 
 WEISCHEBRINK, 
 
 ^ Too Hot. 
 
 Dusseldorf. 
 
 14 x 21. 
 
 One of the most thoroughly beautiful and in every way satisfactory 
 genres of the collection, telling its story of the birth-day feast most 
 charmingly. The grouping and color are most pleasing, and the 
 rare charm of naturalness is every where apparent. Apple-cake 
 was never in more appreciative company, and the young person in 
 whose honor the feast is given, and who is first served, is not the 
 least eager to show his love for his good mother’s baking. 
 
 22 
 
 A. KAUFMANN, New York. 
 
 14 ’ J General Sherman in Camp. 
 
 The famous picture of Sherman outside his tent, painted to order, 
 and pronounced Kaufmann’s greatest work. It represents an epi¬ 
 sode in the war, and suggests the thoughtful character of the great¬ 
 est. general of his time. The portrait of Sherman is pronounced good. 
 
 23 
 
 S. JACOBSEN, Dusseldorf. 
 
 Norwegian Harbor—Moon- 
 
 hght. 40 x 59. 
 
 . A fine moonlight effect by an artist of repute. The hazy semi-lumi¬ 
 nous effect of the hour is well secured. 
 
 8 
 
2 4 
 
 Dusseldorf. 
 
 AUGUST BECKER, 
 
 Swiss Landscape among the 
 
 31 x 42. 
 
 A highly picturesque view of a Swiss valley under a brilliant sun¬ 
 light effect. 
 
 2 S 
 
 J. G. BROWN, New York. 
 
 “ Have a Shine, Sir?’ 
 
 3 £6 
 
 19 x 15. 
 
 26 
 
 DAVID NEAL, Munich. 
 
 Interior—San Marco, Vienna: 
 
 40 x 34. 
 
 One of Neal’s finest interiors, admirable in both perspective and color 
 Neal has attained a high reputation, taking first rank among the 
 American artists abroad who do honor to their country. He was a 
 pupil of the celebrated Piloty, and one of the most successful of 
 them. But few of his paintings come to this country, as he is well 
 patronized with European commissions, having made his home in 
 Munich, where he. married the daughter of Prof. Ainmuller, the 
 famous painter on glass. 
 
 27 
 
 DAVID NEAL, Munich. 
 
 Exterior—San Marco, Vienna. ~7 
 
 40 X 34. 
 
 Another fine architectural subject by this artist. 
 
 9 
 
 
HENRY DILLENS, 
 
 Brussels. 
 
 6 
 
 The Youthful Teacher. 3 g x 30. 
 
 A capital story, and well grouped and painted. The color is quiet, 
 yet very pleasing. 
 
 29 
 
 A. R JONES, Brussels. 
 
 if 0 
 
 Highland Sheep 29 x 23. 
 
 An attractive specimen of the English school of combined landscape 
 and animal painting. 
 
 30 
 
 H. SALENTIN, Dusseldorf. 
 
 Morning Devotion. 
 
 32 x 26. 
 
 C 
 
 One of the pleasing stories of domestic life, which this artist tells so 
 well. This painting has all his best qualities as a draughtsman 
 and a colorist. 
 
 31 
 
 CHAS. SPITZWEG, Munich. 
 
 The Bookworm. 
 
 This painting of the “ Book Worm ” has a wide reputation. It 
 is, in every way, admirable ; painted with great skill, and brimful 
 of humor. 
 
 32 
 
 W. BRADFORD, 
 
 New York. 
 
 Scene off the Coast of Labra- 
 
 doi • 30 x 20. 
 
 A desirable example of an artist who has made this class of subjects 
 his life’s study. 
 
S. J. GUY, 
 
 33 
 
 New York. 
 
 The Young Jehu. 
 
 9 x 12. 
 
 This favorite American artist, one of the first among our colorists, is 
 well represented by this unique example of his skill. This is 
 indeed a gem, charming in color and story, and painted in the 
 minutest detail, with a finish in no degree inferior to the best 
 examples of Meissonier. 
 
 34 
 
 J. W. PREYER, 
 
 Dusseldorf. 
 
 A Re^al Dessert. 
 
 o 
 
 14 X 21 . 
 
 An unusually brilliant example of this great artist, second to none in 
 the world in his specialty of subject. This is the most important 
 of his works ever exhibited here, and, as will be apparent, has the 
 best qualities of his work in a remarkable degree—beauty of com¬ 
 position, pleasing color, and-marvellous realization of the quality of 
 things. Such a picture as this stirs the appetite, even as would the 
 fruit and wine themselves, were they placed before us ; yet is not, 
 like these, an ephemeral gratification, but a joy for ever. 
 
 35 
 
 P. VAN SCHENDEL, (deceased,) Brussels. 
 
 Market Scene Moonlight and 
 
 39 x 2 9- 
 
 Candle-light Effect. 
 
 One of his famous market scenes by candle-light. The opposing 
 effects of moonlight and artificial light are rendered in the masterly 
 manner peculiar to the artist. 
 
 36 
 
 m 
 
 tu<yrO 
 
 
 J. F. CROPSEY, New York. 
 
 Landscape. I3 x ^. 
 
 <f) / 
 
 c ^(p 0 
 
 Quite a fine example of this artist, when at his prime, picturesque in 
 subject and vigorously handled. 
 
 11 
 
37 
 
 A. VAN HAMME, 
 
 Brussels. 
 
 Return from Market. 
 
 A specimen of the elaborate treatment of interiors and fastidious care 
 in ihe figure |tainting and details, for which the school of Holland 
 has been famous for five centuries. 
 
 Dusseldorf. 
 
 H. HERZOG, 
 
 Wetterhorn, Switzerland. 
 
 42 X 36. 
 
 A Swiss scene by an artist who has distinguished himself by his 
 painting of such subjects. This is a very satisfactory example of 
 him, quiet but rich in color, and pleasing in composition. 
 
 Dusseldorf. 
 
 E. GESELSCHAP, 
 
 Sunday Afternoon. 
 
 A pleasing, quiet interior, admirably in keeping with the devotional 
 character of the subject. 
 
 40 
 
 Prof. R. SOHN, (deceased,) Dusseldorf. 
 
 Interior—A Mother’s Happi- 
 
 Dusseldorf. 
 
 ness. 
 
 30 x 27. 
 
 One of the best examples of an artist who held first rank in the 
 school of Dusseldorf. All that goes to make a thoroughly satis¬ 
 factory genre picture is seen in this work. It. is charming in story, 
 in composition, and in color, and faultless in quality and texture, 
 The story of a mother’s tender love and watchfulness was never 
 more sweetly told. The light, effect is admirable, and the realiza¬ 
 tion of detail shows the utmost care and love of truth. The group 
 composed by the baby and her sister is inexpressibly charming. 
 But few of lfichard Sohn’s pictures reach our market, his price is 
 among the highest and his patronage large. 
 
 12 
 

 4i 
 
 W. WHITTREDGE, 
 
 New York. 
 
 Autumn Landscape. lg x 3a 
 
 An excellent wood scene by an artist of high reputation. The light 
 is skilfully managed, foliage loose and water liquid and full of mo¬ 
 tion. 
 
 PLATHNER, 
 
 42 
 
 Dusseldorf. 
 
 Caught in the Act. , 3 x 20 . 
 
 A thoroughly well painted cabinet picture with an excellent story, 
 showing card-players detected by an officer, in the act of using 
 cards without the government stamp. 
 
 43 
 
 W. H. BEARD, New York. 
 
 “ Thunder! what’s there ?” 
 
 l6 X 21 . 
 
 This is pronounced by the many admirers of Mr. Beard, to be his chef 
 d'ceuvre in humorous subjects. It is not only noticeable, however, 
 for the humor of its story, but also for the admirable painting of 
 both figure and landscape Neither is the fun of it limited to the 
 quaint awkward figure of the frightened boy and bis expressive 
 face and attitude ; for there is quite as much of fun in the expres¬ 
 sion of the stupid alarmer—the owl—and in those of the spectators 
 in the bush. 1 lie very dog in his slinking ugliness comes in for 
 his share of attention and contributes forcibly to complete a scene 
 urrque in its laughter-creating power. 
 
 44 
 
 J. McENTEE, New York. 
 
 Wooded Landscape. 24 x 20 
 
 One of the best of Mr. MeKntee’s wood interiors, and he has no 
 successful rival in this aspect of nature, he interprets its beauty 
 and solemnity so well. 
 
 13 
 
45 
 
 D. HUNTINGTON, 
 
 5 &> 
 
 New York. 
 
 Katrina Van Tassel 
 
 19 X 24. 
 
 A very covetable example of Mr Huntington’s skill in genre painting. 
 This picture was painted in 1859, since when Mr. Huntington was 
 president of the National Academy for several years. It is charm¬ 
 ing in expression and color and the light is skillfully managed. 
 
 46 
 
 E. VERBOECKHOVEN, 
 
 r 1 1 o 
 
 Brussels. 
 
 Landscape and Cattle. . 2G x 30. 
 
 A fine specimen of this master in his best day. This picture was 
 painted in 1859. 
 
 47 
 
 MEYER, von BREMEN. 
 
 The Young Mother. 
 
 24 X 20. 
 
 A characteristic specimen of this favorite master, telling its story of 
 solicitude for the first born excellently well. It has all the charm 
 of color, and effectiveness in arrangement of forms for which Meyer 
 von Bremen’s pictures are so prized. 
 
 48 
 
 J. SCHRADER, Berlin. 
 
 Cupid Caught Napping. / % 
 
 Painted in 1805, in the zenith of his power, and one of the most 
 graceful of his compositions. In color it is charming, and its tone 
 is admirable throughout. The varied expressions in the faces of 
 Cupid’s surprisers are most satisfactorily suggestive of the phases 
 of life and of the degrees of suscep'ibilitv to his power—the 
 thoughtless play of the children, the tender surprise and emotional 
 observation of the maidens. Truly a great work by a great master, 
 and one which speaks convincingly in its own behalf. 
 
 14 
 
49 
 
 
 
 
 S. R. GIFFORD, New York. 
 
 Moer Mountain. l8 x 24 . 
 
 A brilliant example of an artist who is among 1 the first of American 
 landscapists, and unrivalled anywhere in the delicacy and beauty 
 of his atmospheric effects. He gives us here a scene, which, in its 
 beauty, excels the picturesque charms of the Lake of Como. 
 
 r LO A- t'O 
 
 So 
 
 OSWALD ACHENBACH, Dusseldorf. 
 
 Via Appia, Rome. lg x 28< 
 
 A view near Rome ; a fine specuria, cloud effect brilliant, and distance 
 most skillfully treated. 
 
 S' 
 
 W. S. MOUNT, (deceased,) New York. 
 
 Hustling Pennies. 
 
 A very desirable example of one of the first among American genre 
 painters—agreeable in story and graceful in composition and color. 
 
 52 
 
 A. D. SHATTUCK, New York. 
 
 White Mountains. 20 x 34 
 
 A fine low-toned Autumn Sunset, having all the best qualities of 
 Mr. Shattuck’s manner. The effect of the sunlight on the foliage 
 is very fine, and the effect in shidow suggests, and well, the 
 solemnity of the approaching twilight. 
 
 CARL BECKER, Dusseldorf. 
 
 Winding the Clock. 
 
 The only example of this artist in the collection, and one of the 
 choicest of his works. It has all the fine qualities which charac¬ 
 terize him—excellent story, graceful composition, rich color, and 
 exquisite finish. 
 
 / ^Zro 
 
 15 
 
54 
 
 A. BIERSTADT, New York. 
 
 Rocky Mountains. 52 x 3 s. 
 
 Painted in 186(5, and a fine example of tlie artist, showing his master¬ 
 ly power of composition and in securing the grandest atmospheric 
 effects. The subtle gradations, from immediate foreground to re¬ 
 motest distance, are in this picture quite remarkable ; whilst the 
 scene depicted is one of the most sublime in nature. 
 
 M. F. H. DE HAAS, 
 
 Marine View. 
 
 New York. 
 
 24 X 
 
 A carefully painted Marine, quiet in color, vet highly effective. A 
 tine specimen of the artist. 
 
 JULIUS HUBNER, Munich. 
 
 Love in Winter. 
 
 Hubner, the director of the famous Dresden gallery, and a brother of 
 Carl Hubner. This artist also painted “ Love in Summer,” a coun¬ 
 terpart of “ Love in Winter,’’ and which is the property of the Em¬ 
 peror of Russia. In this | icture Cupid is represented winged, but. 
 bowing down beneath a load of fagots, at the entrance of a house 
 to which he seems to seek access ; the snowy adjuncts of the scene 
 suggest the season ; wintry birds flutter around, and Cupid has 
 the air and aspect of that brisk alacrity that comes from exercise in 
 December or January, The idea is evident that Love lights his 
 fires even amid the cold and snows of midwinter The drawing of 
 the cupid, especially that of the legs, is to be admired, and the 
 .expression of the face is full of significance. I he graceful and 
 poetical idea of the artist finds a very fitting embodiment in this 
 tasteful work of art. 
 
 16 
 
1 
 
 J. P. HASENCLEVER, 
 
 Dusseldorf. 
 
 The Wine Tasters. 
 
 42 x 54 - 3 6 2 6 " 
 
 This painting by the renowned Hasenclever is of world wide celeb¬ 
 rity. He painted one of a similar character, but different in com 
 position, now in the possession of the Emperor of Germany. 
 Hasenclever died in 1853, covered with honors, and was buried in 
 Dusseldorf, of the famous school of which place he was an acknow¬ 
 ledged master. Among the many orders by which he was decorated 
 was the Medaille d’Or, presented to him by the King of the Bel¬ 
 gians. He was a member .of the Academies of Fine Arts of 
 Amsterdam and Berlin. 
 
 This picture of “ The Wine Tasters” exhibits him in the fullness of his 
 power and is a brilliant example of his rare and exquisite humor 
 and powers of characterization ; a power which was never degraded 
 into caricature. It is remarkable also as showing his healthy 
 coloring, his realization with breadth of treatment, and fastidious 
 care in giving the least important accessories their proper place and 
 value. The scene tells its own story, for we see gathered here the 
 bom meants of different classes of society, and also those who cater 
 to their enjoyment—the parson, the merchant, the fast youth, the 
 well-to-do veteran, the carrier—agent for the country merchants, 
 the cooper of the cellar, no less a connoisseur, and the other char¬ 
 acters, which go to suggest the democracy of good living. The 
 varied expressions of unqualified pleasure, criticism, and so forth, 
 on the faces of the party an; admirably suggestive. One readily 
 fancies himself a boon companion, and feels tempted to put his 
 hand out for a glass to try the virtues of the generous juice, so 
 bountifully distributed. 
 
 17 
 
 
GRUBOS, 
 
 Rome. 
 
 Moonlight Scene, Grand Canal 
 of Venice. 33x47. 
 
 59 
 
 F. CHURCH, . New York. 
 
 Niagara Falls. Retouched Chromo. 
 
 60 
 
 Madonna. 
 
 61 
 
 GUIDO, Florence. 
 
 Aurora. Copy of his celebrated 
 painting. 
 
 C 
 
 6i a 
 
 Card Players. 
 
 A very interesting work, apart from its merits as a painting. It is a 
 unique example of the success of a determined will in achieving 
 what might well seem to he ah impossibility. The picture is the 
 work of an artist without hands. He draws and paints, holding 
 the pencil or crayon between his toes' 
 
 18 
 
SECOND EVENING’S SALE. 
 
 »- «■» ■< 
 
 62 
 
 Landscape—Sunset. 
 
 'This painting is supposed to be by A. Bierstadt. 
 
 63 
 
 J. HENNESSY, New York. 
 
 Landscape. I7 x I2 . 
 
 This artist’s works in color are now very scarce. The light effect, 
 here is quite fine. 
 
 64 
 
 YV. E. PERRY, New York. 
 
 Watching the Wheel. 22 x 29 . 
 
 One of Perry’s conscientiously painted New England interiors, with 
 the figures telling a pleasant story of domestic life. 
 
 65 
 
 A. BIERSTADT, New York. 
 
 Scene in the Rocky Moun¬ 
 tains. ,7 x 29. 
 
 A very beautiful low-toned picture, with the light admirably man¬ 
 aged and the rocks most carefully modelled. The subject is a scene 
 described in Longfellow’s “ Hiawatha.” 
 
 19 
 
66 
 
 A. B. DURAND, New York. ^ 
 
 Rocks.—A study. 24 x , 7 . 
 
 An excellently faithful cut-door study of rocks, by the oldest living 
 American landscape painter, and ex-President of the National 
 Academy, whose working days are nearly over. This is a most 
 desirable example of his strength and truth. 
 
 67 
 
 W. J. HAYS, New York. 
 
 Lake Trout. 
 
 7.3 ° 
 
 15 x 28. 
 
 68 
 
 H. HERZOG, 
 
 Dusseldorf. 
 
 Swiss Landscape. 
 
 Another powerful picture of this artist, with characteristic features 
 already described. 
 
 69 
 
 R. GIGNOUX, New York. 
 
 Landscape—Winter. 2I x 3a 
 
 A winter scene in the northern part of this State. A fine specimen of 
 an artist whose pictures are much esteemed and bring high prices. 
 The atmosphere of the raw cold day is well suggested, and there is 
 a striking realization throughout which is quite powerful. 
 
 70 
 
 E. VERBOECKHOVEN, . 
 
 Sheep, 
 
 A brilliant cabinet example. 
 
 20 
 
H. SALENTIN, 
 
 71 
 
 Dusseldorf. 
 
 
 The Christening. 
 
 39 x 33- 
 
 This is perhaps the finest example of Salentin in this country. It is 
 eminently pleasing in subject, breathing an air of great purity. In 
 color it is quite brilliant, especially in the treatment of the more 
 prominent figure—that of the young girl with her innocent burden 
 coming from the church. The drapery which covers the infant is 
 exquisitely painted; whi'st the individualization of the spectators 
 is managed in the most satisfactory way. 
 
 J. B. BRISTOL, 
 
 72 
 
 New York 
 
 New England Landscape. 
 
 26 X 33- 
 
 One of the best pictures ever painted by this artist, noticeably good in 
 its atmospheric effect. 
 
 73 
 
 j. SCHRADER, Berlin. 
 
 \ 
 
 The Pet Lamb. 
 
 This painting ranks among the finest from this great artist’s easel. 
 Its subject is one of tender beauty and simplicity, and it is painted 
 throughout with great vigor of touch. There is no other artist 
 who combines in such a remarkable degree the skill of the accom¬ 
 plished figure painter and that of the perfect master in the know¬ 
 ledge and treatment of animal forms and texture. The figure has 
 the grace, exquisite flesh painting and expression of the work of 
 Merle, whilst the sheep are painted in form arid texture, with a 
 realistic power, not less marked than that seen in the best exam 
 pies of the celebrated Jacques. 
 
 21 
 
 7 6S~0 
 
74 
 
 THOS. DOUGHTY, (deceased,) New York. 
 
 Landscape. V, 
 
 A desirable specimen of the work of one of the earlier American 
 painters, called the father of American landscape art. Doughty 
 is most prized for his faithful rendition of tree forms and foliage, 
 and for his atmospheric effect, all of which this painting ably 
 sustains. 
 
 •? 
 
 / 
 
 J. B. IRVING, 
 
 New York. 
 
 Mother and Child. 
 
 A very attractive picture, and the work of an American artist of 
 rapidly rising reputation. 
 
 Dusseldorf. 
 
 S. JACOBSEN 
 
 The Monastery. 
 
 Visit to the 
 
 5 i x 39. 
 
 The monks are on their way to a death bed, carrying the elements of 
 the last sacrament. There is much solemnity in this scene, and 
 good and effective painting Of monastery and of the trees that sur¬ 
 round it under the effect of a winter’s snow. 
 
 A. SIEGERT, 
 
 Dusseldorf. 
 
 Grandmamma’s birthday is one of the best told of Siegert’s stories ; 
 and in this picture we have a rare example of characterization, 
 good color, and artistic treatment of subject throughout. 
 
 22 
 
OSWALD ACHENBACH, Dusseldorf. 
 
 The Coming Storm. 42 x 60. 
 
 A vigorous expression of the great artist’s power, in which the de¬ 
 scending storm and its first effects are shown witli power. The 
 lurid light effect is fine, and the whole treatment broad and 
 masterly. Certainly no finer work of this artist has ever been seen 
 in this country. 
 
 
 79 
 
 J. G. BROWN, 
 
 In 
 
 One of the most S] 
 
 —familiarly known as “ Child Brown.” Tt is brilliant in its effect 
 of sunlight, and charming in color and expression. A most coveta- 
 ble gem in every way. 
 
 New York. 
 
 the Swing. , 4 x I0 . 
 
 parkling pictures ever painted by this favorite artist 
 
 V 
 
 So 
 
 DAVID JOHNSON. 
 
 Landscape. ^ x 26. 
 
 A fine view of the favorite summer haunt of the artist— Lake George 
 —and a paintimr which possesses great delicacy of handling and 
 luminous color. 
 
 C ■ * 81 
 
 F. KRAUS, Berlin. 
 
 The Forbidden Book. 25 x 20 . 
 
 This is a most beautiful example of a truly great artist. It exhibits, 
 in a remarkable manner, his great ability in securing the quality of 
 the objects depicted ; drapery, wood-work, and accessories of every 
 kind, as painted, represent, in the most faithful way, the things 
 they are. Nor could a sweeter story be better told. The mother 
 chides her daughter for reading a forbidden book—Don Juan, may 
 be. The quiet dignity of the parent, and the conscious guilt of the 
 daughter, whose face is suffused with the blush of shame, are most 
 admirably suggested. 
 
 
82 
 
 W. BRADFORD, 
 
 New York. 
 
 Crushed in the Icebergs. 
 
 72 X 120. 
 
 This is acknowledged to be the masterpiece of the artist. It was 
 painted in 1800 (a commission from Mr. Lockwood), after his return 
 from the famous Greenland Expedition, and from drawings and 
 studies in color made in the presence of the scene and incidents 
 depicted. The subject illustrates not only the peculiar grandeur 
 in form and color of the Northern Seas, hut also the perils of its 
 navigators. The incident depicted is thus described by the artist : — 
 “ Tt represents an incident in a scene when over thirty vessels were 
 destroyed within three days’ time, and over a thousand men were 
 thrown out on the ice, and some of them obliged to make their way 
 to other vessels and to the shore. The vessel burning in the dis¬ 
 tance is one which has been abandoned, and then fired to prevent 
 her drifting down the coast, after the ice melts up, later in the 
 season ; as she would be laken thus down by the Arctic current off 
 the banks of Newfoundland, where vessels making the passages 
 across the Atlantic might come in collision.” 
 
 24 r 
 
P. VAN SCHENDEL, (deceased,) 
 
 Brussels. 
 
 The Annunciation. 
 
 104 X 94-1 
 
 This painting was a labor of love to the artist, and painted for his 
 studio, where it remained several years, visited by artists and con¬ 
 noisseurs. until purchased by Mr. Lockwood. It is conceded to be 
 the finest, as it is undoubtedly the most important of the artist’s 
 works, ably representing his great technical ability, his strength 
 combined with beauty as a colorist, and his masterly management 
 of light and shade. I he kneeling virgin is eminently graceful and 
 dignified ; her drapery and that of the pries Dieux exhibit exquisite 
 technique. 'The figure of the announcing angel is posed with in¬ 
 finite grace, and the light effect is brilliant, which suggests the 
 immediate presence of the Holy Ghost. 
 
8 4 
 
 A. BIERSTADT, New York. 
 
 The Domes of the Yosemite. 
 
 116 x 180. 
 
 This famous painting of the Valley of the Yosemite is considered to 
 be the crowning effort of Bierstadt’s power. It was exhibited in 
 the principal cities of Europe and of this country, attracting the 
 attention of hundreds of thousands, and winning the approval 
 everywhere of tlie most critical. The waterfall, seen in the fore¬ 
 ground to the left, represents the most beautiful cataract in the 
 world, “ The Bridal Veil.’’ To the left and right of the valley are 
 seen the great sentinels of the river, “ The Domes of the Yosemite." 
 It is impossible to look on this noble picture and not be impressed 
 with the vastness and grandness of the wonderful region depicted. 
 
 26 
 
V- 
 
 8S 
 
 J. HENRY HAZELTINE, Rome. 
 
 Kissing Cherubs. 
 
 A very pleasing- group, modelled with true artistic feeling, and with 
 the flesh texture well suggested. 
 
 86 
 
 MISS STEBBINS, Rome. 
 
 Samuel. 
 
 A uoble illustration of the genius of an American sculptress of wide 
 reputation. The pose of the figure is eminently graceful, and the 
 modelling is done with a firm and able hand. The face most 
 truthfully suggests the devotion of the young worshipper. 
 
 87 
 
 J. MOZIER, Rome. 
 
 Pocahontas. 
 
 This chaste figure is one of tlio finest expressions of the artist’s 
 power. The forms are carefully and satisfactorily modelled, and 
 the idealized Indian face expressive of thought and feeling. Her 
 contemplation of the cross suggests her conversion to Christian¬ 
 ity, as the deer is the symbol of her affectionate and faithful 
 nature. 
 
 27 
 
J. MOZIER, 
 
 88 
 
 Rome. 
 
 Wept of the Wish-Ton-Wish. 
 
 An exquisite composition, suggested by the heroine of the well- 
 known tale by J. Fenimore Cooper. The form is one of great 
 grace, the drapery is skillfully managed, and the face full of ex¬ 
 pression. 
 
 89 
 
 J. HENRY HAZELTINE, Rome. 
 
 Excelsior. 
 
 Suggestive of Longfellow's poem. The tigure is finely posed and 
 body and limbs modelled with masterly ability. The earnestness 
 and determined purpose of the character are well expressed,.in the 
 motion of the tigure and in the face. It is, indeed, an admirable 
 interpretation of the hero of the illustrious verse :— 
 
 A youth who bore 'mid snow and ice 
 A banner with the strange device, 
 
 Excelsior! 
 
 His brow was sad : his eye beneath 
 Flashed like a f lchion from its sheath ; 
 
 And like a silver clarion rung 
 The accents of that unknown tongue. 
 
 Excelsior! 
 
 The has reliefs illustrate other verses of the poem, and the sad ending 
 of the hero’s aspirations. 
 
 90 
 
 RANDOLPH ROGERS, Rome. 
 
 “Isaac.”. (Bronze.) 
 
 This noble work, illustrating one of the most beautiful passages of 
 Scripture history, is acknowledged to rank with the most success¬ 
 ful creation of any modern sculptor. And we may well be proud 
 that it is from the hand of an American artist. This is the only 
 bronze ever made of the subject. 
 
 28 
 
9 1 
 
 The Vases. 
 
 (A pair.) 
 
 These superb works of art, exquisite in design and elegant in every 
 detail, were among the chief attractions of the Paris Exposition 
 They are composed of the rarest marbles, with ornamentation in 
 ormolu. Nothing equal to these in beauty has ever been imported 
 here. 
 
 The Clock. 
 
 This unique and magnificent piece of workmanship tells its own story. 
 It is one of the most superb and perfect ever produced. The figure 
 supporting the candelabra is of oxvdized silver, and in itself a 
 highly finished work of art, designed expressly for its noble 
 pedestal. Mr. Lockwood purchased this clock from the Paris Ex¬ 
 position. 
 
 One Large Marble Pedestal. 
 
 29 
 

FINE ARTS. 
 
 A millionaire’s collection. 
 
 The collection of a private gentleman lately 
 deceased is now on exhibition at the Leavitt Art Rooms 
 in Broadway, and is to be sold at Clinton Hall by auc¬ 
 tion on the evenings of the 18 th and lOtli of this month. 
 Tho late owner was a gentleman of great wealth and 
 generosity, who had good intentions in the direction of 
 the liberal arts. He built a magnificent house, and very 
 properly thought its upholstery would not bo complete 
 without some great pictures. For that purpose ho or¬ 
 dered £ome of the largest pictures ever paiuted in this 
 conutry, and bought during a tour in Europe oue of the 
 largest pictures ever painted in Belgium. The great 
 spaces of his palace having thus been satisfactorily 
 covered, he went ou buying pictures with open-handed 
 freedom until he had accumulated the presont collection 
 of 8-i specimens. The services of such patrons to the 
 causo of art are deserving of all praise and 
 encouragement. They empty meritorious studios of 
 unsalable canvases which take up a good deal of room l 
 and injure the sale of better things. No man can always 
 do life best, and unless it were for these facile buyers 
 , the time employed on indifferent pictures would be en¬ 
 tirely wasted. Besides, in working for these munificent 
 patrons, young and struggling artists get paid for the 
 processes through which they arrive at the maturity of 
 their powers. The price of one picture will furnish them 
 th 9 frugal black broth of Bohemia for many mouths, and 
 give them time for repentance and reformation. 
 
 It usually happens that in the course of this energetic 
 buying, one is almost sure' to get some good pictures 
 among the others. In the collection we are speaking of 
 there are a good many—if they cost twice as much as J 
 they were worth', the cost came from a quarter where it 
 would not be missed, and there is little to regret where • 
 Art spoils Philistia. No one can go into this gallery 
 and look about him without a congratulatory shrug 
 over the announcement of the advertisement that 
 “three of the paintings cost the owner Fifty 
 Thousand Dollars!’’ If you have auy doubt which 
 three it was, you must take your tape-liue 
 and see; and if you were inclined to accuse 
 these pictures of sharp practice in getting so much money 1 
 lor themselves, they could protest with perfect truthful¬ 
 ness, that “they will never do so again.” But we were ' 
 saying that there are some good pictures among the 
 others. The sketches of comic children, by Boettcher of 
 Dusseldorf, are admirably conceived and drawn. So is 
 the busy domestic scent) of Weischebrinck, called in the 
 catalogue “Too Hot.” The “Young Jehu” of Guy is 
 not without a certain vigor and dash, but when the cata¬ 
 logue tells us it is painted “ with a fluish iu no degree in¬ 
 ferior to the best examples of MeiSsonier ” we cannot but 
 hope that some one may think so at the sale. The 
 “ Book Worm ” of Spitzweg is a careful and 
 satisfactory cabinet picture. Preyer has a superb 
 dessert piece, exceedingly brilliant iu color, and harmoni¬ 
 ous in arrangement. Van Schendel, the great candle-light 
 painter of Brussels, who recently died, is represented by 
 an excellent piece of work in his own specialty, a market 
 scene, showing the mingled efleot of moonlight and 
 candle-light. It is scarcely possible for illusion to go 
 further than the effect which Van Schendel creates of 
 the glare of a tallow candle on a face in its immediate 
 neighborhood. There is a wearisome sameness In his 
 pictures, and an almost absolute identity in his faces. 
 They all seem cut with a penknife on the head of a stick- 
 all with the same round cheeks and blunt noses. But th* 
 candle-light is a genuine. piece of work. You will 
 scarcely see how good it is, until you compare it with an 
 attempt iu the same direction by Mr. Culverliouse, the 
 
 other side of the door There is a little pictu 
 Brown, called “ In the Swing,” which is full a 
 over with sunshine—a little girl, whose f 
 prettluess are in perfect keeping with the 
 and lovely garden. But of all the genre j. 
 
 In the collection there Is none better than “ The F 
 den Book” by Kraus. The wicked volume is in the white 
 hand of a charming young girl who blushes like a Sum¬ 
 mer sunset at the grave reproof of her mother. The exe¬ 
 cution of this fine picture is not less worthy of admira¬ 
 tion than its truth and delicacy of sentiment. There is a 
 Meyer von Bremen which is carefully and minutely com¬ 
 monplace, as usual; a “genteel” Mother and Child by 
 Mr. Irving; a quiet, sleepy “Sunday Afternoon” by 
 Gcselscbap; a fine composition of Carl Becker called 
 “Winding the Clock”—a well-nourished handmaiden 
 stands on tip-toe on a chair in her stockinged feet to 
 reach the quaint timepiece, and assumes an attitude 
 full of unconscious grace in doing it. 
 
 There are some good landscapes, also ; one by Arnz of 
 Dusseldorf, the Castle of St. Angelo at Rome, a superbly 
 luminous effect of Summer sunset. Perhaps the best 
 thing iu the collection is a “ Storm Coming ’*"* 
 Oswald Aelicnbacb. On the right a gust of winU . 
 the coming tempest, driving clouds above an 
 below, both smitten and pierced by the lurid light of the 
 yet unvailed sun. A group of women rush to save their 
 washing from the walls. The poplars shudder and shrink 
 from the storm. An ashy shadow is thrown on the 
 stuccoed facades of the houses, and far off in the west a 
 red sky is fading. Throughout the picture is felt a 
 hurrying sense of danger aud expectation. Mr. McEn* 
 lias a charming idyllic scene of green Summer woodsy 
 which is all the more precious as he rarely allows us to see 
 more than the sere aud yellow autumn of the year. There 
 Is a pretty Rocky Mountain View by Bierstadt, which 
 shows how well he can understand and reproduce moun¬ 
 tain scenery when his mind is ou his work. 
 
 We have little space left for the 150,000 trio. The “An 
 nunciation” of Van Schendel seems to be oue of those 
 unavailing protests against one’s grade which we see 
 from time to time, which induce Lester.Wallack to think 
 he is better in “ Hamlet” than in “Rosedale,” and which 
 made John Quincy Adams prefer his poetry to his 
 speeches. Van Schendel painted the play of candle¬ 
 light on carrots and squashes better than any man in 
 the world, but could not rest until he had covered t 
 side of a house with an immense Annunciation, will 
 after all, contains several square feet of excellent pah-, 
 Ing and several square yards of misused canvas. A 
 greater picture than this (inasmuch as 116 x 180 is greater 
 than 152 x 104 ) is Mr. Bierstadt’s “Domes of the Yo- 
 Semite,” to which it would be difficult to do justice 
 with anything less than the genius wbich executed it. 
 It can proudly boast, as we all brag of our Capitol, 
 “ Whatever you may say of it, you can’t deny that it is 
 big.” Mr. Bradford’s “ Crushed in the Icebergs ” is not 
 up to the requirements of the ocoasion in the matter of 
 size, containing only CO square feet, but these are easily 
 worse than any given 60 of the others. It is a raw, 
 hard piece of of journey-work, without even a trick of 
 charlatanry to flatter the unsophisticated spectator. Yet 
 two young gentlemen stood before it yesterday, and one 
 said, “ Dashed if I ever saw any water as green as tb- 
 did you?” “No, but I guess it’s all right. He’s 
 there.” In the face of these facts there are mi 
 pretend to say that the age of faith is past. 
 
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