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 A COLLECTION OF 
 
 PAINTINGS 
 
 by 
 
 MURPHY, TRYON, WALKER 
 AND WYANT 
 
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 Galleries of 
 JOHN LEVY 
 14 East Forty -sixth Street 
 New York 
 
 Commencing February 9th 
 1918 
 
 Iffilik! 
 
A COLLECTION OF 
 
 PAINTINGS 
 
 by 
 
 MURPHY, TRYON, WALKER 
 AND WYANT 
 
 Galleries of 
 JOHN LEVY 
 14 East Forty-sixth Street 
 New York 
 
 Commencing February 9th 
 1918 
 
Shepherdess and Sheep No. 5 Horatio Walker 
 
Catalogue 
 
 No. 1 
 
 THE MILK YARD 
 
 Size: 28 x 38 inches 
 
 HORATIO WALKER 
 
 (Shown at the Louisiana Purchase Exposition, S. Louis, 1904) 
 One of this artist’s most distinguished paintings of Canadian 
 habitant life on Grande Isle in the St. Lawrence River below 
 Quebec. In a blaze of dazzling sunshine streaming across the 
 canvas from left to right, a farmer and his wife are seen at their 
 evening task of milking a herd of cows. The arresting notes in 
 the picture, secondary only to its sunlight effect, are the woman 
 and cow in the foreground, her greenish blue skirt and red petti- 
 coat and the dun colored cow forming an extraordinarily brilliant 
 piece of painting. Two cows lie at the base of the tree whose 
 low branches overhang the barnyard and are touched with the hot 
 sunlight, and toward the right is seen the farmer milking, his cart 
 with milk cans at the extreme right. 
 
 No. 2 
 
 THE THRESHER 
 
 Size: 18% x 14% inches 
 
 HORATIO WALKER 
 
 Labor and the man I paint, is the manner in which Horatio 
 Walker paraphrases the sonorous Latin phrase concerning arms 
 and the man through the medium of his art. oil of the cheerful 
 order is the motive of this simple composition, toil that is at 
 once inspiriting and picturesque, and which has its rewards in 
 the citizenship of a free country rather than those of a rustic 
 kind. At one end of a barn, a Canadian farmer is seen threshing 
 grain. Its yellow stalks fill the floor and are seen bursting out 
 through the long bin at his right. At the left of the picture his 
 discarded blue smock makes a bright gleam of color, and his 
 weather-browned hands and face are accented against the dusky 
 brown of the barns gable end. The upflung flail and the tense 
 figure give an effect of human power to the picture that completes 
 to the full its first impression. 
 
No. 3 
 
 A STY 
 
 Size: 14% x 18 inches 
 
 HORATIO WALKER 
 
 The yellowish whites and vivid pinks of a sow’s coarse skin have 
 appealed to many painters but none more so than to this artist 
 who has rendered those tones with a strength in one and a delicacy 
 in the other more brilliantly than even Morland himself. In this 
 study one sees a sow and pig muzzling in the yellow stalks of 
 some grain that covers the earth at the bottom of their sty. 
 Another white-and-pink sow lies sleeping partly in the shadow of 
 a low-branched tree at one end of the sty. The green leaves of 
 the tree and the weather-stained boarding of the sty makes agree- 
 able accents of color here while over the top of the boarding is 
 caught a glimpse of a sunny landscape with a white-walled cot- 
 tage near at hand. 
 
 No. 4 
 
 MILKING TIME 
 Size: 14 x 20 inches 
 HORATIO WALKER 
 
 A little brook runs downward through the center of the compo- 
 sition toward the foreground with rich green fields on either bank. 
 On the right a woman in a faded blue gown is seated, milking a 
 white and black cow, while the gable end of a little outhouse, 
 beside which some chickens make high notes of color, is beyond 
 her at the extreme right hand side of the canvas. Trees cut 
 partly across the center of the view throwing darkling shadows 
 over the foreground beyond which is a broad expanse of lush 
 green meadows with a long line of hills in the remote distance, 
 meadows and hills all overarched by a tender luminous evening sky. 
 
No. 5 
 
 SHEPHERDESS AND SHEEP 
 
 Size: 16 x 26 inches 
 
 HORATIO WALKER 
 (Water Color) 
 
 This composition by Mr. Walker is the only one we know from 
 his hand that immediately suggests Holland. His shepherdess in 
 a coarse cape and a faded red skirt stands where dunes meets 
 sands on a rising bit of land looking away from the spectator. 
 Her sheep crop the coarse herbage at her feet to the left and 
 beyond is white sand and a faint glimpse of the blue sea. In the 
 center of the picture beyond the figure is a single tree with a 
 long dense thicket of red tinted beach bushes curving away to the 
 distant sands. 
 
 No. 6 
 
 CANADIAN PASTORAL 
 
 Size: 18 x 26 inches 
 
 HORATIO WALKER 
 
 Labor’s epic quality is transmuted into something more akin to 
 the lyrical in this typical canvas by Mr. Walker. The spectator 
 is made to feel the dull round of daily toil in the slowly plodding 
 white horse and in the habitant farmer pressing heavily on the 
 rude harrow. But more compelling and uplifting to the spirit 
 is the sense of springtime that pervades the whole canvas, in the 
 air, in the upturned rich brown soil, in the greening trees, the 
 brilliant sunshine pervading the whole scene. 
 
 No. 7 
 
 CONTENTMENT 
 
 Size: 10 x 14 inches 
 
 HORATIO WALKER 
 (Water Color) 
 
 A veteran among the younger and more vigorous French Cana- 
 dian habitants of Grande Isle in the St. Lawrence that Mr. 
 Walker loves to paint sits in idleness, just within the door of his 
 cottage. He wears the traditional blue smock and red muffler and 
 a knitted cap of blue is pulled down on his head. Smoking a clay 
 pipe his pursed up lips, his ruminative eyes and hands clasping his 
 legs, give him all the quality of determined character that is the 
 note of these people at their best. Behind him is a table with 
 a bowl and jug on it, and through the open door one sees a bit 
 of vegetable garden, a young green tree and the bright blue sky. 
 
No. 8 
 
 WINTER 
 
 Size : 24 x 30 inches 
 
 HORATIO WALKER 
 
 In an opening in a grove of trees a French Canadian habitant 
 is guiding a team of oxen that are hauling a freshly cut birch 
 log over the thin snow. The brown and yellow stubble thrusting 
 up through the light mantle of snow makes sharp notes of color 
 against the white as do the man’s blue smock, red muffler, and 
 the white masks of the laboring ox team as they plod up a slight 
 slope. Above the bare trees a wintry sky of pale blue and mauve 
 completes this superb scene of wintry labor. 
 
 No. 9 
 
 HOMEWARD BOUND 
 
 Size: 9% x 14 inches 
 HORATIO WALKER 
 
 Along a clay road plods a team of white horses, a farm hand in 
 a blue smock riding the nearest horse, sitting leisurely and lazily 
 sidewise. A clay bank topped with thick bushes is behind the 
 team and a blue sky barred with greenish clouds overhangs the 
 landscape. The road runs away towards a farmhouse and a 
 church whose roofs and steeple rise above the trees in which they 
 are embowered. 
 
 No. 10 
 
 A WAYSIDE POOL 
 
 Size: 20 x 30 inches 
 
 A. H. WYANT 
 
 Across a tiny pool formed in a slight hollow in rough pasture 
 land the eye is carried to the horizon in an illimitable distance. 
 Beneath a blue sky that gleams through masses of yellow grey 
 clouds, an outcropping of lichen covered rocks is seen at the 
 left of the pool topped by a few thick bushes. At the right a 
 hillside slopes gently to the sky line, rocks and a little clump of 
 thickly growing trees making a bold accent of color in the com- 
 position. A familiar view touched into beauty by Wyant’s genius 
 for such realization. 
 
A Wayside Pool No. 10 A. H. Wyant 
 
No. 11 
 
 OPENING IN THE WOODS 
 
 Size: 14 x 17 inches 
 
 A. H. WYANT 
 
 Through an arch formed by the overhanging russet leafage of 
 some old birches with lichen-patched trunks the spectator sees a 
 curve of deep powder-blue sky. The trees stand on a little rise 
 of ground forming a natural terrace, one face of which is formed 
 of a patch of limestone that forms one side of a natural basin 
 for a pool or spring in the foreground that is almost enclosed by 
 rough ground on either side. This is Wyant in a more vigorous 
 mood than is his usual mood which makes the canvas all the more 
 distinguished. 
 
 No. 12 
 
 SEPTEMBER MORNING 
 
 Size: 10 x 15 inches 
 
 A. H. WYANT 
 
 Under the glowing sunlight of an early autumn day that radiates 
 a cry st aline clear atmosphere an old road leads along the face 
 of a hillside that is broken with weather stained boulders. At the 
 left, in a neglected bit of rough pasture stand two trees with a 
 clump of trees in the distant background. Up the crest of the 
 hill towards the right marches another grove of trees all crisped 
 reddish brown with the first touch of fall and over all is an 
 expanse of radiant sky veiled with clouds of the “thunder head” 
 variety. 
 
 No. 13 
 
 A SYLVAN SANCTUARY 
 
 Size: 16 x 12 inches 
 A. H. WYANT 
 
 Curving around from right to left a line of trees that create an 
 effect of great age shuts in a little sylvan sanctuary. Above the 
 trees are grayish white clouds that gleam more brightly through 
 the openings between the tree trunks below. What appears to be 
 an old path meanders from the center of the foreground in a 
 curve up into the shadow of the trees. 
 
No. 14 
 
 EVENING 
 
 Size: 19 x 25% inches 
 
 A. H. WYANT 
 
 A glowing sky, all flecked with glowing clouds through which one 
 catches glimpses of greenish blue, fills the whole canvas from the 
 horizon. At the right, across a lush green meadow, is seen a grove 
 of trees, their tops bathed in the sunlight, their trunks dark in 
 shadow. A pool in the foreground and at the left is a clump of 
 birches, one being detached from the rest and standing out as a 
 natural pattern against the radiant heavens. 
 
 No. 15 
 
 A BIT O’ WEATHER 
 
 Size: 11 x 8% inches 
 
 A. H. WYANT 
 
 Blustery, smoke-colored clouds are piling up against a blue sky 
 that gleams in turquoise tints behind this veiling. Toward the 
 horizon the clouds are touched with white while the tiny sheltered 
 pool in the foreground mirrors both hues on its placid surface. 
 Wild open country stretches away from the eye with a suggestion 
 of woods and a few spindling trees to break its desolate monotony. 
 
 No. 16 
 
 LANDSCAPE 
 
 Size: 8% x 10% inches 
 
 A. H. WYANT 
 
 A herd of cows have made their way into a thick undergrowth 
 that makes for a happier color scheme for the artist than it does 
 for good fodder. The tawny notes of color in the cows, bushes 
 and the few trees, all autumn-tinted, were obviously what caught 
 Wyant’s eye and he set them down under a windy sky, leaden 
 overhead, touched with high lights toward the horizon. A little 
 picture richly charged with keen observation and the note of 
 the lyrical. 
 
 No. 17 
 
 RUSSET AND GOLD 
 
 Size: 19x14 inches 
 
 A. H. WYANT 
 
 A mist enshrouded hill rises up into a pale evening sky flecked 
 with rosy clouds. Between the rough foreground (all russet and 
 brown), and the thick woodland at the base of the hill, stand four 
 trees — russet, green and gold — on the bank of a quiet expanse 
 of water. An uncommon variant in Wyants’ composition made 
 all the more personal and distinguished thereby. 
 
No. 18 
 
 LANDSCAPE STUDY 
 
 Size: 11% x 14% inches 
 
 A. H. WYANT 
 (Water Color) 
 
 Water colors by this great American landscape painter are very 
 rare. In this one he has merely set down a study of such a humble 
 bit of outdoors as always appealed to his reserved nature. Its 
 elements consist merely of a thicket of green bushes, high and 
 definite at the left, low and formless at the right with a green 
 foreground and a grey sky. Yet Wyant is written clear over 
 every inch of it. 
 
 No. 19 
 
 LANDSCAPE 
 
 Size : 10% x 14% inches 
 
 A. H. WYANT 
 (Water Color) 
 
 This impression of a bit of nature of a summer’s day shows a 
 stretch of greening meadow, a line of trees beyond (the chief note 
 in the picture) and the suggestion of one of this artist’s beloved 
 mountains in the hazy background. Over all arches a blue and 
 white sky that gives the character of hot midsummer to the whole 
 scene. 
 
 No. 20 
 
 LANDSCAPE 
 
 Size: 16 x 24 inches 
 
 DWIGHT W. TRYON 
 (Panel) 
 
 A screen of trees just beginning to show their first feathery bloom 
 of the springtime extends across the composition along an old 
 stone wall. Behind them the light of the sinking sun glows with 
 a fire that pierces the openings between the trees and tints the 
 clouds above with opalescent light. The oncoming of night is 
 felt in the darkling shadows at the left that fall over clouds and 
 trees. From the immediate foreground to trees and wall extends 
 a bit of rough land, diversified by outcropping rocks and a tiny 
 pool of water. 
 
No. 21 
 
 THE AUTUMNTIDE 
 
 Size: 16 x 24 indies 
 
 DWIGHT W. TRYON 
 (Panel) 
 
 The windy lowering sky and the impression of autumnal desolation 
 are the dominant moods created by this unusual panel from Mr. 
 Try on’s hand which bears the date 1899. A few spindling bare 
 trees are in the foreground and behind them are some tender 
 bushes still heavy with their foliage in olive and green tones. 
 Brown leaves are whirling away before the gale that sends sundry 
 grey clouds across the leaden sky. Here is the clamor of the 
 dying year set down in terms of tragic glamour. 
 
 No. 99 
 
 SUNSET 
 
 Size: 12% x 18 indies 
 
 DWIGHT - W. TRYON 
 (Panel) 
 
 Upspringing from the edge of a soft green pasture and a grove 
 of second growth trees thrust their feathery branches against the 
 evening sky that is filled with pale green, lemon, and rose tints. 
 Through the trees the spectator glimpses a sky that glows with 
 rose and yellow lights from the unseen sun. Despite the hot light, 
 so feelingly rendered, there is a softness in the whole atmosphere 
 of the painting that comes from the emotional suggestion of 
 springtime and its tender awakening both in nature and man’s 
 thoughts. 
 
 No. 23 
 
 CERXEY r LA VILLE 
 
 Size: 24 x 34 indies 
 
 DWIGHT W. TRYON 
 
 Without the wall of a French farmhouse enclosure a peasant in a 
 pale blue smock is spading up a bit of garden and a fire of 
 refuse is burning at his left, the while, the smoke rising up against 
 the grey wall and dull, olive thatched roof of the farmhouse. The 
 stable wall and roof fills the picture to the right, a low growing 
 tree screening its angular lines, and above the gable of the stable 
 a pointed tower lifts into the clear evening sky touched with the 
 reddish glow of the sinking sun. The canvas, dated 1881, is full 
 of the promise of the poetry which has dominated Mr. Try on's 
 later canvasses. 
 
r oonlight Evening No. 24 Dwight W. Try* 
 
No. 24 
 
 MOONLIGHT: EVENING 
 
 Size: 20 x 30 inches 
 
 DWIGHT W. TRYON 
 
 From the foreground a flat green meadow land stretches away 
 to a line of trees that stand at the foot of a range of hills which 
 form the intermediate plane of the picture. Two groups of 
 Tryon’s characteristic feathery trees break the monotony of the 
 meadow. Out of the evening mist above the hilltops rises the full 
 hot summer moon below a sky of delicate emerald blue flecked 
 with rosy clouds that is still lighted toward the zenith with the 
 afterglow from the sunset. 
 
 No. 25 
 
 ALONG THE SHORE 
 
 Size: 16 x 24 inches 
 
 DWIGHT W. TRYON 
 
 This early canvas of Mr. Tryon’s, it bears the date of 1884, por- 
 trays a familiar scene along one of our Atlantic salt water bays, 
 a place where man has been but is now neglectful of it. Where a 
 meadow comes down to the sandy foreshore of such a bay there 
 are the weathered remains of an old rail fence, and old grey skiff 
 is hauled out and abandoned, and some posts to which such boats 
 once were tied. The green meadow beyond is dotted with bushes 
 and two trees stand out against a lovely soft blue sky that is 
 partly screened by cumulous clouds of a bright summer’s day. 
 
 No. 26 
 
 SUNSET 
 
 Size: 12% x 18 inches 
 
 DWIGHT W. TRYON 
 
 The graceful forms of half a dozen slender tree trunks just feath- 
 ering out with the budding time march across the center of the 
 composition. A rough emerald meadow with grey boulders fills 
 the foreground and behind the trees the land rises to a higher 
 level where there is a thicket of trees. The characteristic Tryon 
 sky is flushed with warm light of the sun that has sunk below 
 the horizon. 
 
No. 27 
 
 THE LAKE 
 
 Size: 12 x 22 inches 
 
 DWIGHT W. TRYON 
 
 In a cup of the hills lies a lake that the spectator partly glimpses 
 through a mask of bushes which fill a break between two clumps of 
 second growth trees. In the foreground is a bit of wild upland 
 with outcropping rocks, and beyond the lake a heavily wooded 
 hillside rises up to a lovely evening sky flecked with mauve and 
 reddish cloudlets. 
 
 No. 28 
 
 OCTOBER DAY 
 
 Size : 24 x 36 inches 
 J. FRANCIS MURPHY 
 
 A masterly example of this painter’s latest manner is this autumn 
 landscape. Beneath a moist sky of yellow, grey, and mauve tones 
 lies a broad expanse of flat meadow land, all pale green and still 
 paler brown tints. The surface is diversified by a little pool at 
 the left whose moisture has nourished a clump of low bushes be- 
 yond which is seen a line of trees and across them blows the grey 
 smoke of a brush fire. At the right is a dense grove of trees 
 behind an old rail fence which curves away into the distance. 
 
 No. 29 
 
 SUNSET 
 
 Size: 14 x 19 inches 
 
 J. FRANCIS MURPHY 
 
 The austerity of Mr. Murphy’s more recent canvasses is absent 
 from this glowing evening scene which yet preserves his passion 
 for simplification. The dusky clouds of oncoming night have 
 parted at the horizon and out through the break shines a band 
 of sunlight, white — hot in brilliance. It touches the clouds 
 towards the zenith with its flushed light that is reflected in the 
 pool in the foreground, turning it into a sheet of gold. An old 
 time-worn wall cuts across the landscape. Two low trees at the 
 left form distinct notes in the wide expanse and there is indicated 
 a grove of trees and a line of low blue hills in the remote distance. 
 
No. 30 
 
 AUTUMN 
 
 Size: 16 x inches 
 
 J. FRANCIS MURPHY 
 
 One of Mr. Murphy’s earlier canvasses, it bears date of 1895, 
 when his palette was more varied than in these later times. A 
 green meadow is in the foreground with a tiny pool of rain-water, 
 and a group of russet trees is at the extreme right. The white 
 gable end of a cottage shows above a rise of ground at the right 
 and arching over the whole landscape is a stormy, “smoky” sky 
 lightened towards the zenith with patches of white clouds and 
 gleams of blue sky behind the wind-driven clouds. 
 
 No. 31 
 
 ON THE BEACH 
 
 Size: 30 x 48 inches 
 WILLIAM MERRITT CHASE 
 
 Under one of those crystalline blue skies that come with a north- 
 west wind in this latitude in summertime, a young mother and 
 her two children are seen strolling across the dune land of Chase’s 
 beloved Shinnecock country. Their white and red costumes give 
 charming notes of artificiality to a scene that glows with nature’s 
 hues, in the meadow flow T ers of the foreground, the tender green 
 of the stunted bushes, the deep blue water of the bay, and the 
 white, green, and dull blue of the distant sand hills. The north- 
 west wind is beginning to puff billowy clouds up across the sky 
 from the horizon, those in the center of the canvas being touched 
 with white and accents of purple. A lovely example of a phase 
 of Chase’s art in which he was at the height of his pow r er to 
 charm the spectator. 
 
No. 32 
 
 SHADOW AND SUNLIGHT 
 
 Size : 9 x 14 inches 
 GEORGE INNESS 
 
 This landscape by the great American painter is distinguished 
 among most of his pictures by the superb blue sky that is its 
 dominating feature. The meadow land in the foreground, the 
 line of trees breaking the planes of the composition, the gleam 
 of sunlight falling on the houses and hillside beyond — these are 
 all familiar elements of many of his works, but when he painted 
 the sky he made this panel a picture apart from his conventional 
 representations. Its splendid glow of color at the right of the 
 picture fades into paler tints broken by white clouds in the center 
 where the sunlight finally conquers the cloud enemy and bursts 
 through, glorifying land and trees and houses beneath. 
 
 No. 33 
 
 SUNSET 
 
 Size: 6x8 inches 
 RALPH W. BLAKELOCK 
 
 This small but wholly characteristic scene by Blakelock contains 
 all the elements which brought him fame after he was unable to 
 enjoy or profit by it. Through an opening between two trees 
 on either side of the canvas the eye is carried across a flat land- 
 scape to a sunset sky, all a splendor of crimson, yellow, and pale 
 green. Tawny clouds float in the zenith — harbingers of oncoming 
 night — and the foreground, shut from the light of day, is dusky 
 with night’s shadow. 
 
Arranged & Printed by- 
 Lewis W. Goerck 
 925 Sixth Ave N. Y. 
 
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