vr 5 :::::;uu: , rei +-**-* *^w+’+3*r+ ♦♦ *-« ; r;Hif: f i:;r :H i: i: ::i >n;«-hMiri^iihiari^hj ; ■■•■:: ■; ■ -• :: . . U \ 1 lr.v : r;.; r;ut Digitized by the Internet Archive in 2019 with funding from Getty Research Institute https://archive.org/details/cataloguedeluxeoOOamer 'he First Night's Sale of the Stew¬ art Collection Crowds Chicker- ing Hall with Connoisseurs. ORTUNYWAS THE FAVORITE ne of His Masterpieces Brought $13,000, the Top Figure of the Eveuiug. LR. H. P. WHITNEY PAID IT. 1. Raimundo de Madrazo Secured Bau- dry’s Famous Nude Cheaply at $8,600. Seventy of the famous pictures of the col- ■ction of the late William Hood Stewart -ere sold in Chickering Hall last night for 33,190. Seldom has such a gathering packed flickering Hail to the doors. Seldom has a sale of pictures of such a char- 3ter and importance taken place in this luntry, or, for that matter, anywhere else, t is to the credit of the American picture uying and art loving public that they had le good taste to liberally patronize such a lie and pay prices commensurate with the nportance of the pictures offered. It was le opinion of experts, ai the conclusion of le sale, that good prices had been realized, o this general statement two exceptions lust be noted. The famous nude by Paul Baudry, “The rave and the Pearl," went for $3,600. It was urchased by M. Raimundo de Madrazo, the rtist, for a Paris collector, and M. de iadrazo was prepared to bid much more for The other exception was Fortuny’s Courtyard. Alhambra,” which soid for $2,150. • feature of the occasion was the establish- rg of the value at public sale of the works 1 Fortuny. That such a collection should be scattered i a matter of regret, but there is consolation l the fact that nearly all of the pictures will amain in this country and many of them in lis city. In several cases the dealers, who id most of the bidding, were not permitted i make public the names of the purchasers, t is fair to assume, however, that a few of le more noteworthy works will find their ray to our public galleries. While the first night’s sale was important, vnight’s will be vastly more so, when some f the gems of the collection are to be offered, hat Chickering Hall will be packed this vening, that the bidding will be lively and fat the total of the sale will be very large, i assured. The Shivering Crowd In the Street. The lovers of art gathered an hour before he opening of the doors, and stood patiently n the cutting wind that swept around the orners. Bankers, lawyers, brokers, doctors— irt collectors from all the big cities in the ountry, and a few from Europe too, were here or their representatives for them. And he art dealers—of course they were there in ’ull force, most of them with commissions in heir pockets to purchase certain pictures if hey could. There were women, too, in the 'rowd. lots ot them, though the men were argely in the majority. The doors vrere opened promptly at a quar- :er before eight o’clock, and in almost less .ime than it takes to write it every seat In :he hall, up stairs and down, was filled, and the late comers were banked five or six deep ill around the wall. In the scramble for «ats dignity was cast to the winds, corpu- ence and age were forgotten, and old men, maidens and matrons pushed and struggled into chairs with a great waste of energy and noise. In one group that took seats in the front rows were Mr. Julius L. Stewart and his brother, Mr. T. Morgan Stewart, sons of the collector; M. Raimundo de Madrazo and his son, Frederlgo de Madrazo; the Misses Hewitt and Mrs. James O. Green. As the crowd settled down every glass was turned to the stage, where Baudry’s “The Wave and the Pearl” gleamed under the soft light. This, it was expected, would be the star picture of the evening’s sale. It wasn't, as the event proved, but it was good to look at nevertheless. The superb figure, with its tints that, seemed very close to life, was splendidly shown forth by the graceful folds ■of crimson velvet that backed the easel. Surrounding that draperies of pale green .hung from a wire twenty feet above the titage. IX THE GATHERING. i In the audience were Mr. and Mrs Henry Payne Whitney. Charles Phillips. Roland Knoedler, A. Lanfear Norrie, Mr. and Mrs F i Egerton Webb. Mr. and Mrs. J H Prhort TnVi tj WeuT'Mrs Gilbert Jones!Gl'a^nze" W / Mrs. Edwari Brand us, A. Gross, of Boston; T. j. BlakJsW John Elderkiu, J. H. V. Arnold, Hermann Schaus, L. Ettlinger, S. P. Averv, T Noev George Loring. Gustav Reichard Charles w Pacific' RaUroatj. C ° UDSel ° f the ^.Uiern president ot^the" Soualern'Pacific Railroad® G H Buek, Fred. Bonner, A. H. Alker J f’ Mathews, of Baltimore; C. P Huntington R. P. Schwerin vice president and generai manager of the Pacific Mail Steamship Com- °L, ® an Francisco; Judge and Mr« Charles Truax, J. Howard Ritter Dr T T Suckert, Augustus Tooth, Dr. ’ and' Mrs Everett Culver, F. A. Chapman ' T. J O’Sullivan, Henry I. Barbev F ft Eeggett, William Salomon, Jules Simon nf Paris; F. A Bell Carl Walt|r s , G Grey Dinsmore Julius Oehme, E. Blumenstiei John D. Crimmins, Alexander Harrison the painter, of Paris, and T. Sanford Beatv ' Others present were H. B. Frick of Pitt* burg; Henry Walters, the Collector of Balti¬ more; S. H. Kauffman and F. B McGuire nf Washington representing the Corcoran Art Gallery, and John W. Beatty, of the Pittsburg Academy of Fine Arts. 6 A BALTIMORE MAN BOUGHT THE, FIRST. It wry; fifteen minutes after eight o’clock when Mr. Thomas E. Kirby, the auctioneer appeared on the platform and made the usual announcement on such an occasion “I have the honor,” he said, “of disposing at pub i° sale to-night of the most remark able collection of paintings ever offered any¬ where in the world, it will be sold by the Stewart heirs absolutely without reserve The heirs will refrain from bidding. This is the freest sale that I have ever known The heirs, of course, have a perfect right to bid if they choose, but will not exercise "hat right ” Mr. Kirby then spoke of the conditions gov¬ erning the sale, and the first picture was put up It was a small group of pen and ink military sketches by J. I,. H. BellangS and was knocked down to Mr. David Bendann an art dealer of Baltimore. Md.. for $60 ’ But ordinary interest was shown by the audience in the first four pictures offered but No. o, Fortuny s “Corpus Christi.” evoked a ripple of applause. ‘‘The first Fortuny ever sold here.” said Mr. Kirby. suggestively. “One hundred dol¬ lars? Thank you. ■ It ran quickly to $200. then more slowlv to $310. and went at that figure. ‘‘The Commune." a dainty canvas by Cham. Count Amedee de NoA, went for $110, considered rather a low price. Menzel’s water color. “The Stirrup Cup." started at $o00 ran quickly to $2,000, and then by leaps of $50 to $3,350. A stout man said $3 360 but Mr - Kirby looked so oisgusted that $3.3(5 was quickly bid, and won. The buyer was urged on by a lady who sat next him and she looked more pleased than lie when he got it. The purchaser was Mr. D. P Doug¬ las. . ‘he gentle faced " miTt "bowEng sngntiy at the compliment Corot’s misty “Vilie d’AvVav,” bought from him direct by Mr. Stewart, , started at $2,000. ? r f K noe( bor ran it to $4,000 and subsided, but it went a thousand dollars higher before being sold to Mr. Edward Brandos, who also bought Fortuny s “Study of Flowers ” Bon- nington’s “View of Old Paris.” Daubigny’s "Anvers on the Oise.” and Rovbet’s “The ivitchen in the Castle,” i.il of which he said were to go to Paris except the last, which he bought for himself. MR. WHITNEY PAID THE STAR PRICE. Fortuny, of course, was the hero of the evening, his “Court of Justice. Alhambra ” bringing the top price of $13,000. The start was $5,000, then it rose quickly to $8,000 and $10,000. Over under the north gallery Mr. Glaenzer. of Boussod, Valadon & Co., made bids of $50 at a time. But a pleasant looking young man on the centre aisle sent the price up each time $500. An usher stood near him, translating his careless nods. “Twelve thousand dollars,’’ cried the usher. “Twelve thousand and fifty dollars,” came from the other side. “I’d like to get a good look at that gentle¬ man,” said Mr. Kirby. "Five hundred more,” nodded the pleasant looking young man. “Ana fifty.” came again, with laughter all over the hall. “Thirteen thousand dollars!” “I am waiting for your $50!” said the auc¬ tioneer. But the young man got the picture, tie was Mr. Henry Payne Whitney. His wife, at his side, smiled happily. Mr. Giovanni Boldini from his seat under the north gallery looked mildly interested when his “River Seine at Mont Valerian” was put up. The first bid was $500. By hun¬ dreds it ran to $1,000. Mr. Boldini gazed at the ceiling reflectively. Two more bids, and the picture went for $1,050. The great painter had been recognized by the audience, and a ripple of applause made him smile. Just a little later his “The Rest at the Studio” brought $1,300, which evoked more hand clapping. But a perfect storm of ap¬ plause greeted his “Clichy Square, Paris.” At the first bid, $2,000, the artist whispered smilingly to his companion. The price was $2,250. Admirers of Rico were numerous, his five canvases going at $4,825 in the aggregate. Mr, Roland Knoedler wanted Alma-Tade¬ ma's "Roman Youth Reading Horace,” but thought $3,000 enough for it. An old man squeezed against the rear wall had some mysterious means of communicating with one of the ushers, and got the picture for $3,900. The same buyer, aided by the same shill voiced youth, made persistent bids of $50 more than the last for Ribera’s “Caf6 Chantant.” “I can stand it as long as you can,” said Mr. Kirby pleasantly. The price went from $1,000 to $3,900. but the patron of the shrill voiced youth won. WHO DID BUT THIS PICTURE ? The next to the highest price fell to For¬ tuny's brilliant “Arab Fantasia." Starting at $5,000 it leaped quickly to $7,500, which was as high as Mr. Clarence Dinsmore cared to go. Then, $100 at a time, it ran to $11,000. “Going”- said Mr. Kirby, “Ah—$11,500.” As he raised the hammer $12,000 was bid, and the picture was sold. This was the first canvas of Fortuny’s that Mr. Stewart bought. According to the auctioneer’s book, it was bought by ”H. Harrison,” but Mr. Kirby said that was an assumed name, and he couldn’t or wouldn’t say who the real purchaser was. There were persons in the audience wlw thought thev saw Mr. C. P. Huntington, who sat down in front, give the winning bid, while others thought the gentleman next him, Mr. W A Clark, a Westerner, was the man. Mr. Clark denied that he was the purchaser. Mr. Huntington had nothing to say. There was also a whisper that it had been bought by Mr. Whitney. A measure of Fortuny’s popularity rested i on his brilliant pupil, Zamacois, whose “For- tuny’s Model,” a famous work, brought $1,200. “The Infanta” went to Julius Oehme for $5,000, amid mild excitement. Mr. Raimundo de Madrazo watched his “Woman and Parrot” soar in price from $1 000 to $2,500 in less than a minute. The old m’r ’ squeezed against the wall signalled his luena saias wore ap- Mil. M APR A 250 WAS ASTONISHED. Troyon’s “Valley of the Doucques” sold $2,600, after spirited bidding from $1,000 Mr John D. Crimmins admired his “Chickens Feeding” enough to offer $4,700. Mr Herman Schaus paid $6,300 for it. merman GArorae’s famous “Door of Mosque with Heads of Decapitated Rebels” brought « 7on after a sharp bidding. Fortuny’s “One’ of the King’s Moors” went to Mr. Glaenzer fbr $3,150. This picture was a gift from the artist to Mr. Stewart. "View of C^pri,” by Baroness C. de Rothschild, who paints for pleasure and fame alone, brought $275. dfcure and Next to the last Baudry’s beautiful nude “The Wave and the Pearl,” was displayed again. “Five thousand dollars!” was the bid “It should be $50,000!” cried Mr kirhv “Six—seven—eight thousand! This picture is going to leave the country. Keep it here'” Mr. Raimundo de Madrazo with quiet nods was raising the price a thousand dollars at a T f hel ? . lt , falt . ered , and dragged slowly to $8,600, at which price the artist got it He said he bought it for a private' gallery in Paris, and no one was more astonished than he at the low price he got it for. Mr. William A. Clark, a wealthy mining man. whose home is in Butte, Mont., was a spirited bidder and secured “Monte Pincio ” a water color by Heilbuth. for $425’ Alma Tadema’s “Roman Youth Reading Horace ” for $3,900; “Cafe Chantant,” bv Ribera for ParroC*for* $3,’350?^ Madrazo ' s "Woman and M. Frederigo de Madrazo said after the sale that he considered himself fortunate in hav¬ ing been present. “On the whole very good prices were brought,” he said, “and it shows that the American public are appreciative of art. The Baudry nude was cheap, and so were the .Fortunys, ’Courtyard, Alhambra’ and ‘The Arqubusier.’ “The result of this evening’s sale must be gratifying to those who are directly inter¬ ested in it. To-night, however, should be a memorable one in every way—attendance, bidding and prices.” Mr. Thomas E. Kirby, the auctioneer, wtio has labored diligently for many months to make the sale a success, was gratified at the result last night. “It was entirely satisfactory,” he said. ”1 was, I confess, surprised to see the Baudry l go so cheaply. Outside of that, in nearly every instance, the pi ices were good. The Barbizon pictures averaged well.” Mr. Julius Oehme, the dealer, bought Zamacois’ “Infanta” for $3,000. “I purchased the picture for myself,” he said to a Herald reporter, when the sale was concluded, "and I am pleased with my pur¬ chase, of course. It was a great night, wasn’t it? Very good prices—yes—but very good pictures were offered, you must remem- i ber. “The Barbizon pictures brought satisfac¬ tory prices. I should say. The sale is un¬ doubtedly a success. To-morrow, though— ah! that will indeed be an occasion not to be easily forgotten.’’ Mr. Roland Knoedler said he thought the prices of the evening had been very good in¬ deed. He bought the Bonnat, “Neapolitan Peasants at the Farnese Palace,” he said for himself. Mr. Edward Brandeis thought that the prices brought by the Fortunys were rather low. except possibly the one bought by Mr Whitney for $13,000. and that was worth fully that much. The pictures of the Bar¬ bizon school, too. he thought had gone rather low. THE FIRST NIGHT’S SALES. The list of the first night’s sales is as fol- lows:- No. No. N’o. No. No. No. No. No. 1— Bellanso; “Military Sketches.’’ David Beiuiami, of Baltimore. 2— Gregory; “Tile War in the East,” s Bancroft ... 3— Pille: “Lansquenets,” Dr. G. i> Cowell . 4— Small; “A Plowing Match”. 5— Fortuny; “Corpus Christi,” Edward Brandus ... G—Harpignies; “Autumn. Castle of San Angelo” . 7— Cham (Count Amedee de Noe): "Tile Commune” . 8— Clays: “On the Coast”. 0—Menzel: “The Stirrup Cup.” D. IV SCO -50 125 310 160 HO GOO No. 10—For Douglas . 3,375 u-tuny; “Study of Flowers,” Ed . , \V. A. 400 -125 1,325 3,900 1,050 125 300 375 1,050 ward Brandus No. 11—Heilbuth; “Monte Pincio Clark . No. 12—ltk-o; “Venetian Canal with View of Veronese’s Tomb” . No. 13—Alma-Tadema; “Roman Youth Read¬ ing Horace.” W. A. Clark........ No. 14—Ribera: “Cafe Chantant.” W. A. Clark . 3,900 No. 15—Boldini: “River Seine at Mont-Yale- rian,” Boussod, Valladon & Co... N’o. 16—Fortuny: “The Arquebusier," . S. Stuuvers . 2,850 No. 17—Moore: "Banks of a River". No. 18—Bonvln: “Wild Flowers,” L. Crist Delmonloo ... No 19—Bonington: “View of Old Paris”.... No 20—Rico: “Fisherman. Seville.’’ B. Driest No 21—Boldini: “The Rest at the Studio,” . F. A. Bell. 1,300 No. 22—Weber; “Plowing,” Dr. G. B. Cow¬ ell ..• ■ .. 255 No. 23—Meszol.v: “Farm Scene, Dr. G. B. Cowell . No. 24—Zamacois: “Fortuny’s Model.” W. A. Clark . No 25—Parsons: “English Landscape”. No. 26—Madrazo; ‘Woman and Parrot.” W. A. Clark . No. 27—Fortuny: “Arab Fantasia,” II. Harri¬ son ... No. 28—Stevens; “Alsace, Messrs. M. Knoedler A- Co. No. 29—Maecari: “Women at Raphael's Tomb.” F. A. Bell. No. 30—Rico; “Boats at Poissy”. ...... No. 31—Fortuny; “Italian Peasant Girl. C. G. Dinsmore . No. 32—Areos; “Buffoon,” Messrs. M. Knoed¬ ler & Co. .........i. NO. 33—Corot: “Mile (I’Avrily. Edward Brandus . ,• No. 34—Trovon: “Valley of the roueiiues, Samuel 1'tltermeyer . 2,600 N’o. 35—Daubigny: “Auveis on the Oise, 200 1,200 400 3.350 12,000 1,100 700 350 975 675 5,000 No. 36- No. 37- F.dward Braiulus .. 0,000 litis; "Lowlands Near Naples ..... 0(5 adra/.o: “Woman and Guitar, ’ Isa- ■ ■ w.... .. 2,5 po ■•An Old Woman's -Nltt Made dor Wormser No. 38—Van Lerius; No. 39—Gerouio: “Door of a Mosmie will) YI oh worth of orders in his pocket. He bought only two pictures, at a total expendi¬ ture of $1,825. The museums and public galleries bought practically nothing. The strife was too hot. The Barbizon pictures brought fair prices, and the Fortunys, Madrazos and Boidlnis went at extremely good figures. The two armor black and whites by Meissonier were sold at remarkably high prices according to the dealers. Thus was a great collection scattered. The two nights of the sale will be long remem¬ bered as an important event in the history of the art world of this generation. THE STORY OE THE EVENING, i Warned by Thursday night’s experience, several hundred of the “elect" had obtained stage door tickets, and the auditorium was half filled long before the doors opened. The crowd outside far outnumbered that of Thursday, and the moment the doors opened poured in solid streams down the aisles, until the hall was so jammed that the doors had to be closed, leaving a disappointed crowd of over a thousand people on the sidewalk, un¬ able to gain admission. Impetuosity of the vanguard of arrivals carried them almost to the stage before they could see the hopeless task of seeking places forward of the tenth row. The tide turned back, met the incoming rush and eddied and swirled into what vacant seats could be reached. Floor and gallery were one mass of human ,beings in five minutes. Among the favored ones Raimundo de Ma- drazo, Frederigo de Madrazo, Julius L. Stew¬ art, T. Morgan Stewart, Mrs. James O. Green and the Misses Hewitt again occupied front seats, which had been saved for them by at¬ tendants. Mr. Giovanni Boldini and friends found the same places as on the preceding evening. Mr, and Mrs. Henry Payne Whitney im¬ proved their point of view by arriving earlier. Seats were saved for Mr. C. P. Huntington and Mr. George Gould. And to some pur¬ pose. too. Several times they furnished a royal attraction by their spirited bidding. A BATTLE OF MILLIONVAIHES. • Last night’s session was a battle of million- Jiaires, with dollars for missiles. Mr W A Clark “the Copper King.” who came out of the v\ est—Montana, to be exact— won “the - ’ engagement p f the merry war. Fortuny's “Choice of a Model” fell to him for $12 000 after he and Mr, George Gould had it out. Two drawings of Italian armor by Meis- sonier caused the first sharp bidding. Mr Berckman, representing Mr. Tiffany cap¬ tured both, one at $ 1 , 200 , the other at $1,250. Though Fortuny was the “star” by grace of his great picture. Meissonier almost equalled the top Fortuny price of the first night his Vr ny w>« nVa *’ " The Stirru P Cup,” going to Mr. Tiffany s representative, at $12,500. His “End of a Game of Cards,” a tragedy told in small panel, brought $9,000. H. W. Fargo got it probably for Mr. Walters of Balti¬ more. But one of the stiffest fights of all was over Troyon’s “The Lanp,’’ which Mr Hunt¬ ington and Mr. Glaenzer, representing Bous- sod, Valedon & Co., wanted very much By thousands and hundreds the price slitmed easily to $7,300. ^ •'Fifty more!'-' from Mr. GWnzei. Sayen thousand four hundred!” and Mr Huntington shifted his glance half an inch. fao it went, $50 at a time, until the million- naire, wearying of the struggle raised the bid $500 more, to $13,000. a tfte “And fifty!” The crowd roared, and the . price went limping on. “Thirteen thousand seven hundred! Do T -y ou sir?” from Mr. Kirby v _He did not. and Mr. Huntington got'the can- Boldini’s excellent “The Beach at Etretat” ran rapidly from $500 to $1,025, and was sold The artist half concealed his face with a nro’ gramme while this picture was up. In fact he did the same again when Mr. Stanford White got his "Pond in the Forest of Fontaine hleau • for S1.250. His "River Seine at Bou- givat ’ brought $2,275, after two bidders with¬ in ten feet of the artist hud run up the price MB. GOl'LD TAKES A HAND IN. Mr Georg- Gould’s first purchase was For tuny’s famous “Breakfast in the Convent Yard.” He sat. within touch of Mr Hunting ton. and the other bidders let them S after the opening bid, $r,, 000 . Mr Gould had to pay $6,900, which made Mr. Hunt ngton smile, whereat Mr. Gould smiled also ngton Mr. A. A. Anderson, the artist, who iat to Mr. Gould, must have a Zamaco s ••Checkmated’’ ran to $10,700 befo%The ham mer fell. Nittis’ “Route from Brindisi C Barletta. the tone of which would be grate ful on a winter's day, cost the same hifvC- $5,100 Mrs, A A. Anderson also “a hand in the bidding, and bought Michetti's “Spring' for $800. -iiecii s Some of Mr. Huntington’s purchases were Rico's “Tlie Woodcutter.” $900; PettenkofenL "Hungarian Peasant Wagon,” $2,500 and (it was understood it was his purchase) Baudrv’s superb “Fortune and the Child,” $6 500 “stun set.” by Corot, went to Mr. Wormser at' $ 6 , 200 . Messrs. Brandus and Glaenzer had a sharp tilt before the latter got Rousseau's “The Woodcutter. Forest of FontalnebRau ” for $7,450. ’ Fortunys seemed to rise as the numbers approached the masterpiece. “The Masauer- ade“ brought $4,750 from Mr. Knoedler an j a “Street in Tangier” reached $5,000 ’ His Portrail of Meissonier” was sold for $2,300. A BATTLE OF FINANCIAL GIANTS. A little later the curtains were drawn close a.m;d a buzz of excitement, that rippled into loud applause as the folds were swished back to-disclose “The Choice of a Model.” After a long pause Mr. Gould was seen to wiggle his eyebrows meaningly. "Thirty thousand dollars!” is what the 1 auctioneer understood Mr. Gould meant by that cabalistic motion of his eyebrows. "Thirty-one!” from Mr. Roland Knoedler. “Why, 500,000 francs was refused for it!” cried Mr. Kirby. Perhaps this was a pardonable error. It was “La Vicaria” that brought out this offer some years ago from M. Georges Petit | after Mrs. Cornelius Vanderbilt failed to tempt the owner, the Marquise de Carcano, with 250,000 francs. But it is true that Mr. Gould offered the late Mr. Stewai t 250,000 francs for it. But back to “The Model!” “Thirty-one thousand— thirty-one— ” “Thirty-five thousand!” as Mr. Gould nods. “Going -going—thirty-five”-- “Thirty-six 1” from Mr. Clark, of Montana. “Thirty-seven!'’ promptly, from Mr. Gould. Tne dealers had dropped out, and Mr. Clark and Mr. Gould went at it in dead earnest, a thousand at a time, now slow, now quick, un¬ til— “Forty-two thousand’’’ cries an usher at the right for (he Montana man. The crowd waited breathlessly. Mr. Gould glanced at tills programme, glanced at the ceiling, every¬ where but ar the auctioneer. RV’Fifty or a hundred more:” pieaaen mt. .1 Kirby. ~ “Now, fair warning—going—$42,000— [ going” - , “Crack!” falls the hammer, and applause breaks out from floor to roof, and Montana takes the model. SOME MOKE BIG PRICES. Of course the sale of "The Choice of the Model” was the event of the evening, but after it was over the interest didn’t die o.ut by any means. Troyon’s “Cow Among the Cabbages,” which was put up very soon afterward, occasioned quite a spirited battle, and Mr. Edward Brandus finally secured it at $12,090 even. It goes to Paris. Leibl’s "Village Politicians,” one of the most inter¬ esting pictures in the collection, was bought by Mr. D. P. Sutton for $15,000, while For¬ tuny's “The Antiquary” brought $15,200, Mr. Hermann Schaus being the purchaser. One of the liveliest contests of the whole sale was for Madrazo’s “Departure from the Masked Ball.” Mr. C. P. Huntington wanted it, and so did Mr. F. A. Bell, and the way they sent the price up was something aston¬ ishing. Mr. Huntington finally got tired nod¬ ding his head, and Mr. Bell got the prize for $16,500. Van Marcke’s “Cows in the Valley, Toucques,’’ also created a stir. Mr. W. A. Clark and Mr. Isador Wormser, Jr., each started out as if he meant to have it whether or no. Mr. Clark stayed longest and paid $11,500 for the honor. “Summer,” the beautiful landscape by Mr. Julius L. Stewart, the. son of the collector, was sold for $1,000 to Mr. W. A. Genner, a very low price, indeed. The last picture sold, Madrazo’s “Pierette,” was knocked down to the Marquis de Casa- riva for $5,000. Mr. Frederick Layton, the well known col¬ lector of Milwaukee. Wis.. bought Vollon's “Monkey and Fruit” for $2,100, and Weber's "Landscape and Cows” for $500, which he will present to the Milwaukee Museum of Flue Arts, of which he is the founder. THE SALES OF THE EVENING. i*ns msj frd THE SALE OF THE BRONZES. After that most of the crowd left, al¬ though Mr. Kirby begged them to remain for the sale of bronzes, furniture and other objects. There were twenty-seven lots of these altogether, and they brought a total of $8,455. Some of the articles brought very good prices, indeed. Mr. Henry Payne Whit¬ ney paid $1,375 for a bronze group, “Tiger Seizing a Deer,” by Barye, and Mr. Samuel Untermyer gave $1,200 for the same artist’s “Panther Seizing a Stag.” Mr. Whitney also bought Genito’s bronze bust, “The Fisher Boy,” for $160. D’Epinay's “The Communist” went ifor $55, his “Croquet” for $20 and his statuette of “Meissonier” for $70. Mr. W. A. Clark bought four high backed chairs for $75 apiece. OPINIONS OF SOME EXPERTS. M. Theobald Chartran, the artist, consid¬ ered the sale a remarkable one. “It was wonderful,” he said. “The prices were very good—very.good, indeed.” Mr. Samuel Avery, Jr., expressed surprise that the prices ruled so high. “I only bought a few pictures, although I bid on many,” he said. “It was practically useless to bid. I had orders for pictures amounting to $98,000, but the bids in most cases were too high for me to enter into the competition. I think that very few, if anv, pictures were bought by the museums. I know that none were bought for the Metro¬ politan Museum of Art.” Mr. Hermann Schaus was a frequent bid¬ der. He, too, thought that the prices were high. “My principal purchase was Fortuny’s ‘The Antiquary.’ at $15,200,” he said. “I No. No. . nig 71—Knaus; "The Berckmans Landlord;” 73—Vierge; "The Bridle Path. PSois de G. B. $350 No. No. No. No. No. No. No. at Prayer,’/’ E. B. ./. 300 inn Armor, Six- toulogne.” G. W. Kruusli 73— Morelli; “Woman Seated” 74— Fortuny; “Al'aha a Swenson . 75— Meissonier; "Italia.. _ . teeuth Century,” G. B. BFrekmans. 1,200 76— Meissonier; "Armor,” G. :fi. Berck- mnns.. 1,250 77— Lami: "Otf for the Hunt,” Julius Oehme . 78— Gnvarni; “Small Talk,”. Heury Walters.. 79— Heiltmth: "Sun Giovanni Hatej-no,” C. 1’. Huntington..,. No. 80 -Fortuny; "Gypsy Caves, Granada," 1 ? No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. W. A. Clark. SI—BcnlHnre; “House at Naples-," K. P. Avery .. ........ 82— Boldini; "‘The Beach at JiStretat,” S. f\ Avery .... 83— Pettenkofm: “A Market in Hun¬ gary,” F. O. Matthiesserr . 84— Rico- “The Tarpeian Rock. Rome,” A. Lewisohn .1. 85— Fortuny; “Breakfast in the- Old Con¬ vent Yard.” George ,T. Gou.ld. 88 —Zamacois; _“The Snowball/’ Fishel. 200 200 500 2,200 800 1,025 92ft 2,000 6,900 Adler & Schwarts. . 1,200 87— Rico; “The Woodcutter,” C. P. Huntington ... 9 Q 0 88 — Weber; ‘Landscape and Cows,” F. Layton, of Milwaukee. 80—Pel tenkofen; ‘'Hunepii’lan Peasant Wagon,” r. p. Huntingdon. 90—Boldini; “Pond in the Forest.of F< 500 2,500 1,250 1,100 ’ore*;t of Fon¬ tainebleau,” Stanford Wliite...... 91— Fortunv; “Rosa ContadinaL” Bous- Rod, Valladon & Co. .... . ... 92— Rico; “Seville.” H. W. Fargo.^sup¬ posed to be. for Henry Walters)... 1 350 93— Stevens; “Remembrance aud Re¬ grets,” M. Knoedler & Co. L...... 1600 94— Fortuny: “Arab Reclining on a Di¬ van,” F A. Bell... :... 95— Ribera; “Cafe Ambulant,” S. P. Avery ... 96— Michctti; “Spring,” Mrs. A. A ' 4n’- derson.. . 97— Decamns; “Death and the Wood- mQn Obanler 98—Corot; “Sunset.” Isador Wormser,’ ,Jr 4,300 2,000 800 2,750 6,200 7,450 18,700 90—Roussdau: “The Woddciiitc'f.' Fordst of Fontainebleau.” Boussod.- Vala- __ ‘ don & Co.. No. 100—Troyon; “The Lane,” C. P. Hunting- No. 101—Zamacois*;'' "Checkmated,” ' A." A' Anderson . . in 7 m inuZni C ° : ‘■.?i aza 3 nd Street. Toledo”'.'.: 3050 No. 109—Rico; .Avenue Josephine Market x- ,,n * aris - A. Clark . ’ » r ,no No. 110—Meissonier: * 'The End of a Game'of Oards, H W. Fargo. . q nq/i No. Ill—Fortuny: “Meissonier's Portrait* ,V G B. Berckmans . * ' $> n q No. 112 — Meissonier; “The Stirrup Cun ” '(V B. Berckmans. ' m nnr> No. 113—Rico; “Rienzi’s House in Home”’850 No. 114—Fortuny: “The Choice of a Model ” W. A Clark No. 115—Boldini: '"Highway "of" Combes-Va'- 42 000 _ Vllle. B. I’. Douglas. 4 von No. 116—Fortuny; “Dead GirL” S. Stanvers" No. 117—Troyon: “Cow Among the Cab- 800 No. 118—Leih bages,” Edward Brandus.' moon Mb?: “Village Politicians,” J. F. ’ Sutton . lit on a No. 119—Fortuny; “The Antiquary,” "Her/ ’ ° mann Schaus bought it myself. Everything went well, generally speaking.” Mr. Edward Brandus bought Troyon’s "Cow Among the Cabbages” for M. T. Mon- taignac, of Paris. “I paid $ 12,000 for it, but I think that I got it at a bargain," he said. "I must say that I was surprised that the prices ruled so high. 1 It only shows, however, that the Americans have a high appreciation of art. I bid on | several pictures, notably Meissonier’s ’Stir- ! rup Cup’ and Rousseau's 'Woodcutter,’ but ] 1 had to drop out.” Mr. Roland Knoedler thought the prices re¬ alized were “fabulous.” Mr. Julius Oehme was considerably, sur¬ prised at the prices. “I should call them high,” he said. “It is a great collection and it has brought great figures. I think the Barbizon pictures went at very reasonable figures, however. The Meissonier armor black and whites brought 1 figures far in excess of the estimate that I had placed upon them. No one can complain, though, for if they have paid big prices, they have something to show for them.” SOME WELL KNOWN PEOPLE. In the gathering were Mr. and Mrs. Henry Payne'Whitney, Mrs. William B. Ogden. Mrs. Stephen Peabody, Roland Knoedler, William Salomon, Mr. and Mrs. F. A. Bell, Mr. and Mrs. H. C. Frick, Robert Perkins, C. Grey Dinsmore, Mr. and Mrs. T. Benedict Clarke, Mrs. James O. Green, Miss Sallie Hewitt, Miss Eleanor Hewitt. Julius Oehme, Dr. and Mrs. E. Culver, Charles Knoedler, Mr. and Mrs. T. Chartran, Mr. Henry Walters, of Bal¬ timore; Giovanni Boldini. Mr. and Mrs. S W. Bowne, George A. Hearn, Mr. and Mrs" A Lanfear Norrle, former Mayor Hugh J. Grant and Mrs. Grant, Brayton Ives, Mr. and Mrs Edward Brandus, Mr. and Mrs Charles G* Francklyn, G. H. Buek, Theodore Wores' W. Scott Thurber. of Chicago, Charles S Car- stairs. Alexander Blumenstei], Emanuel Blumensteil. Judge and Mrs. Charles Truax S. H. Kauffman and T. B. McGuire renre.: senting the Corcoran Art Gallery of' Wash¬ ington, D. C. vvasn Stanford White, Mrs. Hermann Oeiriehs, Miss Mary Turnure, L. G. Bloorpingdaie, S. J. BJoommgdale, J. J. Emery, George Gould, Eugene Glaenzer, Mr. and Mrs. C. P. Hunt¬ ington. Mrs. Rook and Miss Edith Rook of Newport; Mrs. J. Wells Champney, H. Va- Mills Day. Mr. and Mrs. Gren- villf Z 1 l ’ lth i'op, C. W. Kraushaar, Mr. and Mrs. John Blake Baker. Ruloff Kip, Ferris Tij, n w Son ’ P ' Co °Pe r Hewitt, Whitney War- qtbh/ erm £, nn . Schaus ’ and Mrs. Joseph T t! A k ?/' Daniel Bacon, William A. Clark r -' Hearn, Fred Leighton, of Milwaukee'- Pem S Fred R. Halsey’ the 15,200 No. 120—Madrazo; “Departure from Masked Ball,” F. A. Bell... ifi r »nn No. 121—Fortuny; “Arab Butcher.” Stanford ''kite .. o 3oo No. 122—Van Mareke: “Cows in the V alley, x- Toucques “ W. A Clark.f. 11,500 Jo?~£ tf T iirt: Yammer.” W. A. Genner. 1,000 No. 124—Fortunv; Environs de Tangor,“ E , McMillan . i aaa No. 125—Vollon; “Monkey and Fruit.” F. ’ I x. Layton. o 100 No. 126—Romako: “The Huntress,” A. \ r au Sant fort . 375 No. 127—Fortuny: “The Alberca Court. Al- x- mo bambra,”. T). P. Douglas. 7 000 No. 128—Madrazo: TMerrette,” Marquis de Casanva. 5>0 oo Total second night’s sale. 5526,8 305 No 58, Boldini. “Clichy Square, Paris,” ’ which was sold the first right for $2,250 was resold last night to Colonel Gross for. ’. 2,000 Total .$270,395 Total first night's sale less plcture're’sold'.. 130.940 .total for bronzes and bric-a-brac. 8,455 Grand total.$409,790 COMPARED • WITH THE MORGAN SALE. It is interesting to note that, while the Stewart sale netted $401,335 for 128 pictures or an average of about $3,136 for each picture’ at the Mary J. Morgan sale, in 1886, the total was $SS,>,300 for 240 pictures, an average for each picture of about $3,68.8. -Do™ tV v • ■ Aittueit, rrea ft. naisey Mrs \\? e q m n nt ’ F ' A PP leton Smith, Mr. and R Mrs. H. Van n„ n ’ rc . ( ' 4,750 Huntington . ' ^ 1 ■ „ Bolfllnl. ‘‘River Scene at' Bougivai". o'o,. Clays. ■ Dead Calm," M. Knoedler &'Co' 7ooo Fortuny, “A Street in Anglers,” W . A. ’ ° Nittis “Route from Brindisi' to Barletta 5,000 A. A. Anderson . * K g, 1 ™’ street,.Toledo”"""l ^080 R w’’ A* A Clark J ° ae P hlne Market, Paris,’’’ Meissonier, 2,500 Cards.” H. VV. b Fnrgo d ..° f . Berekmans IeiSSOnler ’ 8 Portralt ’” « '»■ Meissonier. ‘ ■ -The ' Stirrup ' Cup," ' o' ' B 2 ' 300 Berckmans . v Fortuny, r "The Choice of "a "Model'.'”" wi Boldini, “Highway 'of ' c'o'm'b'e's'da'-Viiie ” 42 ’ 000 D. P. Douglas . ' . „„- Troyon. “Cow among the Cabbages '" Ed- ' ward Brandus .. ' mooe Leibl, “Village Politicians," J. F.'Button 150fin Schani "The AnHqnary," Hermann 1 ' , ’° 00 t- * ’ D"-p’a rt lire * from'' the" Masked 15,200 Ball,” ' F. A”.*"Beil \ JlaBkea r WhTt’e' “ Arab "Stanford ' Van Mareke. "Cows in the Valiev- 2,300 Toucques,’ W. A. Clark. y ,, 50n Stewart, "Summer.” W. A. Genner loon Fortuny, “Environs de Tangier " E Mr- 1,000 MUlan . , ... Vollon, “Monkey and Fruit,” F. 'Dayioii bra U “ y 'n P he n A1 ,' ,erca Court, AlLm: ’ 10 °i bra, D. P. Douglas . 7 o nn : Madrazo, “Pierrette.” Marquis de Casai r!va . 5,000 FORTUNY’S “MODEL,” $42,000. %. t %il ,- r - ; BOUGHT BY W. A, CLARK AFTER LIVELY BIDDING AGAINST GEORGE J. GOULD. CLOSE OF THE SALE OF THE STEWART COLLEC¬ TION'- A GREAT CROSS'D IN CHICK KRINO HALL TO WITNESS THE DISTRIBUTION. .'.,4 Fortuny’s “The Choice of a Model,” the gem of the Stewart collection, was sold at Chickering 1 Hall last night for ,$42,000. It was bought by j a comparative stranger to this city, W. A. Clark, , a Western, silver mine-owner. George J. Gould bid the picture up to $41,000, but then, although Thomas E. Kirby, the auctioneer, offered to take a bid of $100 more on Mr. Clark’s bid of $42,000, Mr. Gould refused to make a higher offer. When “The Choice of a Model,” which has been reproduced and frequently described in The Tribune, was placed upon the screen, a burst of applause rose from the spectators, who filled every corner of the hall. Like another famous auctioneer, Mr. Woods, of London, Mr. Kirby’s sang-froid is proof against any excitement. His voice never falters, and whether he sells a $10 or $10,000 work he speaks in the same clear but perfectly modu¬ lated cones. “Well, ladies and gentlemen, here Is this superb work of Fortuny. What am I bid to start?” was all Mr. Kirby said to intro¬ duce the picture when the applause and the buzz of conversation had died away. Then came ; a surprise. George J. Gould ha,d been deep in conversa¬ tion with Mr. Randolph, of the American Art. Association, and from the latter came the open¬ ing bid—$30,000. Again applause broke out, and for a moment it seemed as though the mag¬ nitude of the bid had secured the picture for Mr. Gould. But only for a moment. AN ANSWERING BID. From an usher on the other side of the hall ;ame an answering bid of $31,000. And then, for a few minutes, a battle of the thousands took place between the two. Amid excitement such as seldom has been witnessed in an American auction-room, $40,000 was reached. It was from Mr. Gould's opponent, who sat near the right end of the front row, but who was unknown to all save two or three in the hall. Mr. Gould’s representative hesitated, and looked toward him for the nod or wave of the hand that means the exchange of thousands of dollars in these sales. But no sign came, and there was another conference. Then the agent bid $41,000. Quick as thought came the answering bid of $1,000 more from the other side of the hall, and Mr. Gould, in spite of Mr. Kirby’s offer to take a .$100 advance, remained with his eyes obstinate¬ ly fixed on his catalogue. “For the last time, gentlemen. No advance on $42,000?” called Mr. Kirby, and “tap!” the pict¬ ure was sold ‘h.vnid more applause, this time loud and long. Mr. Clark -was a large buyer at both the pre¬ ceding night’s and last night’s sales. Last night, besides “The Choice of a Model,” he se¬ cured Fortuny’s “Gypsy Caves, Granada,” for $2,200; Ber.lliure’s “House at Naples,” for $800; Fortuny's “A Street in Tangier,” for $5,000; Rico’s “Avenue Josephine Market,” for $2,500, and Van Mar eke’s "Cows in the Valley,” for $11,500. FIRST LOTS SOLD. The first lots sold were some interesting draw- ] ings and water-colors. “The Landlord,” a draw¬ ing by Knaus, was bought by G. B. Berckmans, of Tiffany & Co., for $350. Henry Payne Whit¬ ney wanted this drawing, but stopped bidding at $310. A drawing by ViOrge was sold to C. W. Kraushaar, of this city, for the low price of $70. A monochrome by Fortuny, “Arab at Prayer, after taking a long time to start—and for which, after repeated appeals for “A bid, any bid, to start it,” from Mr. Kirby, only $50 was offered at first—went up to $300 in $10 bids, at which price it was secured by E. P. Swenson, of New- Y'ork. Then came two drawings of armor, in black and white, by Meissonier. The bidding on both of these was spirited and quick, but both were knocked down to Mr. Berckmans, one for $1,200, the other for $50 more. Julius Oehme bought a little water-color by Lami for $200, and H. W. Fargo a drawing, in the same medium, by Gavarni, for $200. Mr. Randolph, of the American Ar%, Association, paid $500 for a water-color by Heiibuth, and then the oil paintings were started. Mr. Clark secured the first, Fortuny’s “Gypsy Caves,” the bidding for which started at $200 only, but it went quickly to $2,200, at which price it was knocked down. The ne*t picture, _ ,,,_ _i_„ tvi v Clark's nrooertv. S. P. Avery bought Boldini's §£> EtriRat,” for $1,025. Mr. BoldinI sat In the front row, and smiled when the bidding rose to $1,000 for the picture, which is only a few inches in height. After a work by Pettenkofen had been sold to F. O. Matthiessen for $925, Rico’s “Tarpeian Rock,” started at $1,000, was knocked down for double that sum to A. Lewisohn. SECURED FOR MR. HUNTINGTON. Mr. Randolph, bidding apparently for C. P. Huntington, who sat in the second row, immedi¬ ately in front of Mr. Gould, secured Fortuny’s “Breakfast in the Old Convent Yard” for $0,900. The bidding started at $5,000, and when it reached $0,150 the picture was almost knocked down to a buyer in the back of the audience, but Mr. Randolph started again, and ultimately secured the picture at the price named. Mr. Randolph also bought Rico’s “Woodcutter” for I $900, while Fischel, Adler & Schwartz Secured Zamacoi's’s “Snowball” for a customer, at the price of $1,200. F. Laytcn, of Milwaukee, bough! the next two paintings, a landscape and cows by Weber, for $500, and “Hungarian Peas¬ ant Wagon,” by Pettenkofen, for $2,500. Another work by Boldini brought a satisfac¬ tory sum. It was a little view in the forest of Fontainebleau, and was bought by Stanford White for ,$1,250. An unknown bidder in the gallery ran Mr. White closely, but stopped at $1,225. Next Boussod, Valadon & Co. secured a rather large water-color by Fortuny, “Rosa Contadina,” for $1,100, and another work in the same medium by Rico was carried in $50 bids from $500 to $1,350, at which figure H. W. Fargo bought it. Alfred Stevens’s “Remembrance and Regrets” was greeted with applause, and was bought by M. Knoedler & Co. for $1,G00. The most important water-color, by Fortuny, in the collection was the next lot. It was the “Arab Reclining on a Divan.” Starting at $1,000, it was soon bid up by several would-be buyers, to $3,000. At this point F. A. Bell took a hand, and, with $100 additions, brought It up to $4,300, at which price he secured it. He was closely pressed by a bidder at the back of the hall, but answered each opposing bid with the regularity and quickness of clockwork. “It doesn’t frighten him,” said Mr. Kirby, amid laughter, when Mr. Bell answered one bid after another, and his opponent evidently felt soon afterward that he meant to have the pict¬ ure at any price, and gave up the struggle with a sigh of regret. S. P. Avery bought Rivera’s “Cafd Ambulant,” a study of a Parisian street scene, for $2,000, while Mr. Randolph bought Michetti’s “Spring” for $800. “DEATH AND THE WOODMAN.” Next to the great Fortuny, Descamps's “Death and the Woodman” brought forth the greatest applause at the sale. It was started at $1,000 and bought by Mr. Chandler for $2,750. Then came one of the two Corots. “The Woodcutter, Forest of Fontainebleu,” it was called, and was started at $5,000. The bidding was a contest between two dealers, E. Brandus and Boussod, 1 Valadon & Co. Mr. Brandus bid it up to $7,400 j and his opponent to $50 more, when Mr. Brandus shook his head, and the picture was secured by Boussod, Valadon & Co. for $7,450. Another important work, Troyon's “The Lane,” was secured by Mr. Randolph, for C. P. Huntington. The bidding started at $1,000, and j $13,700 was the last offer. Mr. Glaenzer, for Boussod, Valadon & Co., and Henry Payne Whitney-, were Mr. Huntington’s opponents, j Boussod, Valadon & Co., all through the sale, bid advances of only $50 even on the highest- priced pictures, and when the auctioneer ex¬ claimed: “I know where that $50 comes from!” there was a ripple of laughter all over the hall. Zamacoi's's “Checkmated” was also bought by Mr. Randolph, whether for Mr. Huntington or not was not ascertained, for the sum of $10,700. Another Fortuny water-color, “The Masquer¬ ade,” was bought by M. Knoldler & Co. for $4,750, while Bandry’s “Fortune and the Child” was sold, after quick bidding, for $0,500. STILL ANOTHER FORTUNY. After works by Boldini and Clay had been sold, another Fortuny, “A Street in Tangiers,” went to Mr. Clark for $5,000. C. P. Huntington bought through W. Randolph Nittis’s “Route From Brindisi to Barletta,” and two works by Rico brought $3,050 and $2,500, respectively. ■ George J. Gould was a bidder for Meissonler’s i “The End of a Game of Cards,” but lost it to 1 H. W. Fargo. It brought $9,000, rather less than was expected. Mr. Fargo also bought For¬ tuny's “Meissonier's Portrait," for $2,300, whi4e the other important Meissonier, “The Stirrup Cup,” was sold to Tiffany’s representative for $12,500. Mr. Brandus tried hard to secure this picture, but weakened when it reached $12,000. Another Boldini was “old after “The Choice of a Model.” It was a landscape, and brought $4,200. G. P. Douglas secured it. Few seemed to want Fortuny's “Dead Girl." It was sold to "Mr. Stahdors” (an assumed name), for $800. The Troyon “Cow Among the Cabbages” was started at $7,000, and eagerly contested for by Mr, Brandus and Bou.ssod, Valadon & Co., but it was secured, after spirited bidding, by T. j Montaignac, for $12,000. The night’s sale, exclusive of the bronzes, amounted to $264,395. The total for the two nights is $397,585. SOME OF THE PEOPLE THERE. Among those in the great crowd of people at the sale were Mrs. James L. Greene, Mrs. Her¬ mann Oelrichs, Miss Mary Turnure, Stanford White, Miss Sallie Hewitt, Perry Be'mont, Mrs, William B. Ogden. George J. Gould, Mr. and Mrs. Henry Payne Whitney, Mr. and Mrs. H. Van Rensselaer Kennedy, Judge and Mrs. Truax, Mr. and Mrs. Joseph Stickney, Mr. and Mrs. Collis P. Huntington, Mr. and Mrs. Chartran, Dr. and Mrs. E. Clarke, Mr. and Mrs. T. B. Clark, Mrs. Stephen Peabody, Henry Walters, of Baltimore; Mr. and Mrs. Hugh J. Grant, Mr. and Mrs. A. 'Lanfear Norrie, Mr. and Mrs. Charles G. Francklyn, Mr. and Mrs. Edward Brandus, Mr. and Mrs. Frederick Bonner, Mr. and Mrs. A. A. Anderson, F. R. Halses’, Mr. and Mrs. A. A. Bonner, Mr. and Mrs. Calvin S. Brice, Charles Knoedler, Brayton Ives, Charles S. Carstairs, Herman Sehaus, H. H. Hallett, William A. Clark, James Inglis, Russell Spauld¬ ing, Frederick Layton, J. A. Hearn, F. Appleton Smith, Mr. and Mrs. Francke, Clarence Gray Dinsmore, Robert Perkins, G. Boldini, S. H. Kauffman and T. B. McGuire, representing the Corcoran Art Gallery, of Washington; F. A. i Bell, A. W. Conover, A. Gross, C. W. Gould, E. Burgess Warren, of Philadelphia; William T. Evans, David H. Moffatt, of Denver; M. S. Smith, of Detroit, Mich.; H. Bramble Wilson, Durand Ruel, Eugene Glaenzer, Cambridge Liv¬ ingston. Mrs. Rook and Miss Edith Rook, of Newport, R. I.; Mr. and Mrs. .T. Herbert John¬ son. Charles W. Kraushaar. Whitney Warren, Peter Cooper Hewitt, Ferris Thompson, Alex¬ ander Harrison, of Paris; Charles Phillips, S. P. Avery, Henry J. Barbey, George Loring, Mrs. Dunlop Hopkins and Charles H. Tweed. PRICES FOR THE PAINTINGS. Following are the prices for the paintings: BENLLIURE. “House at Naples"; W. A. Clark.. $800 BOLDINI, “The Beach at Etrftat”: S. B. Avery. • 1.025 “Pond to the Forest o*f Fontainebleau”; Stanford White . 1.230 ! “River Seine, at Bougival”. 2,275 “Highway of Combes-la-Ville”: G. P. Douglass . 4.200 "Clichy Square, Paris”. v . 2,000 BAUDRY, “Fortune and the Child”; Randolph, agent . .6,500 COROT, "Sunset"; Isidor Wormser. 6,200 CLAYS, “Dead Calm”; Knoedler & Oo . 1,900 DECAMPS, “Death and the Woodman”; Chandler. 2,750 FORTUNV. “Arab at Prayer,” monochome; E. P. Swenson . 300 "Gypsy Caves, Granada”; W. A. Clark... 2,200 “Breakfast in the Old Convent Yard”; Randolph (agent)....>•. 6,900 “Rosa Contadina,” water color; Boussod, Valadon & Co.• 1,100 “Arab Reclining on a Diva.n,” water color; F. A. Bell. 4,300 “The Masquerade,” water color; Knoedler & Co. 4,750 “Street in Tangiers,” water color; W. A. Clark . 5,000 Meissonler’s Portrait; H. W. Fargo. 2,300 “The Choice of a Model”; W. A. Clark.. 42,000 “Dead Girl"; Stanvers. 800- “The Antiquary”; H. Schauss.15,200 "Arab Butcher”; Stanford While. 2.300 “Environs de Tangier”; E. Macmillan.... 1,400 “The Alberca Court, Alhambra”; G. P. Douglass . 7,000 GAVARNI, "Small Talk (De la trtbu des Bad- inguet),” water color; H. W. Fargo. 200 HEILBUTH, “San Giovanni Laterano,” water color; Randolph (agent). B00 KNAUS, “The Landlord.” drawing; G. B. Berck¬ mans . 850 LAMI, "Off for the Hunt,” water color; Julius Oehme . 200 LEIBI., "Village Politicians"; J. F. Second.15,009 MORELLI, “Woman Seated”; drawing. 75 MEISSONIER, Italian armor, sixteenth century; blaok and white; A. B. Berckmans. 1,200 Armor, black and white; G. B. Berckmans. 1,250 “The End of a. Game of Cards”; H. W. Fargo . 9,000 “The Stirrup Cup”; G. B. Berckmans.12,500 MICHETTI, “Spring”; Randolph (agent)... 800 MADRAZO, “Departure from the Masked Ball”; F. A. Bell...10.BOO "Pierrette''; Marquis of Casa Rleva.5,000 NITTIS, “Route from Brindisi to Barletta"; Ran¬ dolph (agent). 5,100 PETTENKOFEN, "A Market In Hungary”; F. O. Matthiessen . 925 "Hungarian Peasant Wagon”; Randolph (agent) \. 2.500 RICO, “The Tarpeian Rock, Rome”; A. Lewisohn.. 2,000 "The Woodcutter,” water color; Randolph (ag.en t) . 900 "Seville,” water color; H. W. Fargo. 1,350 “Plaza and Street.” Toledo. 3,030 “Avenue Josephine Market, Paris”; W. A. Clark . 2,500 “Rienzi's House in Rome"... 850 RTBERA. “CafB Ambulant"; S. B. Avery. 2,000 ROUSSEAU, “The Woodcutter, Forest of Fontaine¬ bleau": Boussod, Valadon & Co.... 7.450 ROMAKO “The Huntress”; A. Van Gantvoord.... 375 STEVENS, "Remembrance and Regrets"; Knoedler j STEWART, "sunrnip;- : \\. Jenner . ] TROYON, “The Litne"; Randolph (ag it>.13,700 j • 'Cow Among the Cabbages"; T. Mon- I taignae .12,000 VXBUOE, “The Bridle Path, Beds de Boulogne,” drawing. C. IV. Krausharr . 70 VAN MARCKE, “Cows In the Valley, Toucques"; \V. A. Clark . 11,7.00 VOLLON, “Monkey and Fruit"; F. Layton. 2,100 j WEBER, “Landscape and Cows,” water color; F. Layton. BOO ZAMACOIS, “The Snowball”; Fishel, Adler & Schwartz . 1,200 “Checkmated” : Randolph (agent).10,700 WHAT THE BRONZES, ETC.. BROUGHT. The bronzes, etc., brought the following; D’EFINAY, “The Communist”: Joseph F. Coleman. $55 SI-IO-KWA-KEN, pair Japanese bronze vases; --. 40 FREMIET, Morse and Cat; E. P. Swenson. 40 GEMITO, “The Little Fisherman”; Samuel Unter- myer . 65 D’EPINAY, “Croquet"; E. P. Swenson. 20 GEROME. pair. “The Gladiators”; William Salo¬ mon ...each 135 —-, Japanese bronze covered vase; J. W. Mason . 05 D’EPINAY, Meissonier; W. Lafflng. 70 GEMITO, “Woman of the First Empire”; R. de Madrazo . 75 FREMIET, Due d’Orleans; William Salomon. 200 GEMITO, “The Fisher Boy”: Henry Payne Whit¬ ney . 160 BARYE, Gaston de Foix; William Salomon. 405 BARYE, bronze ornamental pedital; William Solo¬ mon . 105 1 FREMIET, “St. George and the Dragon”; Henry A. i Lanthler .„. 210 ■ BARYE, “Panther Seizing a Stag* ; Samuel Unter- myer . ( . 1,200 BARYE, “Tiger Seizing a Deer”; Henry Payne Whitney . 1,375 DUBOIS, Paul Baudry; “Stanver”. 40 CARPEAUX, Jean LSon G4r0me; F. R. Kalden- borg . 50 FREMIET, mantel clock, with marble group; W. A. Clark . 725 CAIN, pair bronze candelabras; M. Culver . 200 Pair elaborate Japanese bronze vases; F. T. Fleltmann .each 155 Pair large Cloisonne vases, fitted as lamps; Large Inlaid Table; . 400 Two elaborate inlaid armchairs; Fishel, Adler & Schwartz .each 110 Four high-back chairs; J. W. Mason..each 75 Eighteenth Century Dutch screen; Randolph (agent) .' 700 William Littauer .each 300 Douis XVI. cabinet; Dr. Darrin. 375 -— 4 --- THE FINE ARTS J. /''T U’/fAlf] / Second Evening of the Stewart Sale In¬ troduces Mr. Clark of Montana The sensation of the Stewart picture sale occurred last evening, when Mr, W. A. Clark, of Butte, Montana, bought For¬ tuny’s “Choice of a Model” for $42,000, de¬ feating George Gould in the bidding. Mr. Clark is a copper king and other kinds of a king, who does things in the large, royal way so often observed in Montana, and the idea of an effete Eastern millionaire bidding successfully against him is, of course, absurd. Fortuny’s famous picture goes to Butte! A fortune for a Fortuny! , The sale o. the Stewart collection is now ended. Last night brought out the big buyers in great force, and, as most o i the desirable works seem to have been grouped towards the end of the catalogue, the total figures are much more startling than was to have been expected from the results of the first evening. The total for the pictures, 128 in number, is $401,335; and if we add $8455 for the bronzes and furniture, the grand total is $409,790. Fol- j lowing is a list of the.pictures which were | sold for $2500, or higher, last evening; Fortuny, "Breakfast in the Old Convent Yard,” George J. Gould, $6900; Pettenkofen, “Hungarian Peasant Wagon,” C. P. Hunt¬ ington, $2500; Fortny, “Arab Reclining on a Bivan,” F. A. Bel!, $4300; Decamp, “Death and the Woodman,” Chanler, $2700; Corot, “Sunset,” Isador Wormser. Jr„ $0200; Rosseau, “The Woodcutter, Forest of Fontainebleau,” Boussod, Valadon & Co., $7450; Troyon, “The Lane,” C. P. Huntingtun, $13,700; Seamacois, “Check¬ mated ” A. A. Anderson, $10,700; Fortuny, “The Masquerade,” M. Knoeleder & Co., $4750; Baudry, “Fortune and The dUld,” C. P. Huntington, $6500; Fortuny, “A Street in Tangiers,” W. A. Clark, $5000: Nittis, “Route from Brindisi to Barlefta,” A. A. Anderson, $5100; Rico, “Plaza and Street, Toledo,” $3000; Rico, “Avenue Josephine Market, Paris,” W. A. Clark, $2500; Meis¬ sonier, “The End of a Game of Cards,” H. W. Fargo, $9000; Meissonier, “The Stir¬ rup Cup,” G. B. Bereckmaus, $12,500; For¬ tuny. “The Choice of a Model,” W. A. Clark, $42,000; Boldini, “Highway of Com¬ bes la Ville,” t>. P. Douglas, 71200; Troyon, “Crow Among the Cabbages," Edward Brandus, $12,000; Leibel, “Village Politi¬ cians,” J. F. Sutton, $15,000; Fortuny, “The Antiquary," Hermann Schaus, $15,200; Madrazo, "Departure from the Masked Ball ” F. A. Bell, $16,500; Fortuny, “Arab Butcher,” Stanford White, $2300; Van Marcke, “Cows in the Valley Toucques,” \ W. A. Clark, $15,000; Fortuny “The Al¬ berta Court, Alhambra,” D. P. Dou.rlas, $7000; Madrazo, “Pierrette,” Marquis de Casariva, $5000. Stewart Picture Collection Sale Yields $401,335. PAINTINGS SOLD NUMBER 128. Fortuny’s “Choice of the Model” Is Pur¬ chased by W. A. Clark, Montana’s i Copper King', for .$-12,000, NEW YORK, Feb. 4.—A total of $401,335 for 128 pictures. Forty-two thousand dollars for Fortuny’s famous “The Choice of the Model.” A battle of the millionaires against the dealers and the public art galleries, and the millionaires as winners. That is the story of the sale of the famous William Hood Stewart collection, concluded at Chickering Hall to-night. The bronzes End furniture brought in addition $8,455. At 8 o’clock the hall was packed, and near¬ ly a thousand persons were denied admis¬ sion at the doors after that hour. It was simply Impossible to admit another person. The battle between the dealers and the millionaires finally narrowed down to an exciting strife between the millionaires themselves. The dramatic scene of the evening was the fight over “The Choice of the Model.” The dealers dropped out early in the game, nonplused by the rattle of thousand-dollar bids. Clark Outbids Gould. George J. Gould, battling for the east, and ' W. A. Clark, the Montana copper king, for j the west, fought it out. The west was vie- : torious, and the picture goes to the gallery J of Mr. Clark in Butte, The general opinion aktemg the experts was that the sale had been highly successful. The dealers thought the prices exceptionally high. No wonder. One dealer showed a cablegram from a Paris expert asking him to buy a certain picture at $800. It sold to¬ night for $5,100. Another dealer had $98,000 ; worth of orders in his pocket. He bought only two pictures, at a total expenditure of $1,825. The museums and public galleries bought practically nothing. The strife was too hot. The Barbizon pictures brought fair prices, and the Fortunys, Madrazos and Baldinis went at extremely good figures. Two armor black and whites by Meissonier were sold at remarkably high prices, according to the dealers. Thus was a great collection scattered. The two nights of the sale will be long remem¬ bered as an important event In the history of the art world of this generation. Sales of Chief Importance. The more important sales follow: Fortuny’s “Breakfast In the Old Convent Yard”; George J. Gould, $t>,900. Fortuny’s “Arab Reclining on a Divan”; F. A. Bell, $4,300. Corot's "Sunset” ; Isidor Wormser. Jr., $6,200. Rousseau’s “The Woodcutter, Forest of Fon¬ tainebleau”; Boussod. Valadon & Co., $7,450. Troyon's “The Lane”; C. P. Huntington, $13,700. Zamacola's “Checkmated”; A. A. Anderson, $10,700. Fortuny’s “The Masquerade"; M. Knoedler & Co., $4,760. ■ --"" Baudry's “Fortune and the Child”; C. P. Hunt- , ington. $6,500. Fortuny's “A Street In Tangier”; W. A. Clark, $5,000. Nlttiss' "Route From Brindisi to Barletta”; A. A. Anderson. $5,100. Meissonier's “The End of a Game of Cards”; H. W. Fargo, $9,000. Meissonier’s “The Stirrup Cup.” G. B. Berck- maus, $12,600. Fortuny's “The Choice of a Model,” W. A. Clark. $42,000. Boldin’s “Highway of Combes-La- Ville," D. P. Douglas, $4,200. Troyon’s “Crow Among the Cabbages,” Edward Brandus, $12,000. L‘lbi‘3 “Village Politicians,” J. F. Sutton, $15,- 000 . Fortuny's "The Antiquary,” Hermann Schaus, $15,200. Madrazo's “Departure From the Masked Ball,” F. A. Bell, $16,500. Van Marcke’s "Cows in the Valley,” W. A. Clark, $ 11 , 600 . Fortuny's “The Alberca Court, Alhambra,” D. P. Douglas, $7,000. Madrazo’s “Pierrete,” Marquis de Casariva, $5,000. • The total of the second night’s sale was $270,395 and of the first night's $130,940. For bronzes and bric-a-brac $8,455 was received, making a grand total of $409,790. STEWART PICTURE SALE. HARRY PAYNE 1 mTTXEY PAYS $13,000 FOR A FORTUNY. That Wai the Highest Price at tlie Opening Session of Iho Great Sale I.nst Night— Another Wort by tlie Same Artist Brought *SI«,000— The Hurting Was Fairly Spirited. The total sum realized for the first seventy lots of the famous Stewart collection of pictures, sold at auction last night nt Chickering Hall, was $133,190. The highest price of the even¬ ing was brought by Fortuny’s “Court of Jus¬ tice—Alhambra,” which was sold to Harry Payne Whitney for $13,000. The “Arab Fan¬ tasia,” by the same artist, brought the next highest price, $12,000, which was paid by a man who gave his name as ” H. Harrison.” All the other prices were below $7,000. Long before 8:15 o’clock, the hour at which the sale was announced to begin, every seat in the hall was taken. Whilo the pictures were selling, men and women continued to pour in, and before 8:30 o’clock every inch of standing room was occupied by those who were unable to get seats. Not one-fiftieth part of those present offered bids, but even among the men and women who were least interested in the sale there was an extraordinary degree of enthusiasm, and hardly a picture was displayed tht did not bring forth some applause. Among those present were Giovanni Boldini, Raymundo de Madrazo, C. P. Huntington, Julius L. Stew¬ art, J. D. Crimmins, G. P. Douglas, Justice Truax, and H. C. Frick of Pittsburg. Mr. Frick, who, tt will be remembered, bought Dagnan- Bouveret’s picture, “Christ at Emmaus,” the i other day for the Carnegie gallery in Pittsburg, is known to have been one of the bidders; but whether he succeeded in securing any of the pictures is uncertain. It was rumored that it was he who was buying through an agent who gave the name of G. Stanver, but it i9 certain that he bought none under his own name. No:prlces that can be described as sensational were realized, and those who expected to see records broken were disappointed. Notone of the pictures brought nearly as much as Leutze s famous canvas “ Washington Crossing the Delaware,” which was sold at the Marshall O. Roberts sale last winter for $16,000, and which is now in the Metro¬ politan Museum. Only two brought prices ex¬ ceeding that paid for Mauve’s “ Flock of Sheep,” sold last year among the pictures of the Holland collection. The impossibility of forming before¬ hand any just estimate of the value of the pictures sold makes It difficult to say with certainty whether the prices I realized were groat or small, but the general impression among those capable of judging was that they were fairly good, while some of the lots commanded prices manifestly higher than was expected. Menzel's little water color, “The Stirrup Cup,” was the first that excited spirited bidding. The first offer was $600, after which it rose by advances of $100 to $1,000. The next bid was $1,500, then $1,600. and so on steadily until the price reached $3,000 After CBis me bidding be¬ came slower until at last the lot was knocked down, amid applause, to G. P. Douglas, for $3,375. Another lot that was warmly con¬ tested for was Rico’s “ CaftS Chantant.” The first bid in this case also was $S00. From that it rose quickly by jumps of $100 to $1,500, when the number of contestants was reduced ap¬ parently to two, each of whom continued to cap the bids of the others by advances or $50, until the price reached $3,850, at which sum it was sold to W. A. Clark. The “Arab Fantasia” has long been recog¬ nized as one of the most remarkable Fortunys in the Stewart collection, which, it need hard¬ ly be said, contained the finest, group of paintings by that artist in the world. As it is also only less well known to the public than the “Choice of the Model,” the moment it was exposed to view every person in the hall applauded loudly. There was a moment’s pause before any one made an offer, and then some one ven- I turod to call $5,000. Now the bids increased quickly, advances of $1,000 being made in nearly every case until $11,000 was reached. The auctioneer was on tho point of knocking it down at that price when one of tho bidder* offered $11,500. This was nt once capped with an offer of $12,000. and at that price it was se¬ cured by a bidder who gave his name as H. Harison. The sale of the “ Court, of Justice ” took longer than that of any other picture, owing to the porsistent way in which one of tho bidders ad¬ vanced by steps of $50. Tho first bid was $5,000, and in a few minutes the price reached $11,000. Then the advances of $50 began, so that it was some littlo time before $13,000 was reached. Many persons were astonished that “The Wave and Pearl,” by Baudry, did not bring for¬ ward more bidders. The first offer was $5,000. then $6,000, then $7,000, then $8,000, and from thence the bidders advanced by hundreds until it was knocked down at $8,600. M. de Madrazo bought it. and it is understood that it will be sent, back to Paris. A list of the sales and the prices paid last night follows: 1. Military Sketches, by J. L. H. BellangS, to David Bend an n. $00 2. The War in the East, by E. H. Gregory. 70 8 . Lansquenets, by II. Pllle.’to Dr. Cowell_ BO 4. A Plowing Match, by W. Small. 125 6 . Corpus Christl, by M. Fortuny. 810 6 . Autumn, Castle of San Angelo, byH. Har- pignles. 100 7. The Commune, by Cham. no 5. On the Coast, by P. J. Clays. 000 11. The Stirrup Cup, by A. F. E. Menzcl, to E. P. Douglas. 3,370 10. Study of Powers, by M. Fortuny, to E. Brandus.‘. *00 10. MontePinelo. by F. Hellbuth. 425 12. Venitian Canal, with View of Veronese’s Tomb, by M. Rico. 1,025 13. Roman Youth Reading Horace, by L. Alma- Tadema. 3,900 14. CafG Chantant, by R. Ribera. 3.900 15. River Seine, at -Mout-Yale:lui, by G. Bol¬ dini, to Boussod. Valadon Sr. Co. 1,060 10. The Arque 8 busler, by M. Fortuny, to ,T. Stanver. 2,850 17. Banks of a Rasr, by H. H. Moore, to W. C. useum of Priceless Art Treasures 18. Wild “Flowers, by L. Bouvlu, to L. Crist Delmonleo. S00 19. View of Old Paris, by R. P. Bonington. S76 20. Fisherman, Seville, by M. Rico. 1,050 21. The Rest at the Studio, by G. Boldlnl. 1,000 22. Ploughing, by O. Weber. 255 23. Farm Scene, by G. von Meszoly. 200 24. Fortuny’s Model, by 15. ZamaeoTs. 1,200 25. English Landscape, by A. Parsons. 400 26. Woman and Parrot, by R. de Madrazo. 8,350 27. Arab Fantasia, by M. Fortuny, to H. Har¬ rison.12,000 28. Alsace, by A. Stevens, to Knoedler. 1,100 29. Women at Raphael's Tomb, by C. Macearl, to F. A. Bell. 700 80. Boats at Polssy, by M. Rico. 850 81. Italian Peasant G»rl, ty M. Fortuny, to C. G. Dinsmore. 975 82. Buffoon, by S. Arco3, to Knoedler. 675 83. VUle d’Avray, by J. B. C. Corot, to E. Bromdus. 5,000 84. Valley of the Toucques, by C. Troyon, to S. Untermyer. 2,500 85. Auvers on the Oise, by C. F. Daubigny, to E. Bromdus. 6,000 86. Lowlands Near Naples, by G. do Nlttls. 675 37. Woman and Guitar, by R. de Madrazo, to Isldor Wormser. 2,500 88. An Old Woman's Head, by J. F. H. Van Lerlus. 485 89. Door of a Mosque, with Heads of Decapi¬ tated Rebels, Ly J. L. Gdrfime, to Clarence Dinstnore. 8,700 40. Arab's Head, by M. Fortuny, to Stanford White. 1,150 41. The Infanta, by E. Zamacols, to J. Oehme.. 5,000 42. An Arab an Horseman, by T. Horschelt_ 200 43. A Spanish Garden, by M. Rico, to H. Har¬ rison. 1,100 44. CafiS of the Swallows, by M. Fortuny, to H. Harrison. 3,100 45. Head of a Girl, by Don G. Hernandez. 475 46. Chickens Feeding, by C. Troyon, to H. Schius. 6,300 47. A Normandy Cow. by E. Van Marcke, to Boussod, Valadon & Co. 4,150 48. A Seaside Idyl, by E. P. Micbetti. 650 49. Parisina, by P. J. A. Baudry. to Boussod, Valadon& Co. 1,000 ,0. Summer Landscape, by J. T. Coosemans,.. 425 1. Woman and Elephant, by A. Stevens. 775 2. One of the “ King’s Moors," by M. Fortuny, to Boussod, Valadon & Co. 8,130 3. Parisian Flower Girl, by Flrman-Gtrard, to John D. Crimmlns. 1,600 >4, Rural Life, England, by G. J. Plnwell, to Arthur Tooth. 2,150 15. View of Capri, by Baroness C. de Roth¬ schild, to J. B. Crimmlns. 2TB ,6. The Old Peasant, by M. Fortuuy, to Knoed- ler. 1,800 7. Pond at Meaux, by M. Rico, to Knoedler... 800 8. Clichy Square, Paris, by G. Boldlnl, to J. Stanver. 8,250 9. Winter Landscape, by J. T. Cooseman3_ 400 0. The Turkey Girl, by F,. P. Micbetti, to Dr. Cowell. 425 1. Courtof Justice, Alhambra, by M. Fortuny, to Harry Payne Whitney.13,000 2. Lady in Yellow, by F. Hellbuth. 425 3. Neapolitan Peasants at the Farnese Palace, by L. J. F. Bonnat, to Knoedler. 3,800 4. Crystal Bowl and Fruit, by A. Vollon. 1,700 5. The Kitchen in the Castle, by F. V. L. Roy- let, to E. Brandus. 1,300 6. Waterloo, by H. L. Dupray, to S. A. Lan- thler. 1,060 7. Tee Pont Neuf. Paris. byE. A.Duez. 500 S. A Uourtvard. Alhambra, by M. Fortuny, to S. Untermyer. 2,150 9. The Wave and the Pearl, by P. J. A. Bau¬ dry, to G. de Madrazo. 8,600 0. Gypsy Fortune Teller, by J-ISant. 550 Total $133,190 T! THE NEW YORK HERALD. ' ***- -— .'—A AiWT ak'-at- : - -*= t**=TTpe?aarc.. — J 4-r February u, 1898 . K. 1 7 i FORTUNY'S MASTERPIECE. The Stewart sale has been a general topic of conversation in the studios of Rome, as ' the collection contained a large number of the works of Fortuny, all painted in Rome, including the famous picture, “ Le Choix du Modfeie.” Having learned that no one in Rome could give better information as to Fortuny and this picture than the sculptor d’Epinay, author of the statues “ Annibal ” and “Sapho,” who was one of his most intimate friends, I called at his studio, 1 where I was lucky enough to lind him. After a long conversation, I spoke of the “Choix du Modele,” which, as the Herald states, was sold to Mr. Clark, of Butte, Mont., the “copper king,” for 210,000fr. “ I can the better speak of this picture,” said M. d’Epinay, smiling, “inasmuch as it was I who, by turns, stood for my friend, to give him poses, different poses in the old academical style, fine examples of the beautiful (just like Signor D’Annunzio). My poor friend Fortuny was in despair at being only able to find in Rome men of the most vulgar type, mostly of peasant origin, and consequently unable to pose in distin¬ guished attitudes, such as he wanted. He, therefore, sent me a note asking me to come to his assistance, and I was happy to be able to give him the movements which he crystallized, with a few strokes in chalk, or with a few touches of the brush, with the sentiment which constitutes the incompar¬ able charm of his drawing, so full of know¬ ledge and so correct. ‘ Above everything,’ I said, as I stood for the picture, 1 don’t make your Academicians a lot of old. Satyrs, as Gerome did in his Phryne devant le Tri¬ bunal.' My friend laughed till tears ran down his cheeks and replied : ‘ That's just what I am afraid of.’ CURIOUS REVELATION. “ Here is a detail,” continued M. d’Epinay, < which Mr. Clark, the new owner of the picture certainly is not aware of. There is in the canvas, at the present moment, the figure of the duenna of the model, in a sitting position, like an old witch, with her back to the wall, wearing the traditional mantilla and carryicg the traditional fan, affecting perfect indifference to the scene, but keeping a sharp look-out on the effect produced by the beautiful young girl on the old Academicians. This figure was a marvel, ■ and completed the picture. But one fine . morning an urgent telegram came from the dealer from whom Fortuny had received j a commission, saying that I 19 wanted the picture immediately. Several more sittings were required to com¬ plete the figure of the old woman to Fortuny’s satisfaction, so conscientious was he. At last so peremptory a demand came that Fortuny, in my presence, painted the figure out, and painted over it (as far as I can recollect) a pillar witii a bust on the top, which he had in his studio. ‘ What a nuisance,’ he said, 1 it is that an artist can¬ not work to please himself.’ “ Should an Edison of the future discover luminous rays, capable of piercing through an oil painting, the old duenna will re¬ appear, and complete this exquisite master- | piece'.” As I did not like to take up M. d’Epinay’s time any longer, I thanked him cordially and returned to the Capitol by an electric tramcar. STEWART PAINTINGS SOLD. % THE BREAKING UP OF THE COLLEC- Tf|p v TION BEGUN. HIGHEST BRICE, $13,000, GIVEN FOR FORTUNY’S “COURT OF JUSTICE," BY H. P. WHIT¬ NEY—THE TOTAL FOR THE FIRST NIGHT $133,190. The sale a-t auction of the famous collection of ! pictures belonging to the late William H. Stewart ■ was begun last night In Chicicering Hah. In a.l , seventy works were disposed of. Although they In- i eluded many Important examples, the paintings which are likely to bring the highest prices have j been reserved for to-night's sale. The history of the group and of its collector and the enthusiasm of Mr. Stewart for the works of Mariano Fortuny and other artists have already been described at length In these columns. It will suffice to say that the sale which began last night is one of the most important ever held in this country. It brought toge’ht-r connoisseurs from all parts of the country, and many commissions from Europe were held by agents In this city. It was reported that H. C. Frick, through representatives, had purchased about a dozen pictures for the pur¬ pose of presenting them to the Carnegie Art Gal¬ leries, hut when Mr. Frick was seen last night at the Holland House, where he Is staying, he refused to answer Inquiries. HALL LITERALLY FILLED. How deep was the interest felt In the sale was manifested by the remarkable attendance. The hall was literally filled to the doors long before the first picture was put up, and hundreds of people who came later in the evening were unable to gain admittance. Among those seen were Justice Truax, Mr. and Mrs. Henry Payne TV hltney, C. P. Huntington, George J. Gould, R. De Madrazo, J. Lanfear Norrie, Thatcher M. Adams, Mr. and Mrs. Frederick Bonner and John D. Crlmmins. The sale was conducted by Thomas E. Kirby, on behalf of the American Art Association. The total amount realized on the seventy pictures was $133,190. For the most part the bidding was spirited, and the general run of the prices obtained was according to Mr. Kirby, as high as was ex¬ pected, and fully justified the judgment which prompted the bringing of the pictures to this coun¬ try for disposal. The highest individual bid re¬ ceived was $13,000, which was paid by Henry Payne Whitney for Fortuny’s "Court of Justice.” When the curtains were withdrawn exposing the picture to the view of the assemblage, it was greeced w.th an outburst of applause. The bidding started at $5,000, which was immediately capped by another thousand, and then, in hundreds, was worked up to $7,000. A pause came at this point, and it seemed for some moments that the work was destined to bring far less than was anticipated. From $7,000 the figures in three bids bids jumped to $8,000, and thereafter to the end the competition was keen and sharp. Twice Mr. Whitney made thousand-do-llar bids, and he finally secured the treasure for $13,000. Fortuny’s "Arab Fantasia,” representing a group of swarthy Arab warriors dancing, brought the second highest figure of the sale. Starting at $5,000, it advanced In thousand and five-hundred- dollar bids, and was sold to Mr. "Harrison, a name assumed by a prominent New-Yorker for per¬ sonal reasons, for $12,000. Baudry’s much-admired work, "The Wave and the Pearl," which elicited considerable applause when it was produced, brought $8,600, a sum which Mr. Kirby said after the sale, was several thou¬ sands below its selling value. It went to the keeping of Mr. De Madrazo, the well-known artist. The sale will be resumed at 8:15 o’clock this even¬ ing. THE PAINTINGS AND PRICES. The following is a list of the paintings, with the prices paid for them, and the names of the pur¬ chasers where announced: ALMA-TADEMA. Roman Youth Reading Horace," $3,900 (YV. A. Clark). ARCOS. "BUFFOON,” $675 (Knoedler). rt AUTRY "Parisina." $1,000 (Boussod. Valadon & Co.): BAT ^he Wave and the Pearl.” $8,600 (Madrazo). BOLDINI "RiverSeine at^Cont JaWr‘“-g Tl3o5 (F 'A Va Ben°): "CUchy S^arf Paris.” $2,250 (StanverR BONNAT, "Neapolitan Peasants at the FAmese Palace, $3,300 (Knoedler). BONINGTON, "View of Old Paris. $376 (H. BONVIN, "Wild Flowers." $300 (L. Crist Pelmonieo). RELLANGE, "Military Sketches," $60. COOSEMANS, "Summer Landscape," $425: •'Winter Landscape,” $400. COROT, 4 ‘Ville d’Avray," $5,000 (E. Brandus). CL/AYS, "On the Coast," $600. “CHAM," "The Commune," $110. ■QTJEZ, "The Pont Neuf Parle." $500. DUPRAY, "Waterloo," $1,060 (Danthler). DE ROTHSCHILD (Baroness), "View of Capri,’ DE NITTIS, "Lowlands Near Naples,” $675. DAUBIGNY. "Auvers on the Oise," $6,000 (E. Brandus). FIRMAN-GIRARD. "Pari el an Flower Girl,” $1,600 (J. D. Crlmmins). _ FORTUNY. "Corpus Chrlstt," $310; Study of _ T ’. $400 "The Arquebuster." $2,850 (Stanver >; Aral ss*-&, *(c:°g. S S °(knoedfeG n ’UourtYf J^tice 0 ' 3 Affiam^’’ $ 13^000 (H P Whitney); "A Courtyard. Alhambra, SO 160 rs. Untermyer). $275. GEROME, "Door of a Mosque, with Heads of tated Rebels," $3,700 (C. G. Dtnsmore). GREGORY, "The War In the East,” $70. HEILBUTH, "Monte Ptncio,” . $428. HEILBUTH, "Lady In Yellow," $425. HERNANDEZ, "Head of a Girl," $475. HORSCHELT, "An Arabian Horseman," $200. HARPIGNIES, "Autumn; Castle of San Angelo,” $160. MICHETTI, "The Turkey Girl,” $425. MICHETTI, "A Seaside Idyl,” $650. MADRAZO "Woman and Parrot," $3,350 (W. A. Clark); "Woman and Guitar,” $2,500 (Isldor Wormeer). MA.CCARI, "Women at Raphael's Tomb," $700. MOORE, "Banks of a River," $125 CW. C. Loring). MENZEL, "The Stirrup Cup," $3,375 (G. P. Douglas). PINWBLL, "Rural Life, England," $2,150. PARSONS, "English Landscape,” $400. PILLB, "LauBquenets.” $50. RICO, "Venetian Canal, with View of Veronese's Tomb," $1,525; "Fisherman. Seville,” $1,050 (F. A. Bell); "Boats at Polssy." $350; "A Spanish Garden," $1,100 (H. Harrison); "Pond at Meaux." $800 (Knoedler). ROYBET. "The Kitchen In the Castle," $1,300 (E. Bran- dus). RIBEIRA, "Caf5 Chantant,” $3,900 (W. A. Clark). SANT, "Gipsy Fortune Teller,” $325. STEVENS, "Alsace,” $1,100 (Knoedler); "Woman and Elephant," $775. SMALL, "A Ploughing Match." $126. TROYON, "Valley of the Toucques," $2,600 (Unter- meyer); “Chickens Feeding," $6,300 (Schaus). VOLLON, "Crystal Bowl and Fruit,” $1,700. VAN LERIUS, "An Old Woman's Head,” $425. VON MESZOLY, "Farm Scene,” $200. VAN MARCKE, "A Normandy Cow,” $4,150 (Boussod, Valadon & Co.). WEBER, "Ploughing," $255. ZAMACOIS._ "Fortuny's Model," $1,200; "The Infanta," $5,000 (Julius me). COLLECTION OF THE LATE W. H. STEWART SUBSCRIBER’S COPY NUMBER =2 4 inches. Signed at the upper left. * Si * FORTUNY (Mariano) 1838-1874 No. 40 Arab's Head A vigorous study, life-size, of an Arab with bared shoulders and a head-dress of white against a background of blue. The painting is a masterly sketch illustrating boldness and great rapidity of execution. Height, 22 inches; width, i 8}4 inches. Seal at the right. ZAMACOIS (Eduardo) 1840-1871 No. 4 1 The Infanta A portrait of the Infanta, a young Spanish princess, dressed in an elaborate gown with long train of embroidered white and blue satin. The child holds the leash of an enormous hound, while in the background is her waiting-man, half in shadow, soberly clad in gray green, wearing a wide, white linen collar, and holding in his arm a broad-brimmed hat with a scarlet feather. A look of childish fear and anticipation on the Infanta is delightfully expressed, while the dog and man serve to complete a masterly composition. The floor is of marble tiles and the background of tapestry. Height, 23^ inches ; width, 15^ inches. Signed at the upper left. Dated 1867. HORSCHELT (Theodor) 1829-1870 No. 42 An Arabian Horseman Water Color A rider is seated on his horse ; with a shield slung over his back and gun in hand, he watches intently. Both rider and horse are painted with consummate skill and finished in great detail, being modeled carefully and with thorough knowl¬ edge. The foreground is a marsh, with long weeds and a pool of water, while in the distance a blue hill looms up. The dress is picturesque, and the trappings are brilliant in color. Height, 16 inches; length, 18^ inches. Signed at the right. Dated 1867. RICO (Martin) No. 43 A Spanish Garden Water Color t A Spanish garden, behind which rise the roofs of a village ; the houses, with walls of white and pink tones, catch the sunlight and make brilliant notes of color. The garden is full of pots of flowers and various trees, and the treatment of the greens is solved with seeming ease. In one corner sits a man; near him is a child, while in the foreground are many ducks coming toward the spectator. Rico’s command of his medium was never more apparent than in this work. Signed at the left. Height, 12 inches; length, 19 inches. FORTUNY (Mariano) 1838-1874 No. 44 Cafe of the Swallows Water Color Interior of a Moorish cafe. Upon a rug sits a group of Arabs, who are being served with coffee. Two columns to the right support an arch, and on a rod crossing therefrom some swallows are perched. The architectural detail in this picture is treated no less masterly than the figures in his other works, and with deft touches here and there, an idea of great detail is suggested. The result is brilliant and highly interesting, the shadows being cool and just, and giving a fine sense of perspective. Height, 19 y z inches ; width, 15 y z inches. Signed at the left. Dated 1868. HERNANDEZ (Don German) No. 45 Head of a Girl A charming rendition of young womanhood, the head and shoulders against a pink background. The dark, rippling hair is dressed with a circlet of flowers, and the eyes look roguishly out, while an exquisitely modeled hand holds a cloak of white fur from slipping away from the bare shoulders. Very freely and engagingly painted, and possessing evident spontaneity. Height, 22 inches ; width, 18 inches. Signed at the left. TROYON (Constant) 1810-1865 No. 46 Chickens Feeding A Brittany woman in a white apron and cap stands feeding a flock of chickens. The row of trees in the background and some buildings are broadly indicated, while the artist has painted with great simplicity the sky and land¬ scape, giving much attention to the fowls, which have been drawn with no little study. The picture is characteristically simple and convincingly true, being unques¬ tionably executed before nature with great seriousness. Height, 18X inches ; length, 22 inches. Signed at the left. VAN MARCKE (funxle) 1827-1891 No. 47 A Normandy Cow This is a masterly example. The animal is seen in profile standing in a sun-lit field. The cow is brown ; has a white head, and spots on the legs. The construc¬ tion and anatomy are admirable, the drawing exact, and the textures realistic. A small line of hills showing in the distance makes an interesting background. Signed at the right. Height, 22^ inches ; length, 33 inches. v MICHETTI (Francesco Paolo) No. 48 A Seaside Idyl A charming, delicate conception. The scene represents a bit of seashore, the distant water bright with many brilliantly colored sails. In the center stand two figures amid some goats that are in advance of a herd farther back. The larger of the two figures is a young girl, partially nude, who bears across her shoulders a stick twined with leaves. Beyond her, separated by a white goat, is the figure of a nude boy who plays upon pipes. On his head is a dark hat, and about his neck is a chain. On a shore in the distance, vaguely indicated, is a group of figures. There is a feeling of cool sunshine, of balminess, and of the delight of the season, the lightness and gaiety of color keeping the canvas in a high key. Height, 25inches; length, 39^ inches. Signed at the right. Dated 1876. BAUDRY (Paul Jacques Aime) No. 49 9 % Parisina A portrait of a charming young woman in evening dress, the corsage open at the neck, with a flower placed therein. Over her shoulders is a gray wrap, and on her head is a black hat with feathers. The face is very spirituelle, and the expres¬ sion one of much sweetness. The background is dark to the right and light to the left, while daintily arranged, in a decorative Arabesque line of gold, is the word “ Parisina.” Height, 29 inches ; width, 2334 inches. Signed at the left. COOSEMANS (Joseph Theodore) No. 50 Summer Landscape A quiet bit of marshland is shown. The late afternoon sun catches the trees on the side of a stream, giving them a warm, golden tone. They are reflected in the quiet water, which is mirror-like in its depth and placidity. A little red-and-white house caught by the light makes a strong spot of color in the distance. A hot, sim¬ mering sky carries out the sentiment of the season and place. Height, i 8*4 inches ; length, 29^ inches. Signed at the left. Dated 1868. STEVENS (Alfred) No. 51 Woman and Elephant Seated before a table which is covered with a fine Oriental rug, a woman, dressed in gray, examines the carved statuette of an elephant. Her face is exquisitely drawn, and the painting of the dress is wonderfully managed, the sense of the figure beneath being thoroughly impressed. The accessories are in the masterly manner of the great Belgian-Frenchman, while all through the work are subdued tones and harmony. Height, 29 inches ; width, 23^ inches. Signed at the left. FORTUNY /JS'V (Mariano) 1838-1874 No. 52 One of the “ King's Moors ” Nothing could more fittingly demonstrate Fortuny’s splendid mastery of his brush than this large, life-sized head of the negro Farragi (one of those called “ King’s Moors,” who was the artist’s model on his first journey in Tangiers), with brilliant contrast of the white-and-red burnous against his black skin. Both face and textures are painted in broad, vigorous strokes with thorough understanding of form and construction, and splendid appreciation of color. The white fabric with which the head and shoulders are enveloped is swept in in lines of great simplicity, every stroke being full of meaning, and the flesh painting is in the artist’s best manner, large in conception and admirable in every way. To those who have only deemed the master capable of minute work this canvas will be a revelation, for he proves himself no less great in his life-size studies than in the dainty conceptions with which his name is associated. I was speaking one day to Mr. Stewart of a fine study of a negro’s head which Fortuny had in his studio in Rome, and, upon his expressing a desire to own it, 1 wrote to Fortuny, who sent it immediately, begging Mr. Stewart to accept it as a token of his esteem. This head is the only one of the kind the famous artist made in the same dimensions .—Senor Raymundo de Madra^o. Signed at the center. Dated 1861. Height, 29^ inches ; width, 24 inches. FIRMAN-GIRARD No. 53 Parisian Flower-Girl ///** This canvas, the first of a series of pictures of the familiar street life of the Paris flower-girl, and the one that established the artist’s reputation, represents a young woman wheeling along the street a cart full of brilliantly colored roses and other growing plants. The girl, both pretty and youthful, is dressed in a striped gown with blue apron and cap. The massing of the flowers is delightfully arranged, and there are careful detail and finish everywhere. Signed at the left. Dated 1872. Height, 16% inches ; length, 3934 inches. PINWELL (George John) 1842-1875 No. 54 Rural Life, England Water Color The scene represents a lawn in front of an English country house. Two young women are reclining on the grass looking at some turkeys. At the side of them stands a lady in brown velvet, while a child in white leans on her arm. Back of them is the house ; still farther in the background are some trees and a distant view; some farm hands are to the right and left, and more turkeys are in the middle dis¬ tance. The work is carried out in every detail, and the scene is characteristically English. Height, 35^4 inches; width, 26 inches. Signed at the left. Dated 1871. ROTHSCHILD (Baroness C. de) No. 55 View of Capri Water Color Rising out of the water is a group of buildings. A staircase rises from the stream, and on some of the upper balconies from the walls hang many strings of red peppers. The sky is blue, with white clouds. The architecture is of the quaint Italian style that has made the place picturesque and attracted the painters. Height, 21 inches; width, 15 inches. Signed at the left. FORTUNY (Mariano) 1838-1874 No. 56 //JM The Old Peasant Water Color / 1 j/ A simple, sincere study of an old Italian peasant seated on the broken capital of the column of a temple. The expression of age and the heavy stolidity of the class are faithfully caught, while the treatment is in pure wash, painted directly and with the man’s usual amazing command of his medium. The treatment of the head is broad, though conveying an idea of great finish, and the dress is treated in simple masses with the certainty of a master. Signed at the upper right. Dated 1867. Height, 22 inches; width, 16 inches. RICO (Martin) No. 57 Pond at Meaux Water Color The tower and walls of a church form the background of the composition; here and there are tree forms that come up against the sky. In the foreground some boys sit beside a pond, which reflects the bank and the green growing on its edge. An extremely interesting variety of greens, and the arrangement is picturesque. There are also effective notes of color in the old walls of the distant buildings. Height, 12 inches; length, 19 inches. Signed at the left. BOLDINI (Giovanni) No. 58 CItchy Square, Paris A view of the famous square in Paris, seen under a characteristic cloud-filled sky. To the left the statue of “ Marshal Moncey and the Dying Soldier ” stands out, while the streets are full of action and the bustle of the French capital. The stages, drays, flower-women, and denizens of the quarter are all true to life. On the walls are the familiar signs of the different tradespeople. It is truly a glimpse of the center of the Quartier Clichy. Height, 23^ inches; length, 38 inches. Signed at the left. Dated 1874. JOS'? £ W ^ COOSEMANS (Joseph Theodore) No. 59 Winter Landscape This is an interesting composition, giving the view of a road vanishing off in perspective under the effect of a heavy fall of snow. To the right is a grove of trees on a high bank; to the left a hedge and a house, some other habitations stretch¬ ing off in the distance. There is a fine feeling of the season, with crisp atmosphere, delightful drawing of bare trees and landscape forms. While the color is soft and harmonious, the canvas is full of rare bits of attractive painting that make it exception¬ ally interesting. Height, 22 inches ; length, 34 inches. Signed at the left. Dated 1868. MICHETTI (Francesco Paola) No. 60 The Turkey Girl On a hillside, in the springtime, a young Italian girl leans against a deco¬ rative, blossoming tree, and with a face full of vague yearning looks out of the picture. Turkeys are about her ; one is perched on a tree, and a large one, with outspread wings, is in the foreground. A flowering branch is near her, and all through the canvas there is a consciousness of spring that gives out a feeling of soft, balmy odors and growing vegetation. The painting is full of delicate color of a highly decorative sort, such as this artist delights in, together with a cap¬ tivating cleverness of brushwork. It is Italian from the figure of the pretty girl to the deep blue of sky, the brilliancy of greens, and the pink of the blossoms. Height, 25 '/ z inches; length, 35 inches. Signed at the left. Dated 1876. FORTUNY (Mariano) 1838-1874 No. 61 Court of Justice, Alhambra In a courtyard at the Alhambra, looking back into a beautiful interior, some prisoners are stretched out, their arms manacled and their feet in stocks. A dusky sentinel, clad in a white robe and red burnous, armed with warlike weapons, squats, in brilliant, shimmering sunshine, on guard over his prisoners. In the center back¬ ground sits a figure on an Oriental rug, and farther in the background and shadow of the alcoves are other figures, while a distant window opens on the delicate greens of a garden. In the foreground, surrounded by a decorative tile border, is a circular fountain, filled with limpid water. To the right are some birds, and two gorgeous saddles and trappings on wooden stands. Cool shadows on the white marble contrast with the brilliant streak of sunshine, which is fairly dazzling in its inten¬ sity as it strikes the right of the picture. The drawing and painting of the intricate traceries and carvings, the hanging lamps, and the gay ornamentation of the Moorish interior are all wonderfully expressed and ably painted. As an architectural study it is delightful, for it has the truths of perspective and construction interpreted through a genuinely artistic temperament. Height, 30 inches ; width, 23 inches. Signed at the left. Dated 1871- HEILBUTH (Ferdinand) No. 62 Lady in Yellow Figure of a young woman seated on a divan. She is dressed in yellow, and has a dog in her lap. About her neck is a ruff, and on her head a blue velvet hat with a white feather. The figure is charmingly posed, the light falling on one side of her head, the rest of which is in shadow. The sweet face is dignified and tender in its well-bred expression, and the painting is executed with rare grace and delicacy. Height, inches ; width, 21^ inches. Signed at the left. BONNAT (L£on Joseph Florentin) No. 63 Neapolitan Peasants at the Farnese Palace This is an unusually interesting and important example of one of the rare, moderate-sized easel pictures by the distinguished Frenchman, and which was one of the successes of the Salon of 1866. A crowd of picturesque Italian country people are arranged along the stone base of one side of the palace, under a great iron-barred window. Lying fast asleep, a dark-skinned, sturdy young man in a blue cloak is stretched at full length ; by his feet are a copper kettle and some clothes in a bundle. Three women in white waists and head-dresses are to the right, their faces full of expression and painted in delightful detail. To the left an old woman sleeps and a young man and girl lean against a post. On the stone pavement at their feet is a beautifully painted figure of a handsome little boy, fast asleep, his head on his arm and one hand at his face. Nothing could be more dexterously executed than the painting of this lad, clad in a jumble of garments, but with a feeling of his form beneath. The sense of youth is conveyed in every brush-mark. Height, 23^ inches ; length, 39^ inches. Signed at the left. Dated 1865. VOLLON (Antoine) No. 64 Crystal Bowl and Fruit A still-life painting of a large crystal bowl standing on a table, which is draped with a red velvet cloth. There are some green and black grapes with two pears, all of which are executed with the artist’s usual ease and freedom of paint¬ ing, being swept in, in certain strokes, with great richness and depth. Height, 25 inches ; length, 36X inches. Signed at the right. ROYBET (Ferdinand Victor Ldon) No. 65 The Kitchen in the Castle This picture depicts a scene from the middle ages wherein my lord’s men of the kitchen are preparing the repast for the goodly company upstairs. Five serving- men are seen, two of whom are preparing a deer for the spit ; another is plucking a fowl and talking to a great greyhound ; still another stands over the fire, while the last is bringing in another animal on his shoulders. The work is realistically executed and full of character. Height, 28^ inches • length, 38 inches. Signed at the left. DUPRAY (Henri Louis) No. 66 Waterloo A French cavalry charge is depicted, the composition being filled with horse¬ men in excited action. In the left foreground are a number of dead English and French soldiers mingled with horses. Behind, a general on a white horse is charging forward, and beside him may be seen a detached group of combatants of both armies. The picture gives a fine idea of the horror of battle, and throughout there is much spirited movement, with fine suggestions of great masses of troops. Signed at the right. Height, 31^ inches ; length, 47^ inches. ^ /3 t •&71 esr^r \ / AA j -£/&CC4- DUEZ (Ernest Ange) No. 67 The Pont Neuf, Paris A glimpse of old Paris. The view is from the well-known bridge. Many important structures showing architectural detail form the background. Strongly silhouetted against an evening sky is seen the statue of Henry IV. In the fore¬ ground, along the river bank, is a line of bath-houses. A bateau mouche on the river and omnibuses passing over the bridge give action and interest to the composition. Height, 25^ inches ; length, 32 inches. Signed at the left. Dated 1884. X \ * FORTUNY (Mariano) 1838-1874 No. 68 Courtyard, Alhambra A vigorous study of old Spanish buildings and a courtyard. The walls of the buildings are strongly illuminated by the sun, and a laurel tree in blossom rises above the red-tiled roofing. In the foreground are two pigs rooting in the soft earth, while to the left of the composition are a number of chickens. Two women and a child are spreading clothes in the background. A sky of intense blue is broken by gray-white clouds. Height, 4$y 2 inches; width, 34J4 inches. Seal at the left. BAUDRY (Paul Jacques Aime) No. 69 The Wave and the Pearl “La Vague et le Perle,” by Paul Baudry, exhibited in the Salon of 1863, holds a place of honor upon the walls. Though, doubtless, its subject is familiar to many, 1 may briefly describe it as a nude figure of a young girl, lying with her back toward us at the edge of the ocean, and beyond her a silver-crested, emerald wave rising and shutting out the horizon completely. The girl looks as though but a moment before cast up by the waves, not dead, but living, smiling over her shoulder with a half- turned face, as though the sea was her element, and the incoming waves her breath of life. It is of no consequence from what Persian story Baudry drew this quaint conceit, if from any ; the picture is its own raison d’etre, independent of explanation and without a title. It is one of the artist’s masterpieces, and in the feeling of mirthful, exuberant animal life is a reminder of some things of Correggio at Dresden. Its execution is quite brilliant. The line of the body is rhythmical, harmonious, pliable, giving to the form the effect of living, palpitating beauty .—John C. yan Dvhe, The Art Review. “ At the time of the war this young master was in his full glory ; absorbed by the work of decorating the Grand Opera, he produced few pictures, and in spite of his desire to obtain one of his works, Mr. Stewart could not find one. Chance came to his aid and helped him well. Baudry had exhibited at the Salon of 1863 the 1 La Vague et le Perle,’ a picture which was the success of the year ; the Empress Eugenie bought it and had it placed in her boudoir in the Tuileries, where it remained until the events of 1870. Fearing then that her personal property might be confiscated by the new government, she caused this picture and some other valuable objects to be taken to the house of a friend in the rue Francois Premier. The Republican Government did seize the private property of the imperial family, and a lawsuit began, which the Empress won later. Meanwhile Baudry’s picture remained hidden in an attic, and it seemed that the dust might cover forever the graceful and supple form of his creation and that shining look which, as a critic says, 1 pursues the spectator for a long time.’ “ MM. Goupil having learned these facts, informed Mr. Stewart of them, and said he might obtain this masterpiece. After long negotiations a bargain was struck, and the picture handed over to the great collector, but on the express condition that it should be shown to no one until the trial, which was then going on, should be ended. The delivery was executed in the most mysterious manner. The transfer took place at dawn of a winter’s day during a snow squall; the precious canvas, wrapped up in coarse blankets, hidden from the eyes of even those who carted it, was placed, when it reached the mansion, in the Cours la Reine, in an out-of-the-way room, the door of which for a long time opened only for friends whose discretion had been tested.” Signed at the upper left. Dated 1862. Height, 33 inches ; length, 70 inches. SANT (James) No. 70 Gipsy Fortune Teller A composition representing a young girl incredulously listening to an old gipsy who is reading her palm. Behind the girl is her comrade, who, with her hands on her companion’s shoulders, listens with a look of mingled fear and interest. Both the young women are dressed in the fashionable toilets of the day, while the old crone is in a red hood and cloak. In the background is a forest, through which the sky is gleaming. Though large and vigorously painted, the work shows careful finish and much detail of modeling, while the faces of the three figures are very expressive. Height, 44 inches ; length, 56 inches. SECOND NIGHT’S SALE /SSt> FRIDAY, FEBRUARY 4th, 1898, AT CHICKERING HALL BEGINNING AT 8:15 O’CLOCK KNAUS (Ludwig:) No. 7 \ The Landlord Drawing: A truthful lead-pencil drawing of a typical German landlord, who is standing before the door of a country inn, smoking his pipe. This is a clever character study from the famous German painter, whose brush has depicted so many realistic scenes of life in the Fatherland. Height, 18 inches; width, 12 inches. Signed at the left. VIERGE (Daniel Vierge Urrabieta) No. 72 The Bridle Path, Bois de Boulogne Drawing A characteristic pen-and-ink sketch by the “ Father of Modern Illustration.” The scene represents the fashionable thoroughfare during the time of the Empire. A party of horsemen dash by, and several of the gentlemen are bowing to equestriennes approaching from an opposite direction. The certainty of touch that has made the name of Vierge famous is all here, and the clever arrangement of composition, the introduction of innumerable figures, give a personality only found in the work of this able Spaniard. Height, 17 inches; width, 14 y z inches. Signed at the center. MORELLI (Domenico) No. 73 Woman Seated Drawing A drawing in pen and ink and sepia wash, representing an attractive young woman lying back in a chair. The execution is facile, and the line-work has been drawn with an easy grace and in a comprehensive manner. It was during a trip to Naples in 1863 that Fortuny became acquainted with Morelli, a Neapolitan painter, whose work he had noticed at the exposition in Florence in 1861 ; he thought highly of him personally and of his talent, and was always his friend .—Baron Davillier, Life of Fortuny. Signed at the right. Height, 11 % inches ; width, 8 % inches. FORTUNY (Mariano) 1838-1874 No. 74 Arab at Prayer Monochrome An Arab stands in devout attitude at the base of a pillar. In his belt are several pistols. The study is quite incomplete, only the feet and head, which are bare, being advanced to completion, but the drawing is most interesting as showing the artist’s mode of procedure, and there may be seen therein his frankness and certainty of touch, together with his artistic conception and thorough mastery of his brush. Height, 24 inches; width, 17 inches. Seal at the right. MEISSONIER (Jean Louis Ernest) 1813-1891 No. 75 / • Italian Armor, Sixteenth Century Black and White Everything that the famous French master touched, from the simplest study to his most elaborate picture containing many figures, is not without great research and thoughtful, scholarly treatment. No subject was too insignificant for Meis- sonier to take pains with, for in everything he labored faithfully. The present black-and-white sketch is a study of a suit of Italian armor of the sixteenth century, which is among the treasures of the Louvre. The drawing is faultless, the detail is carefully worked out, and the result is perfect. % Height, 9 inches; width, 5^ inches. Signed at the right. MEISSONIER (Jean Louis Ernest) 1813-1891 No. 76 Armor Black and White A study in great detail of a beautifully chased suit of French armor of the seventeenth century. The workmanship is all brought out in almost photographic minutiae, and the sketch is characteristic of the painstaking elaboration of the master of detail and finish. Signed at the right. Height, 10 inches; width, 7 inches. fyl.AytUsUJ* M v QW! 1" > fort CPOt^ Lr lAs*/ Sh //fr) cJ) / 1 /crU fa . 'huujyji ^v.' y~ fo^ JUL-* d‘ i?r> (P \s*-~ k&c u cK^w, @-o~-r 9 cci+i fo): CM-/r/ £ LSL- 7 - - ' fyu- Jyfou-L cfo>t ' srf -Ua? (^r- sf* -XJU-. ^'a+fotz&X-' ,J 6l ^;pr ^7 c . l 1 p}') f. 0, o-r]tr/ ^ ■ ' „ .. / P yfo ^ / *'» 04^4-’ la~-C Aa. /). ) / . / (/jt. -t ✓£✓/ Cc-A- Oi-AS { ■Qh ''La/°lS- jo. P <*% jfz>fc A OCAsy) - ‘ * ‘ & 7 .T? 1*4 jfo LAMI (Louis Eugene) No. 77 Off for the Hunt Water Color A group of men and women on horseback, in hunting costume, are seen dashing along the road, eager for the chase. Brilliant in color and with considerable movement and spirit. Height, 5^ inches ; length, 10 inches. Signed at the left. Dated 1864. GAVARNI (Chevalier Guillaume Sulpice) 1804-1866 No. 78 Small Talk (De la tribu des Badinguet) Water Color A caricature of the secret police of the time of Emperor Napoleon III., nick¬ named “Badinguet” ever since he was a pretender and prisoner at Fort de Ham. Two figures clad in nondescript costume are freely drawn and painted broadly in harmonious colors. Height, 12}4 inches; width, 8 %. inches. Signed at the left. HEILBUTH (Ferdinand) 1826-1889 No. 79 San Giovanni Laterano Water Color A cardinal has been making a visit of state. He is just leaving, and several priests have accompanied him to his coach. Servants assist the prelate to enter. One holds the door, another takes up the trailing gown, and others group them¬ selves about him obsequiously. Beyond is a stretch of blue hills and the white walls of the famous church. Interesting both historically and artistically. Signed at the right. Height, 8X inches ; length, 14^ inches. FORTUNY (Mariano) 1838-1874 No. 80 Gipsy Caves, Granada A study of an old thatched hovel, against the door of which are two women. The foreground is in deep shadow, while the houses are in full sunlight. There is much depth of color and powerful, vigorous painting, executed frankly, and with great simplicity. Height, inches ; width, 5^ inches. Signed at the left. * BENLLIURE (Jos<0 No. 8J House at Naples The subject is a typical house in the poorer quarter. Around the open door¬ way a group of children are playing ; to the left is a barrel, and to the right a chicken coop. From a window above hangs a piece of bright fabric, and flowering plants are on the window ledge. Height, inches ; width, 4%. inches. Signed at the right. BOLDINI (Giovanni) No. 82 The Beach at Etretat With his astonishing eye for the picturesque, this artist, by the natural arrange¬ ment of a few figures and boats on the pebbly beach of this French watering-place and fishing village, has made an exquisite little picture. The old fishing craft of many colors are on the shore, and are indicated broadly yet with microscopic finish; the sails, spars, ropes, and impedimenta being painted in minute detail. In front, and to the right, a fish-wife, whose dress has been caught by the wind, is walking along the beach, carrying a child, while immediately in the foreground a little boy is lying at full length on the pebbles. The sea, which is of deep blue, is swept with wind clouds. Height, inches ; length, inches. PETTENKOFEN (Auguste von) No. 83 A Market in Hungary The scene represents a country market. Near an old building is assembled a number of peasants, who are seated about on the ground and on benches. To the left are some horses and wagons. All is very broadly painted in agreeable colors and with great care as to details, the artist being known as the “Austrian Meissonier.” Height, 5X inches ; length, 9 inches. Signed at the right. RICO (Martin) No. 84 The Tarpeian Rock, Rome A series of terraces of the cliff of the Capitoline Hill, crowned by a building of pink stucco, all in bright sunlight, under a blue sky decked with white clouds. A cart drawn by two donkeys, some hucksters, and a little dog are seen in the fore¬ ground, while at the lower edge of the composition are a flight of steps and a stone post. Though the panel is small, every detail is carried out faithfully, and the treatment is a marvel of dexterous technique. Signed at the left. Height, 6X inches ; length, 11 inches. FORTUNY (Mariano) 1838-1874 No. 85 Breakfast in the Old Convent Yard This modest little panel is an extraordinary example of detail painting and dis¬ plays the remarkable facility of the great Spaniard. The scene represents a courtyard of an old convent ; the walls of the building, made a radiant white by the sunshine, form an interesting background. The tiled roof of the ancient edifice throws cool, bluish shadows, as does a daintily suggested grapevine to the left. Behind, and seen above the wall, is a dense grove of orange trees, while a warm summer sky is broken with white clouds. A group of cavaliers, who have halted on their journey, are seated at a table breakfasting, and, although of minute proportion, are painted with exquisite detail as to costume and all accessories. The expression of satisfaction, the postures, and the general arrangement of the four men are all wonderfully realized. Some chickens about the table peck at the crumbs, while by a distant door a serving-man talks to a peasant, near whom are two sedan chairs, evidently belonging to a lady who leans pensively on the balcony, gazing at the cavaliers seated at the table. A number of large water jars are ranged along the right side of the picture, against the shadow of a building, from which hangs a lamp. Height, 10*4 inches; length, \y/ 2 inches. Signed at the left. ZAMACOIS (Eduardo) 1840-1871 No. 86 The Snowball In a pathway of a woods are two men dressed in brilliant colored costumes of the middle ages. They have thrown a snowball, which a dog is chasing in full cry. There is an effect of evening light on the snow ; the animal is full of expression and painted with the wonderful detail so characteristic of the brilliant young genius, whose untimely death at twenty-nine was so distinct a loss to the cause of art. Height, 7 %. inches ; width, 5^ inches. Signed at the left. Dated 1868. RICO (Martin) No. 87 The Woodcutter Water Color A summer landscape, painted in the village of Meaux, France. In the fore¬ ground are a woodchopper, a wheelbarrow, and a group of children; while behind him, to the middle of the composition, rise two poplar trees. To the right and left, groups of houses are discernible, while over all is a brilliant, flecky sky, with soft white clouds. The greens are skilfully managed in a variety of tones, running from the brilliant color of the trees in the immediate foreground to the tender tones in the distance, the whole being treated in pure wash and very simply. Height, 1 4%. inches; width, 21 inches. WEBER (Otto) Died 1870 No. 88 Landscape and Cows Water Color A pastoral scene, with cattle and distant blue hills. At the right center are some trees and a stone wall. The cows are well drawn and modeled, and the fore¬ ground is painted with much fidelity and care. A gray-blue sky lends interest to the composition, which, as a whole, is most satisfactory. Height, 12^ inches ; length, 20 inches. Signed at the left. PETTENKOFEN (Auguste von) No. 89 Hungarian Peasant Wagon The admirable methods of this able painter are seen to great advantage in this small, though broadly executed picture of two donkeys harnessed to a peasant’s cart, in which are seated two children. The place is a field, with stacks of grain and heaps of pumpkins. The time is nearly midday, and the strong light from a cloudless blue sky gives a wealth of warm color to the scene. Height, io }4 inches ; length, 15^ inches. Signed at the right. Dated 1878. BOLDINI (Giovanni) No. 90 Pond in the Forest of Fontainebleau This is an unusual vista of the famous wood, but no less true than those of more familiar aspect. Instead of the heavy, sturdy oaks generally painted, there are some white birches and delicate, graceful tree-forms, with light bits of green and trailing branches. Bare rocks show here and there, contrasting with the darker greens of the undergrowth, and in the foreground, among the long sedge grasses, a woman is filling a bucket with water. The distance is tender and the sky filled with beautifully modeled cloud-forms. It is unnecessary to add that no detail has been spared that could make the composition complete, and throughout there is an amazing sense of the brilliancy of light and air. Height, 11 inches ; length, 19^ inches. Signed at the left. FORTUNY (Mariano) 1838-1874 No. 9i Rosa Contadina Water Color /-///* An Italian girl leans against a wall. Her head drops on her breast, and in her hand she holds some roses. The head is finished in great detail, and the rest of the figure is painted with much freedom. The wall behind her is very delicate in color, being almost white. This is a characteristic example of the master. Height, 17 y z inches; width, 10*4 inches. Signed at the upper right. Dated 1867. RICO (Martin) No. 92 Seville Water Color M. Rico has caught the sentiment and sparkle of the light and brilliancy of Spanish sunlight, and treated this picture with much freedom and dash. The scene represents a garden, with the town in the distance. To the right is a house, with a wall of faded red that glows warm and bright in the sunlight, and in front of it is a leafless tree, the drawing and painting of which are most clever, showing wonder¬ ful command of the medium. In the middle of the composition two donkeys stand, and from the gate a woman is seen coming out. She wears a bright red shawl, that adds the necessary note of color. Height, 12 inches ; length, 19 inches. Signed at the left. STEVENS (Alfred) No. 93 Remembrance and Regrets This composition of a single figure is very characteristic of the artist’s well- known manner. It represents a beautiful Parisienne du Haute Monde , exquisitely gowned in white. She sits on an easy chair, resting her head on one hand, and holding a letter in the other. Beside her, on a dressing table, a mirror reflects her head. On the left some wraps and a parasol are carelessly placed. The face, full of thoughtful tenderness, is troubled, and at a glance one may read the story as conveyed in the title. Height, 24 inches ; width, 18 inches. Signed at the left. r FORTUNY (Mariano) 1838-1874 No. 94 Arab Reclining on a Divan Water Color A richly dressed Arab, with a sword in his girdle, half seated and half lying on a divan. Beside him is a taboret with a cafetiere and cup. A gun-rack with richly ornamented weapons occupies the wall. The figure and accessories are painted with a brisk and accurate touch and with great fidelity to detail, while the surroundings are washed in with great breadth and vigor of effect. Signed at the right. Dated 1869. Height, 27X inches ; width, 18^ inches. RIBERA (Roman) No. 95 Cafe Ambulant This is a fine study of a characteristic street scene somewhere in the Latin quarter of Paris. All the actors of the little comedy are there in unconscious attitude, preoccupied each with his own affairs. The shabby patrons of the peram- bulatory coffee-stand, the jaunty, careless art students, the gaping tinker’s boy, the gossiping women, and the busy cobbler in his bric-a-brac stall, are all treated with great fidelity and a rare quality of observation, enriched by a keen sense of humor. While the artist has paid the strictest attention to detail, and has painted every object with wonderful accuracy, he has preserved a delicacy of atmospheric effect, a charm of color, and a distinction of tone which command the highest admiration. Signed at the right. Dated 1878. Height, 19^ inches; length, 34inches. MICHETTI (Francesco Paolo) No. 96 Spring In a bright summer landscape, on a hillside crowned with a large stone building and covered with a growth of underbrush and trees, lies a cabbage garden. A pretty girl tending a flock of turkeys has been met on her way home by an ardent swain, who, with rustic fervor, tries to steal a kiss. The figures are executed with a facile and accurate touch, the turkeys are painted with great cleverness, and the tender green tones of the cabbages, so difficult to portray properly, are admirably realized. All the vigor and fertile invention of this skillful Italian painter are accentuated in this picture. Height, 20% inches ; length, 33 inches. Signed at the left. Dated 1876. DECAMPS (Alexandre Gabriel) 1817-1878 No. 97 Death and the Woodman The subject is chosen from the well-known fable of La Fontaine. On a rock in a forest, at sunset, sits white-robed Death, and beside him the woodman, wretched and poverty-stricken, in an attitude of supreme dejection. He has asked the grim specter to relieve him of his troubles, and, now the dread terror is so near at hand, he is overcome with fear and filled with a desire to live. Height, 28 inches ; width, 23 inches. Signed at the right. COROT (Jean Baptiste Camille) 1796-1875 No. 98 Sunset A pleasant glade in early summer twilight. To the right, young trees stand out a little from the forest. At the foot of two trees, at the left, are two women, one of whom is nude and is seen in shadow; both figures are merely notes in the landscape. A soft, silvery distance stretches away in the middle of the picture, and a sky full of luminosity is made brilliant by the setting sun. There is a fine sense of enveloping atmosphere in this little masterpiece, an example in which Corot is seen in his most poetic mood. Height, 23 inches ; width, 16^ inches. Signed at the left. ROUSSEAU (Theodore) 1812-1867 No. 99 The Woodcutter, Forest of Fontainebleau A glade in the forest of Fontainebleau, in the clearing of which a wood¬ cutter piles up some wood. In the middle distance is a pond, beyond which, on high ground, is a group of buildings, and to the left is a group of fine old trees rich in autumnal colors and the warm glow of the late afternoon sun. The tree-forms are carried out with conscientious care and with rare analytic power, while the drawing of the branches and tree-trunks is no less accurate and masterly. There is a fine feeling of atmosphere throughout the work, great distance, and a feeling of the season of the year. Height, 25inches; width, 21^ inches. Signed at the left. TROYON (Constant) 1810-1865 No. J00 The Lane A summer landscape, showing the turn of a lane in the woods ; the sunlight gleaming through the trees and lighting the ground here and there. A man and child are seen coming down a decline at the left, and to the right, just beyond the turn of the lane, is a woman with a basket on her arm. There is a sense of depth and sobriety to the greens, with beautiful tree drawing and construction, and a feeling of the solemn stillness and attractive loneliness of the woods is poetically and engagingly expressed. Height, 23 inches; width, 19 inches. Signed at the left. c. / .is/ A* . . ZAMACOIS (Eduardo) 1840-1871 No. m Checkmated Two shrewd little hunchbacks in quaint costumes sit on a table. One, his face bright with mischief and wit, has been playing a game of chess with a jester, who sits facing him and whom he has just checkmated. The court jester is clad in brilliant scarlet, with cap and bells, and he leans in contemplative mood, resting his chin on his hand. The background is a fine piece of tapestry, and the table is covered with a sumptuous Oriental rug. A handsome leather chair is to the right ; on this is a fool’s baton, while a glove lies on the floor. The light, which falls on the figures, produces a striking effect. Height, 19^ inches; length, 24 inches. Signed at the right. Dated 1867. FORTUNY (Mariano) 1838-1874 No. J 02 The Masquerade Water Color An important and characteristic composition, showing the great facility of the artist and his originality of invention. The scene is laid in the garden of the Tuileries. On a stone seat a Harlequin stands scraping his kit, and in front of him is a group of two masked women and two men, one of whom is a Moor, in gorgeous robes and turban, and the other, in wig and knee breeches, leans jauntily on a long cane. To the right two men lean over a marble balustrade. In the distance many maskers are dancing. There are great brilliancy of sunlight and a sparkle of color throughout, and the important center group is worked out in much detail. Height, 17^ inches ; length, 24^ inches. Signed at the right. Dated 1868. BAUDRY (Paul Jacques Aime) k No. 103 Fortune and the Child This picture, which is a reduction of the famous painting in the Luxembourg, Paris, represents two figures, a woman and a child, seated on the side of a fountain. Both are nude, though under and behind them are some draperies. A landscape stretches out in the background, and a group of trees are to the right. The wheel of fortune, with chain and padlock, lies at the woman’s feet. The flesh tones are exquisite, and the face of the woman is of idyllic beauty, painted with consummate ability and tenderness. Signed at the right. Dated 1853. Height, 32^ inches ; width, 23^ inches. BOLDINI (Giovanni) No. 104 River Seine, at Bougeval A beautiful glimpse of the river at the quaint little town near Paris, taken at its most attractive season. The stream passes through charming country and beside a fine old formal garden, with square-cut box hedge and handsome stone gates. The foliage indicates early summer, with dainty, sparkling greens and long tangle of rushes in the foreground. The shadows are reflected, in the water, and in the middle of the river is a punt in which are a man and two women. The figures are delicately suggested, and give the touch of needed color. The sky is blue, with a few white clouds, and the painting is fascinating in its wonderfully dexterous handling. Height, 21)4 inches; width, 18 inches. Signed at the left. Dated 1874. CLAYS (Paul Jean) /Y.f** • k t,//faster * *4 g No. J05 Dead Calm A motive, in which this admirable painter is thoroughly at home, represents a perfectly quiet river, with the low, flat Holland land in the distance, and here and there the characteristic red-tiled roofs. Three big sailing vessels lie listlessly drifting ; their sails, now and then caught by sunlight, are flapping idly and are reflected in the water. A ship’s boat is pulling off from one of the bigger crafts. An old buoy to the left is motionless, and against the shore and rocks to the right the water barely ripples. Height, 25)4 inches; length, 43)4 inches. Signed at the right. Dated 1868. / FORTUNY (Mariano) 1838-1874 No. 106 A Street in Tangiers Water Color A group of Arabs lazily reclining under the shadow of a wall in a dingy street. To the right is a vista of another street, that goes off at right angles through archways enlivened now and then by full sunlight. A horse stands to the extreme left of the picture, and beside him two Arabs are talking. Above is a window with tracery of carved woodwork. A figure in the foreground, for which Henri Regnault served as model, stands with bared shoulders, giving the artist a chance to show his able treatment and modeling of flesh. The bare feet and legs of another Oriental lying down, further demonstrates M. Fortuny’s dexterity with the brush. The story of Mr. Stewart’s acquisition of this picture is interesting. Fortuny had heard a great deal about the great French painter Meissonier, but had never seen his work except through photographic reproductions. Mr. Stewart knowing this, wished to cause a pleasure to his new friend, as a propitiatory present. He took to Rome the little masterpiece of Meissonier which is in this collection, “The End of a Game of Cards,” and Fortuny, to his surprise, found one morning the great master’s panel placed on his own easel and lighting up his studio. Deeply touched, the artist wrote a few words of dedication under the water color, “A Street in Tangiers,” and presented it to Mr. Stewart. Signed at the right. Dated 1869. Height, 14X inches ; length, 19^ inches. NITTIS (Giuseppe de) 1846-1884 No. t07 The picture is one of a long road leading over a bridge, along which some Route from Brindisi to Barletta weary-looking pedestrians, with a team and yellow-bodied wagon, are slowly moving. The fine dust seems a foot deep in the highway, the bushes and grass are covered with it, the sunlight is blazing, and the heat, like the breath of a blast¬ furnace, is rising up in wavy lines from the earth. The idea of sultriness is over¬ powering. We almost feel it, as we do in reading the opening chapter of “ Little Dorrit,” with its description of Marseilles burning in the sun. To convey this impres¬ sion, this feeling, seems to have been the one object of the artist, and he has succeeded in doing it. It is faint praise to say that the picture is well painted, for it is more than that. The color-scheme is light, not fiery ; the composition and per¬ spective are excellent, and the textures, from the powdered dust and the wilted herbage to the iron tires of the wagon-wheels and the clothes of the travelers, are painted with a directness and a certainty not always visible in De Nittis’s pictures of the Champs Elysees —John C. R'an Dyke, The Art Review. Height, 11^ inches; length, 21 'A inches. Signed at the right. Dated 1872. RICO (Martin) No. 108 Plaza and Street, Toledo Prominently in the middle background, to the right of the composition, is a great white stuccoed building, with an elaborate wooden door studded with iron ornaments and topped with a carved coping, over which are two griffins. Bird¬ cages hang on the wall, and a window protected by an iron grille is filled with flower-pots containing trailing vines. A child in a yellow dress stands in the shadow, and two donkeys browse lazily, a little dog lying near them. The foreground is most delicately suggested, while to the extreme right a street recedes in the distance. The sky is a heavy blue, and the atmosphere is hot and simmering. Height, 8inches ; length, I3|f inches Signed at the right. RICO (Martin) No. 109 Avenue Josephine Market, Paris A glimpse of one of the Paris out-of-door markets. Across the middle of the panel is a line of green-colored booths or sheds, against which are banked carts, and groups of market people and buyers are trading. In the background is a vista of Paris, and in the foreground are great numbers of jugs and pots, evidently the wares of a pottery merchant. Though there is apparently an enormous amount of detail in the picture, it is more by reason of the astonishing cleverness of sug¬ gestion than in any labored work. This painting was first shown at the Universal Exposition of 1878. Height, 6 y z inches; length, n|f inches. Signed at the right. MEISSONIER (Jean Louis Ernest) 1813-1891 No. no The End of a Game of Cards A tragedy admirably told on the few inches of a small panel by one of the masters of this century. Two cavaliers have had some quarrel about a doubtful throw; they have drawn their swords and pursued each other across the room, upsetting and breaking the furniture. One is now stretched on the ground near the reddened blade which defended him; the other, struck to death, too, is dying at the back of the room, trying to stop with weakened hand the flow of blood from his pierced breast. Meanwhile the table on which they cast the dice or cut the cards, upset during the fight, burns smouldering in the fireplace. The fatal passion has annihilated all, both the actors in the drama and the scene of the struggle. The conception is that of a thinker; the picture, painted with wonderful understanding of chiaroscuro, is executed with that precision without affectation, that firmness without dryness, that breadth of touch which make the little compositions of the master so great. Height, 8^ inches; width, 7*^ inches. Signed at the right. Dated 1865. FORTUNY (Mariano) 1838-1874 No. Ui Meissonier’s Portrait A clever sketch of the great painter of “ La Rixe.” He stands in one corner of his own studio, at Poissy, dressed in top-boots, tight white breeches, and a brown velvet coat. His head is in profile, and in his left hand he holds an enormous cavalry sabre. The legs in particular are carefully painted, the rest being nevertheless highly suggestive. Meissonier, it seems, had called on Fortuny one day while the latter was painting his “Spanish Marriage,” and had criticised one of the soldiers in that canvas, asserting that, for a good cavalry officer, his legs were not in proportion to his body, and to support his assertion and persuade the young man, who was more astonished than convinced, he drew his attention to his own legs, which were in perfect proportion, and said, “1 am the only man who has the proper legs for the character you need, and if you will come out to Poissy 1 will serve as your model.” Fortuny accepted, went to Poissy, and made a sketch of the great master, who was much astonished at the rapidity of execution. Completed later, this study became the “Portrait of Meissonier,” the artist reproducing the famous painter’s studio as a background, including an easel on which is the sketch for a composition called “ Le Guide.” Height, 11 inches ; width, inches. Seal at the right. MEISSONIER (Jean Louis Ernest) f/JZ'fV-v «< •• * 1813-1891 No. U2 The Stirrup Cup A subject of which the artist was fond and which he has treated several times. It is always the gentleman on horseback quenching his thirst before he gallops off. Here Meissonier triumphs through the truth of the attitudes, the simplicity, and the naturalness of the motions, the happy rendering of the expression of the faces ; here is shown with rare intensity the great knowledge of the master with regard to everything that concerned the horse. Meissonier loved the horse passionately ; he modeled some in wax, which are little masterpieces that Barye would have been glad to sign. He knew not only the structure and the appearance of the noble animal, but he had caught its nature, guessed its caprices and revolts. His horses, wherever you find them in his works, have not only their breed, but their character, well marked. In this picture the horse, a portrait of an animal that he knew and loved, is a marvel of life and of perfect modeling. Height, 6inches ; width, 4 y 2 inches. Signed at the left. Dated 1864. RICO (Martin) No. U3 Rienzi's House in Rome A view of the ancient building, the supporting pillars of which are half walled up. To the left, in sunlight and shadow, a street is seen, and a number of beggars are grouped about on a grassy foreground to the left. There is a deep blue sky, with brilliant white clouds. Height, 6 inches ; length, 11 inches. Signed at the left. FORTUNY (Mariano) 1838-1874 No. m The Choice of a Model In an elaborately decorated and sumptuously furnished apartment of the Palazzo Colonna, in Rome, a number of members of the Academy of Saint Luke, at the most luxurious period of last century, are assembled to criticize a nude female model who is posing before them in an attitude of studied grace. The ultra-fashion¬ able costumes of the men and their pompous and artificial manners, no less than the wonderful richness and elegance of their surroundings, indicate to what an extent the study of art was at this period indulged in as a fashionable accomplishment. The subject has given Fortuny the best possible opportunity for the exercise of his unique skill in the treatment of rich draperies, fine metal work, choice marbles, and all the glitter and splendor of precious objects of art with which the princely apartment is filled to overflowing. Nor has the artist been too much preoccupied with the imita¬ tion of textiles and with the difficult problems of intricate design and arrangement, for he has treated with characteristic skill the delicate contrasts of tone and color as well as the differences of human type and expression, which alone would distinguish the picture as a rare artistic accomplishment. With all the extraordinary elaboration of detail and amazing wealth of color the general harmony of the picture is maintained without a false note, and it will always rank as the highest expression of Fortuny’s great inventive power, his rare taste, and his consummate facility of execution. Height, 21 inches ; length, 32 inches. Signed at the right. Dated 1874. BOLDINI / (Giovanni) No. 115 Highway of Combs-la-Ville Along a white, flat road, with the distant view of a small village of white walls and red roofs, a few wagons are seen going and coming, while on a side path people are slowly walking along under a row of long, slender trees. To the right is a gray stucco wall, showing the red brick at the entrance gates, where several women stand talking. To the left is a stretch of slightly undulating country, and above is a sky filled with brilliant cloud-forms. Nowhere has the artist evolved more dexterity or more feeling for the realization of the sparkle of a burning summer day in France. The strong light of the sun and the great intensity of the heat are masterly ren¬ dered, and the tenderness and brilliancy of the greens are truthfully conveyed. It required all the skill of the painter’s hand, all the science that his eye possessed, to dare to undertake such a work. It has taken all his talent to make it successful. The subject was one of those which in art they call dangerous ; almost in play he has overcome immense difficulties. Signed at the left. Dated 1873. Height, 27 inches ; length, 39^ inches. FORTUNY (Mariano) 1838-1874 No. U6 Dead Girl When Fortuny was at Granada, a daughter of one of the attendants in the Alhambra died. The father came to the artist and begged him to make a painting of his daughter, that he might have some likeness of her. So Fortuny painted her lying dead in her coffin — painted her as only such a subject could be painted, broadly, boldly, swiftly — and in every brush-stroke of it there is that feeling of power that we experience in viewing the drawings of Michel Angelo. In the most delicate as in the broadest sweep of the brush there is the sense of strength. The spirit of death — 1 had almost said death itself—is caught and transfixed upon canvas by a master hand that would rather have left it undone, but, having it to do, did it swiftly and surely. One must be more than simply “clever” to do such work. One must look deep into the essence of things—and that is genius .—John C. Van Dyke, The Art Review. Height, 22 inches; length, 27^ inches. Signed at the left. 1 TROYON (Constant) 1810-1865 No. 117 Cow Among the Cabbages In a cabbage patch, against a well-composed sky, stands a white cow, marked with red on the face and neck. To the right are some willow trees, and vaguely seen in the distance is a stretch of flat country, with hills along the horizon. It is one of the sober, thoughtful studies of cows that none knew how to execute so well as this master. The characteristics of the beast, the drawing and anatomy, the relations of light and shade, and the proper appreciation of form and movement make this work a masterpiece. Height, 36 inches; width, 29 inches. Signed at the left. LEIBL (Wilhelm) y'/rtA *h No. H8 Village Politicians A most important canvas by this great German master. A group of four old peasants sit attentively listening to a younger man, who is reading from a newspaper. Each particular face and figure is a study by itself, Holbeinesque in its marvelous search for character and extraordinary finish. So masterly is the treatment, that none of the types of character illustrated are unduly assertive, and all contribute to make a splendid harmony. The artist has accentuated the difficulties of his task by introducing no less than four pairs of hands, yet these he has drawn and painted no less freely and skillfully than the faces, the picture, in its wonderful fidelity and ability, being reminiscent of the Dutch masters of the seven¬ teenth century. It is the master-work of Leibl, and as such created a sensation in Paris at the Universal Exposition of 1878. Height, 31 inches ; length, 39 inches. ^7 tcs FORTUNY (Mariano) 1838-1874 No. U9 The Antiquary In a room littered with biblios, bric-H-brac, and articles of virtu an enthusiastic amateur sits with a portfolio on his lap, admiring a rare engraving. In front of him, on a carved chair, is a folio of prints. Behind the antiquary, a friend leans over his chair and glances at the engraving which is being admired by the amateur. On a rich rug that nearly covers the floor is an elaborately carved treasure chest, on which are placed specimens of Venetian glass and other objects; a handsome large red vase stands on the mantle, and a cockatoo is perched on a bar in the foreground, while at the extreme right a man carrying a portfolio stops in front of an elaborately carved table. A suit of Japanese armor stands near the left center, and the walls of the room are hung with rich tapestries. In a gorgeous Florentine frame, hanging above a carved white marble fireplace, is a painting of a knight in armor, a likeness of Mr. Stewart, which was introduced under the following circumstances. Mr. Stewart had been in possession of this work for some time when Fortuny made a trip to Paris, and while there called on his patron. In chatting with him, Mrs. Stewart expressed her regret at not having a good portrait of her husband. Fortuny did not answer, but a little later he went up to “The Antiquary,” and, with a certain appearance of embarrassment, declared that the background needed retouching. An artist’s fancy, they thought. Mr. Stewart was one of those men who refused nothing, and Fortuny was one of those to whom everything was granted, and on his departure he carried away the picture. After a few days, when it was returned to the owner, it had in fact been subjected to a change. The artist had introduced in the background a capital portrait of his friend, which, in its old frame, thoroughly harmonized with the original composition of the picture. Height, 19 inches; length, 26 inches. Signed at the right. « MADRAZO (Raymundo de) No. f 20 Departure from the Masked Ball This well-known canvas represents the courtyard of a Parisian mansion at the conclusion of a masked ball. It is early dawn, and the gas-lamps at the gates seem feeble in the greater light of the day that is so near. Carriages, in which are gay maskers in costume, are being driven away, and other guests are coming down the canopy-covered steps of the mansion. A group of footmen and coachmen in livery are at the left, discussing the contents of a daily paper. In the middle group a man dressed as Punchinello, with a Japanese lady on his arm, is taking a Madame de Pompadour to task. Beyond, a Pierrot, somewhat the worse for his dissipation, has dropped on the grass, and his companion is assisting him to rise. Outside, some street-sweepers, half awake, are cleaning up the road—a dramatic touch. Leaf¬ less trees, beautifully drawn, are in front of the handsome iron railings which inclose the courtyard, and the distant houses are pale and gray in the early morning light. No detail has been omitted, everything is in harmony, and the composition is most interestingly arranged. This picture attracted great attention when it was shown at the Salon, 1878, and marks the highest point in the genre work of this dis¬ tinguished painter’s career. Signed at the left. Height, 27% inches ; length, 46 inches. FORTUNY (Mariano) No. 121 Arab Butcher A ray of glaring sunlight falling on a white wall, a slaughtered ox stretched upon the ground in a pool of blood, a figure or two with just enough color in the costumes to make contrast — and that is all. Repulsive as the subject undoubtedly is, one can but wonder at the genius of the man which could transform such a scene into a thing of beauty. And it is actually beautiful from an artist’s point of view. The heated air, the glaring sunlight, and, above all, the key of color formed by the bright red blood, are startling in their effectiveness and are really pleasing to the eye. Nor is the sketch idealized in the popular meaning of that badly abused word. It is natural enough, yet it is not simply a piece of brutal strength, like Rembrandt’s “Dressed Beef ” in the Louvre.— John C. Van Dyke, The Art Review. I have in view several other things, one especially (“The Butcher”) that I will endeavor to sketch before my departure, but it will not be for sale, for nobody would buy it, only I will take the luxury of painting it for myself; it is in this that true painting consists.— Extract from, Fortuny's letter to Baron Davillier, October g, 1874. Height, 29 inches ; length, 52 inches. Seal at the left. VAN MARCKE (Ilmile) No. 122 Cows in the Valley, Toucques A complete and fine example of the well-known cattle-painter, who has here composed an agreeable arrangement of animals and a summer landscape. A white cow in profile is in the foreground, half in sunlight ; behind her is a black one, while to the left a red cow is lying down near a pool of water. Other cattle are vaguely seen in the distance, also a plain and a hillside in tender purples. A white building is nearly obscured by some trees, and there is a sense of the rich, heavy summer greens, cool shadows, and the quiet of pasture lands. S A A Signed at the left. Height, 24 inches ; length, 40 inches. STEWART (Julius L.) f No. 123 Summer The scene represents a field of grain situated in a hollow surrounded by verdure-clad hills, soft and harmonious in their tender purples and green, under a sparkling sky of cerulean blue, with fluffy white clouds. To the right is a tree almost leafless, and near it are two fashionably dressed women, one in white, the other in gray. To the left center are a man and woman, with red parasol, while near by is a young lad. The red tones of poppies, scattered here and there among the grain, give note of color, while the greens both in the foreground and middle distance are pure, brilliant, and admirably arranged. A cloud shadow fall¬ ing on the field serves to make pleasing contrasts of light and shade, and the painting, though broad and vigorous, is not without much detail. Above all, the work has a crisp, fresh, breezy feeling, suggesting satisfactorily the time—early summer—and the place—France. Height, 33^ inches ; length, 39 inches. Signed to the right. Dated 1880. FORTUNY (Mariano) No. 124 Environs de Tanger An ebauche, or the laying-in of a picture. An old, uprooted tree is to the left, and to the right are suggestions of figures about a hut. In the distance, to one side, is a stream of water, and in the middle the ruins of a square, low building. The work is painted in free, vigorous strokes, each one of which is full of sig¬ nificance, and demonstrates the artist’s manner of approaching an important com¬ position, and as such is most interesting. Height, 2 6% inches ; length, 60 inches. Seal at the left. VOLLON (Antoine) No. J25 Monkey and Fruit This large and highly characteristic example of the great modern master of still-life painting represents a table covered with various articles in great confusion, the result of the caprice and mischievousness of a monkey, who is looking from the dim background at the havoc he has wrought. With one paw he is toppling over a copper vase of flowers, and with the other a glass dish, the fruit from which is strewn on a large plate. A big red book, a pipe, and some sheets of music are scattered about. Height, 59 inches ; length, 45 inches. ROMAKO (Anton) No. 126 The Huntress Portrait of a woman in deep-red doublet, white ruff about the neck, and wearing a large hat with feathers, and carrying on her shoulder an old arquebus. ^ The face has a piquant expression, and is painted with great freedom and dash. Height, 36 inches ; width, 2 6 ) 4 . inches. Signed at the right. FORTUNY (Mariano) / /•" No. 127 The Alberca Court, Alhambra An incomplete but marvelously composed interior of the famous court, with the basin of the fountain in the foreground, the limpid water reflecting the exquisite Moorish architecture and the long graceful columns. An entrance opens into another court, and farther on is seen, vaguely, a garden. To the right are some plants with great leaves and an orange tree. An elaborate Oriental rug hangs from the roof, and a curtain protects the left of the court from the heat of the sun. The possibilities of the picture seem infinite, and in its unfinished state it gives an interesting idea of the artist’s manner of procedure. Height, 48 inches ; length, 67 inches. Seal at the right. MADRAZO (Raymundo de) No. 128 « % Pierrette A full-length figure of a pretty girl in fancy dress, as Pierrette, leaning against a wall and holding a black mask in one hand. A pink cloak jauntily thrown over her shoulders, relieved by a blue lining and ermine border ; a pink sash and stock¬ ings, a white petticoat and slippers, make a costume as tasteful in arrangement as it is piquant in effect. The painting is executed with a freedom and spirit quite in harmony with the subject, and the picture has enjoyed great popularity even in the reproduction by which it is best known. Height, 78^4 inches ; width, 37 inches. Signed at the upper right. BRONZES, FURNITURE, AND OTHER OBJECTS BRONZES, FURNITURE, ETC. TO BE SOLD AT CHICKERING HALL, FRIDAY NIGHT, FEBRUARY 4th AT THE CONCLUSION OF THE SALE OF PAINTINGS No. 12 9 STATUETTE IN BRONZE “The Communist,” by d’Epinay. Golden-brown patina. Signed and inscribed. Height, 16 inches. No. 130 PAIR JAPANESE BRONZE VASES By Sh5-kwa-ken. Straight ovoid shape. Wickerwork design, in relief casting, and chased. Various insects modeled in relief. Side handles of bamboo pattern. Height, 13 inches. Signed on the foot. No. J3t BRONZE GROUP “Horse and Cat,” by Fremiet. Rich brown patina. Signed. Height, 6 inches; length, 8 inches. No. 132 BRONZE FIGURE “The Little Fisherman,” by Gemito, a Neapolitan sculptor, who, when young, visited Paris at Meissonier’s invitation. The great painter thought so highly of him that he entertained him at his house and kept him as a guest as long as he could. Height, io inches ; diameter, 10 inches. Signed proof, cire perdue. No. 133 BRONZE STATUETTE “Croquet,” by d’Epinay. Brown patina. Signed. Height, \o% inches. No. 134 PAIR BRONZE STATUETTES “The Gladiators,” by Gerome. Antique green patina. Signed. Height, 17 inches. No. 135 JAPANESE BRONZE COVERED VASE Wickerwork design, cast and chiseled. Skillfully wrought, lifelike rats and mice in bold relief. Fine patina. Height, 11 inches ; diameter, 12 inches. No. 136 BRONZE STATUETTE “ Meissonier,” by d’Epinay. Brown patina with green markings. Signed. Height, 11 inches. No. 137 BRONZE STATUETTE “Woman of the First Empire,” by Gemito. Green patina. Signed proof, cire perdue. Height, 21 inches. No. 138 BRONZE EQUESTRIAN FIGURE “Due d’Orleans,” by Fremiet. Brown patina. Height, 19 inches; width, 15 inches. Signed. No. 139 BRONZE BUST “The Fisher Boy,” by Gemito. With bronze and gilt pedestal. Signed proof, cire perdue. Height, 20 inches ; diameter, 11 inches. No. HO BRONZE EQUESTRIAN FIGURE “Gaston de Foix,” by Barye. Fine green patina. Height, 14 inches ; length, 13 inches. Signed proof from Barye’s studio. No. J4J BRONZE ORNAMENTAL PEDESTAL By Barye. Byzantine design, oval-shape green patina, black marble top. From Barye’s studio. Height, 7 inches ; length, 18 inches. No. 142 BRONZE GROUP base. “St. George and the Dragon,” by Fremiet. Gilt finish, with white marble Signed. Height, 22 inches ; width, 15 inches. No. 143 BRONZE GROUP “Panther Seizing a Stag,” by Barye. Fine green patina. Signed proof from Barye’s studio. Height, 15 inches ; length, 22 inches. No. 144 BRONZE GROUP “Tiger Seizing a Deer,” by Barye. Fine green patina. Height, 13 inches; length, 23 inches. Signed proof from Barye’s studio. No. 145 TERRA COTTA BUST “Paul Baudry,” by Dubais. Signed. Life size. No. 146 TERRA COTTA BUST “J. L. Gerome,” by Carpeaux. Signed. Dated 1873. Life size. No. 147 MANTEL CLOCK Green marble case, surmounted by group of “Fawn and Cub Bears,” sculp¬ tured in white marble by Fremiet. Height, 20 inches ; length, 24 inches. Signed. No. 148 PAIR BRONZE CANDELABRAS By Cain. Bamboo tripod design, with snail feet ; mice and bird-nest orna¬ mentation in relief. Height, 20 inches. Signed. No. 149 PAIR ELABORATE BRONZE VASES Japanese. Tall ovoid shape, with bold, flaring necks ; cast and chiseled relief ornamentation of dragons, birds, and clouds ; gold inlays, elephant-head handles. Height, including stands, 37 inches; diameter, 15 inches. No. 150 PAIR LARGE CLOISONNE VASES Old Chinese. Grand bottle-shape. Designs of lotus plants in bloom, and birds in green, turquoise, and white enamel on a ground of Indian red. Fitted as lamps. Height, 23 inches; diameter, 17 inches. No. 151 LOUIS XVI. CABINET Inlaid with various woods ; elaborately wrought brass mountings ; door orna¬ mented with finely decorated Sevres porcelain medallions ; white marble top. Height, 45 inches; length, 55 inches. No. 152 LARGE TABLE Inlaid with ivory and various woods ; elaborately carved supports. Height, 32 inches ; length, 60 inches ; width, 48 inches. No. 153 TWO ELABORATE ARMCHAIRS To match the above-described table. No. 154 FOUR HIGH-BACK CHAIRS To match the foregoing. No. 155 EIGHTEENTH CENTURY DUTCH SCREEN Carved and beautifully lacquered by Japanese. Four folds. Height, 75 inches; length, 108 inches. THE AMERICAN ART ASSOCIATION, Managers THOMAS E. KIRBY, Auctioneer List of Artists Represented and Their Works ARTIST SUBJECT CATALOGUE NUMBER ALMA-TADEMA, L. Roman Youth Reading Horace 13 ARCOS, S. Buffoon 32 BAUDRY, P. J. A. Parisina 49 The Wave and the Pearl 69 Fortune and the Child 103 BELLANGE, J. L. H. Military Sketches 1 BENLLIURE, J. House at Naples 81 BOLDINI, G. River Seine at Mont-Valerian O The Rest at the Studio 21 Clichy Square, Paris 58 The Beach at Etretat 82 Pond in the Forest of Fontainebleau 90 River Seine at Bougival 104 Highway of Combs-la-Ville • 15 BONNAT, L. J. F. Neapolitan Peasants at the Farnese Palace 63 BONINGTON, R. P. View of Old Paris 19 BONVIN, L. Wild Flowers 18 CHAM The Commune 7 CLAYS, P. J. On the Coast 8 Dead Calm 103 ARTIST SUBJECT ' CATALOGUE NUMBER COOSEMANS, J. T. Summer Landscape 50 Winter Landscape 59 COROT, J. B. C. Ville d’Avray 33 Sunset 98 DAUBIGNY, C. F. Auvers on the Oise 35 DECAMPS, A. G. Death and the Woodman 97 DUEZ, E. A. The Pont Neuf, Paris 67 DUPRAY, H. L. Waterloo 66 FIRMAN-GIRARD Parisian Flower-Girl 53 FORTUNY, M. Corpus Christi 5 Study of Flowers 10 The Arquebusier 16 Arab Fantasia 27 Italian Peasant Girl 3 i Arab’s Head 40 Cafe of the Swallows 44 One of the “King’s Moors” 52 The Old Peasant 56 Court of Justice, Alhambra 61 Courtyard, Alhambra 68 Arab at Prayer 74 Gipsy Caves, Granada 80 Breakfast in the Old Convent Yard 85 Rosa Contadina 91 Arab Reclining on a Divan 94 The Masquerade 102 A Street in Tangiers 106 Meissonier’s Portrait 111 The Choice of a Model 114 Dead Girl 116 The Antiquary 119 Arab Butcher 121 ARTIST SUBJECT CATALOGUE NUMBER FORTUNY, M. Environs de Tanger 124 The Alberca Court, Alhambra 127 GAVARNI Small Talk 78 GEROME, J. L. Door of a Mosque, with Heads of Decapitated Rebels 39 GREGORY, E. J. The War in the East 2 HARP 1 GNIES, H. Autumn. Castle of San Angelo 6 HE 1 LBUTH, F. Monte Pincio 11 Lady in Yellow 62 San Giovanni Laterano 79 HERNANDEZ, DON G. Head of a Girl 45 HORSCHELT, T. An Arabian Horseman 42 KNAUS, L. The Landlord 71 LAMI, L. E. Off for the Hunt 77 LE 1 BL, W. Village Politicians 118 MACCARI, C. Women at Raphael’s Tomb 29 MADRAZO, R. DE Woman and Parrot 26 Woman and Guitar 37 Departure from the Masked Ball 120 Pierrette 128 MEISSONIER, J. L. E. Italian Armor, Sixteenth Century 75 Armor 76 The End of a Game of Cards 110 The Stirrup Cup 112 MENZEL, A. F. E. The Stirrup Cup 9 MICHETTI, F. P. A Seaside Idyl 48 The Turkey Girl 60 Spring 96 MOORE, H. HUMPHREY Banks of a River 17 ARTIST SUBJECT CATALOGUE NUMBER MORELLI, D. Woman Seated 73 MESZOLY, G. VON Farm Scene 23 NITTIS, G. de Lowlands Near Naples 36 Route from Brindisi to Barletta 107 PARSONS, A. English Landscape 25 PETTENKOFEN, A. VON A Market in Hungary 83 Hungarian Peasant Wagon 89 PILLE, H. Lansquenets 3 PINWELL, G. J. Rural Life, England 54 RIBERA, R. Cafe Chantant M Cafe Ambulant 95 RICO, M. Venetian Canal with View of Vero¬ nese’s Tomb 12 Fisherman, Seville 20 Boats at Poissy 30 A Spanish Garden 43 Pond at Meaux 57 The Tarpeian Rock, Rome 84 The Woodcutter 87 Seville 92 Plaza and Street, Toledo 108 Avenue Josephine Market, Paris 109 Rienzi’s House in Rome ii 3 ROMAKO, A. The Huntress 126 ROTHSCHILD, BARONESS C. de View of Capri 55 ROUSSEAU, T. The Woodcutter, Forest of Fon¬ tainebleau 99 ROYBET, F. V. L. The Kitchen in the Castle 65 SANT, J. Gipsy Fortune Teller 70 ARTIST SUBJECT CATALOGUE NUMBER SMALL, W. A Plowing Match 4 STEVENS, A. Alsace 28 Woman and Elephant Remembrance and Regrets 93 STEWART, J. L. Summer 123 TROYON, C. Valley of the Toucques 34 Chickens Feeding 46 The Lane 100 Cow Among the Cabbages 117 VAN LERIUS, J. H. F. An Old Woman’s Head 38 VAN MARCKE, E. A Normandy Cow 47 Cows in the Valley, Toucques 122 VIERGE, D. The Bridle Path, Bois de Boulogne 72 VOLLON, A. Crystal Bowl and Fruit 64 Monkey and Fruit 125 WEBER, 0 . Plowing 22 Landscape and Cows 88 ZAMACOIS, E. Fortuny’s Model 24 The Infanta 4 i The Snowball 86 Checkmated 101 COLLECTION OF THE LATE W. H. STEWART SUBSCRIBER’S COPY NUMBER 2/0 EDITION LIMITED TO THREE HUNDRED AND TWENTY-FIVE CATALOGUE DE LUXE OF THE MODERN MASTERPIECES GATHERED BY THE LATE CONNOISSEUR William H. Stewart, TO BE DISPOSED OF AT ABSOLUTE PUBLIC SALE, BY ORDER OF HIS EXECUTORS On Thursday and Friday Evenings, February and 4™ BEGINNING AT 8. I 5 O’CLOCK EACH EVENING AT CHICKERING HALL FIFTH AVENUE AND EIGHTEENTH STREET THE COLLECTION WILL BE ON EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH From January 24TH until date of sale, inclusive THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY NEW YORK THE AMERICAN ART ASSOCIATION, Managers 1898 COPYRIGHT, 1898, BY THE AMERICAN ART ASSOCIATION, NEW YORK [all rights reserved] PHOTOGRAVURES BY A. W. 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