OS Sh etchant Tee tee ae hm Pe Leases iad ce beter te Pete Bet olen hts ne San otek nervithe Salle ter N nia Be Be tate Foam net SNR ee aed ater om epee RR et a PP dette Pees co nciad Metab eA ethan mmin Sons senanoe Leap hth ee 5 ae 70 eum re ee eb phen eater arte eee oe ENS Sarr: ea LP Ne ers a ARE EEND ea eatin na: a UNIVERSITY OF ILLINOIS LIBRARY ie iy yi AT URBANA-CHAMPAIGN a) BOOKSTACKS | D 4 a dest aA) fn = if ie © : ‘Si Digitized by the Internet Archive in 2024 with funding from University of Illinois Urbana-Champaign Alternates httos://archive.org/details/famousmasterpiecOOamer_0 FREE PUBLIC EXHIBITION COMMENCING SATURDAY - JANUARY 2, 1926 AND CONTINUING UNTIL TIME OF SALE WEEKDAYS FROM 9 A.M. TO 6 P.M. + SUNDAY JANUARY 3 FROM 2 TO 5 P.M. UNRESTRICTED PUBLIC SALE FRIDAY EVENING, JANUARY 8, 1926 BEGINNING AT 8:30 O’CLOCK EXHIBITION AND SALE AT THE eAMERICAN cART GALLERIES Madison Avenue « 56th to 57th Street» New York Under the Management of the AMERICAN ART ASSOCIATION - INC: Sales Conducted by Messrs. O- BERNET AND H: H: PARKE COPIES Nile , ee y Riel bal Ay 4 : ot) . ee FAMOUS MASTERPIECES OF THE FRENCH ~ DUTCH AND ENGLISH SCHOOLS THE COLLECTION OF CK ~G-~ BILLINGS - ESO. From Fort Tryon Fall Neew York AMERICAN ART ASSOCIATION: INC. New York + 1926 A KL h) 2a . CONDITIONS OF SALE I. REJECTION OF BIDS: Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance, may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. I. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address, A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so pur- chased may at the option of the auctioneer be put up again and re-sold. IV. RISK AFTER PURCHASE: Title passes upon the fall of the auctioneer’s hammer, and thereafter the property is at the purchaser’s risk, and neither the con- signor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a receipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the property has been taken, the buyer should immediately notify the Association of such loss. VII. STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALLING FOR GOODS: Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Associa- tion to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and stor- age and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, either to cancel the sale thereof or to re-sell the same at public or private sale without further no- tice for the account of the buyer and to hold the buyer responsible for any de- ficiency and all losses and expenses sustained in so doing. VIII. SHIPPING: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, but the Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. [X. GUARANTY: The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will be set aside on account of any incorrect- ness, error of cataloguing or imperfection not noted or pointed out. Every lot is sold ‘‘as is” and without recourse. Every lot is on public exhibition one or more days prior to its sale, and the Association will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot as catalogued or make mention of the opinion of such ex- pert, who thereby will become responsible for such damage as might result were his opinion without foundation. X. RECORDS: ‘The records of the auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. XI. BUYING ON ORDER: Buying or bidding by the Association for respon- sible parties on orders transmitted to it by mail, telegraph, or telephone, if condi- tions permit, will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot of one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded, if the lot differs from its catalogue description. Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is un- known to the Association, a deposit must be sent or reference submitted. Shipping directions should also be given. PRICED CATALOGUES: Priced copies of the catalogue, or any session there- of, will be furnished by the Association at charges commensurate with the duties involved in copying the necessary information from the records of the Association. These conditions of sale cannot be altered except by the auctioneer or by an officer of the Association. AMERICAN ART ASSOCIATION, Inc. MANAGERS OTTO BERNET HIRAM H. PARKE AUCTIONEERS INTRODUCTION A FOREWORD T has been a number of years since New York has been introduced to such a collection of masterpieces of French painting, with kindred paintings by the British landscapists, Dutch marine artists and cattle painters, as is the C. K. G. Billings collection now presented by the American Art Association for public competition. It is a fresh reminder of the days and evenings at the American Art Galleries in Madison Square, at Chickering Hall, at Men- delssohn Hall—both those renowned old halls have passed out of the city life— at the Waldorf Astoria, which exists today as the American Art Association exists, in life ever renewed, ever renewing. But there is a difference in that neither New Yorkers nor Americans in general will be so likely to have things their own way with this Billings sale, for more than ever New York has become the world’s mart for the fine things of artistic production, and some of the Billings canvases are more likely to go abroad than to be retained here. The European collectors and dealers know them, and are keeping track of them. These paintings from the princely estate which Mr. Billings established at Fort Tryon Hall, on Washington Heights—since purchased by Mr. John D. Rockefeller jr. and probably eventually to become park property of the city—to- gether with a few more recent purchases by Mr. Billings, are to be offered at abso- lute unrestricted public sale because Mr. Billings has removed his home to Cali- fornia and finds even spacious bungalow life too confined in its surroundings, its housings, to afford areas for sympathetic contemplation of his masterpieces. He has therefore selected thirty-one of them, the cream and pride of his great collec- tion, to be offered once again to the great assemblage of picture lovers who are ever on the alert for the finest examples of famous schools of painting. One of the greatest and most sincere productions of “Old Crome,” “The Wil- low Tree,” from the M. C. D. Borden collection, is here. It was sought for the Crome Commemoration only four years ago, held at the painter’s birthplace, Norwich, England, in memory of his death in 1821. The National Gallery, of London, loaned some of its treasures for the commemorative exhibit, and the Lord Mayor of Norwich, Mr. George Green, wrote Mr. Billings as “the fortunate pos- sessor” of “one of Crome’s most famous paintings” and asked that “The Willow Tree” be loaned for the same occasion. Of eight great works by Corot three of the most celebrated are the “Lake Nemi” from the sensational sale of ‘Twenty-one Masterpieces owned by the Phila- delphia amateur the late H. S. Henry; “La Charrette de Grés” and ”Les Bai- gneuses des Iles Borromées.” Another of interest is “Chateau Thierry”—a view from the ramparts which Corot painted in 1863 and including the church steeple, which the French master, Léon Lhermitte, told Mr. Roland Knoedler in 1920 was untouched by the Great War, adding that he remembered Corot painting the pic- ture, as it was then he first made the acquaintance of “Pére Corot.” Both these Corots, and others of the collection, are reproduced in the monu- mental publication on Corot’s work by Alfred Robaut and Moreau-Nelaton. Moreover, the provenience of all of Mr. Billings’ paintings is recorded in the catalogue, a record too seldom attained in these later days of haste and insufficient observation. A noteworthy canvas, even in this notable collection, is a remarkably forceful Millet, “Haystacks,” which, as the catalogue will show, has a particularly clear history from the time it left the artist’s hands. Not to be wearisome by repetition mention will only be made here of the out- standing “Gleaners, prés des Meules,” by Lhermitte; a wonderful Israéls, “Good Comrades,” Millet’s equally strong “Retreat from the Storm”; Rousseau’s re- markable “Bosquet d’Arbres”; Daubigny’s “La Saulaie”; Troyon’s “La Char- rette de Foin”; which with the other notable paintings will all repay study. DANA H. CARROLL NEw York, November, 1925 ; i ¢ iss eee i + I . 7 r of 2, oe t al ‘ : Bag CATALOGUE NUMBER ONE A HALT IN WALLACHIA By ADOLPH SCHREYER GERMAN: 1828—1899 ADOLPH SCHREYER GERMAN: 1828—1899 - A HALT IN WALLACHIA Snow is scattered over the level country and glistens on the thatched roof of a cheerless hut which occupies the left of the foreground. Before the closed door, as if trying to open it, stands a Wallachian horseman, holding the bridle of his mount, a white horse, with greenish-blue saddle-cloth showing under the saddle’s sheepskin covering. Just back of this horse is a black one with pack saddle; while a little to the right is the man’s companion, still in the saddle, with his pack horse beside him. A little black dog is seated with his back to the spec- tator, watching the door. In the near distance on the right, seen through the misty atmosphere, appears a long, low-pitched roof with two wooden chimneys. Height, 17% inches; length, 30 inches Signed at the lower left, AD. SCHREYER Purchased from the late HERMANN SCHAUS CATALOGUE NUMBER ONE JEAN FRANCOIS MILLET FRENCH: 1814—1875 THE RETREAT FROM THE STORM A peasant woman and her son, who have been in the forest gathering fag- gots, have been caught in the first fierce gusts of a wintry gale, and they fight their way homeward against the increasing blast. The mother supports the child, who is nearly exhausted in the struggle, by clutching his right arm at the elbow. With a sturdy stride the vigorous peasant woman bends her head to the gale, holding the faggots in her blue apron, tightly clasping the burden to her breast. Her red petticoat is swept across her knees, and a large white shawl en- veloping her head floats far behind her in the wind. The light falls strongly upon the group from the left, bringing into vigorous relief the flesh and the wind-tossed drapery against a lowering sky and sombre landscape. Height, 18 inches; width, 15 inches Signed at the lower left, J. F. MILLET 3 Collection of M. Srymore, Paris Collection of M. VAarniEr, Rheims Collection of the late H. S. Henry, New York, 1907 CATALOGUE NUMBER TWO CATALOGUE NUMBER THREE LE MARE AUX CHENES By NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 NARGISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 LE MARE AUX GHENES A landscape of dense foliage on the oak trees, and deep greens on the swampy lands of the foreground, which enclose a small pool that reflects the light among the encompassing shadows. In the background lies a sunlit field under a sky which discloses a shower cloud overhead. On the right, before the oak trees, a peasant woman in white and red bends to gather faggots, her figure catching a glint of light which is reflected in the dark water below in the foreground. Panel: Height, 11% inches, length, 17%4 inches Signed at the lower left, N. Diaz Collection of E. Grontgr, Paris, 1905 Collection of GEORGE BLUMENTHAL, New York From M. Knorepier & CoMPANY CATALOGUE NUMBER THREE CATALOGUE NUMBER FOUR CHATEAU THIERRY By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 CHATEAU THIERRY On the right, the walls of the chateau, along which extends a broad path bor- dered by a row of leafless trees, dominate a steep hillside which slopes down on the left, where the vista extends over the roofs of houses past a square church tower with many windows in a mysterious distance, suggesting a broad wooded hillside. The single figure of a peasant woman in a gray dress, with a red ker- chief over her head and a white sack thrown over her left shoulder, stands in the right foreground leaning upon a stick, and is strongly accentuated by the sunlight, which broadly illuminates the landscape, casting deep shadows upon the chateau walls, the roofs of the houses, the church tower and along the gravelly path under the trees. The sky is completely covered by a veil of soft luminous clouds. Height, 13 inches; length, 18 inches Signed at the lower left, Corot Collection BocaueEt, 1869 Collection MicuEt-Livy, Paris, 1876 “T’Exposition des Cent Chefs-d’Qiuvre, Paris,’ 1892, No 49 Reproduced in Moreau-Nélaton’s work on Corot, 1905 Collection of H. S. Henry, New York, 1907 CATALOGUE NUMBER FOUR — Laudierosiek ete em eT aoe ea ~ eo oA PG ~ dese a2 erie that Gh ie CATALOGUE NUMBER FIVE IN THE FOREST OF FONTAINEBLEAU By CHARLES EMILE JACQUE FRENCH: 1813—1894 CHARLES EMILE JACQUE FRENCH: I1813—1894 IN THE FOREST OF FONTAINEBLEAU An immense oak tree rises from a knoll in the foreground, and with its tan- gled branches and deep foliage covers a large part of the sky and extends out of the picture. Broken branches and various scars denote its great age, and its size is made apparent by the figure of a child crouching near the trunk, and a flock of sheep scattered over the grass nearby. A shaft of sunlight strikes the tree and the little knoll, casting a deep shadow on an irregular bank of bushes beyond to the left, and over the foreground to the right. In the distance is a flat plain with a sunlit hillside in the horizon. The sky is covered with rolling masses of cumuli, brilliantly illuminated by the sun behind the oak. Height, 31 inches; width, 244% inches Signed at the lower left, CH. JACQUE Collection of Epwarp M. Knox, New York, 1906 CATALOGUE NUMBER FIVE = a ae ee _ CATALOGUE NUMBER SIX VEEN G Ean aes By FELIX ZIEM FRENCH: 1821—1911 FELIX ZIEM FRENCH: 182I—IQII VENICE On the right is the familiar mass of the ducal palace with the Campanile, and the water-front of the Riva, with numerous craft of all descriptions from the fishing boat to the peasant’s barca. On the left are various gaily decorated sail- ing craft, one of which, a prominent object in the composition, is evidently the Bucentoro heading the fleet of official vessels on its progress up the canal. A prominent object in the near foreground is a gondola with two oarsmen and a party of gaily dressed men and women. Jn the extreme distance is seen the en- trance to the Grand Canal, softened by the warm summer haze which covers the sky. Height, 24 inches; length, 35 inches Signed at the lower right, Z1EM Collection of Eowarp M. Knox, New York, 1906 CATALOGUE NUMBER SIX anak Ly By Se LA-ROUTE | By JEAN CHARLES CAZIN- - FRENCH: 1840—1901 JEAN CHARLES CAZIN FRENCH: 1840—I90I LA ROUTE A broad country road sweeps around from the foreground to the left, and disappears in the middle distance, beyond a roadside cottage overhung with tall trees. In the foreground on the right, a large church, with projecting roof, cor- ner buttresses, rude belfry and simple windows stands on a grassy bank, which is surrounded by a rough stone wall. To the right, in the immediate foreground, is a low, tiled building with green shutters, and near it is a country cart loaded with wood. The sky is completely covered with gray clouds, except near the horizon, where a narrow strip of sunlight shows through the trees. Height, 31 inches, length, 38 inches Signed at the lower right, J. C. Cazin Collection of E>owarp M. Knox, New York, 1906 CATALOGUE NUMBER SEVEN CATALOGUE NUMBER EIGHT. LANDSCAPE WITH FISHERMAN By JULES DUPRE FRENCH: 1812—1889 ot JULES DUPRE FRENCH: 1812—1889 LANDSCAPE WITH FISHERMAN Signed at the lower right, JULES DupRE Purchased direct from the Artist, by Mr. J. Gillingham Fell, of Philadelphia Collection of Mr. FELL From M. Knorpier & ComMPANny, 1912 CATALOGUE NUMBER EIGHT oY CATALOGUE NUMBER NINE LANDSCAPE WITH LAKE AND RUIN By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—187¢ JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LANDSCAPE WITH LAKE AND RUIN possibly an abbey, with two high towers at one end and a single tower remaining at the other end, through the bare openings of which show the gleams of a very white sky. Elevated above a group of houses, from which an arched bridge e: tends, it occupies the end of a spit of wooded land. This forms the left bank o lake that stretches from the bridge to the foreground. Here a man, wearing gray-blue blouse and straw hat with red ribbon, sits fishing, while near him girl stands knitting, beside a goat. She has bands of red ribbon in her dark ha and her trim figure is clad in a purplish slaty gown. The grassy foregrou starred with white and red flowers, is inclosed at the sides by the soft gray folia of willows. The trees on the right present a labyrinth of freely growing | aes while the two on the left are pollard willows. Height, 16% inches; width, 22 , inche Signed at the lower right, Corot Purchased from Corot by Mr. Rostanp, Administrator of the Comptoir d’Escompte of Pari s, 1875 Sold in 1875 to Mr. Georces Perit, of Paris Bought by a great Chilean collector in whose noted collection it remained until 1908, ike it was sen back for sale and as collateral, to the Comptoir d’Escompte of Paris and bought—a short tim after—by Mr. HERMANN SCHAUS, of New York after—by the late HERMANN ScHAUS, of New York CATALOGUE NUMBER NINE i: CATALOGUE NUMBER TEN LA SAULAIE By CHARLES FRANCOIS DAUBIGNY FRENCH: 1817—1878 ae” CHARLES FRANCOIS DAUBIGNY FRENCH: 1817—1878 LA SAULAIE The scene is translated into a delicate tonality of gray and brown, the gray tenderly suffused with rose, the brown with faint mellow green. Across the water on the left a woman stands watching two dull red cows that have stepped into the water and are drinking. Her black skirt makes a strong note against the grass, while the cool light strikes clearly on her white waist. Some little way back of her two tall slender poplars rise out of a mass of foliage, pale gray and dusky gray, relieved with a little olive and brown. To the right of this stands a single poplar, whence across the picture extends the farthest bank. It is edged with a line of willows that parts in the centre and shows a glimpse of faint lavender hills. Above them is a far-reaching sky of gray creamy vapor, faintly tinged with rose, in which float lazy wisps of rosy lavender and soft creamy clouds. Five birds are flying in the air and as many ducks appear in the front of the water. The latter gives back the tender hues of the sky, stirred with the darker tones re- flected from the vegetation. On the right of the water, where the reflections are dark olive, flecked with yellow, a punt is moored beside the bank. Here rises a clump of bushy willows, three of their stems showing white against the fluffy masses of olive-green and amber foliage. In front stands a slim birch with a sprin- kle of yellow leafage. On the right of it a vista of mossy grass, barred with deep green shadows, extends back te where three willow trunks reflect the light. Height, 1434 inches; length, 2614 inches Signed at the lower right, DAUBIGNY, 1863 Collection of M. Ropgregr, Paris, 1891, No. 8 “Cent Chefs-d’Ciuvre des Collections Francaises et Etrangeéres,” Gerorces Petit, Paris, 1892 Collection of ALEXANDER YOUNG, London, 1906 Collection of ‘THomAs AGNEW & Sons, London Illustrated in the “International Studio,’ 1906 Collection of the late H. S. Henry, New York, 1910 CATALOGUE NUMBER TEN npr Seer aes SAS were, Pago CATALOGUE NUMBER ELEVEN _ LE LAC—EFFET DE MATIN By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LE LAC—EFFET DE MATIN Beyond a screen of trees standing on a narrow foreground and extending their tops above the picture line, a silver-gray lake lies placid in a softened morning light—almost in a haze. The foreground and its leafage are a quiet green, a sil- ver birch lightens the mass of the tree trunks, and near the centre a woman is seated at the foot of a tree at the border of the water—a cow keeper, as one of her herd behind her indicates. Across the lake a hillside rises toward the left, under a light gray morning sky. Height, 17 inches, length, 25 inches. Signed at the lower left, Corot Painted between 1865 and 1870, and entered in Robaut as “Ville d’Avray—L’Etang vu a travers le feuillage (Une vachére assise au bord de l'eau sous les arbres) Exhibited at the Grorcrs Petit galleries, Paris, 1884 (private collection of Mme. Cassin) Collection of LA Marouis—E LANDOLFO CARCANO From M. Knorepiter & CoMPpANY CATALOGUE NUMBER ELEVEN * CATALOGUE NUMBER TWELVE ARLEUX PALLEUL—LE VIEUX PONT DE BRIQUES ¢ aH JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 ~ i ' 7 ~ pe? = fee : Ds y Sy Mas A el ih Se RR ae.) +6 wr | i ‘ x h ue Aha , . : r if eee ‘ny, JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 ARLEUX-PALLEUL—LE VIEUX PONT DE BRIQUES The bridge with its three arches crosses the middle distance. It is of stone with red brickwork inserted over the two left arches. Here above the parapet shows the blue back of a woman in a white cap, a clear bright accent against the masses of foliage, deep green relieved with gray and buff, in the rear of the bridge. To the right of this clump of trees a rolling country of sandy soil dips and rises, sprinkled with scrub, while on the left the bridge leads to a bright green knoll sur- mounted by cottages. Above the latter, springing from the lower level of the foreground, a single tree spreads its delicate boughs. ‘The sky is a gray atmo- spheric blue, ruffled with downy cloudlets of milky-white. At the foot of the tree in the long grass sits a woman wearing a lavender waist and white cap, while nearer to the front stands a black-and-tan dog. On the right of the foreground the scene is further enlivened by a group of figures. Iwo women are in conversa- tion, while a child carrying a baby stands between them. Another woman in a blue waist and bright yellow cap kneels as if picking flowers, and a man, wearing a crimson cap, is chopping the boughs off a “stick” of timber. Height, 20 inches, length, 3514 inches Signed at the lower left, Corot Collection of Oscar Stmon, Dinard, 1894 Collection of VAN EEGAN, and exhibited in the Museum of Amsterdam, 1895-1907 Described in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 2025 Collection of the late H. S. Henry, New York, 1910. CATALOGUE NUMBER TWELVE tees ag oe Sas Se ey a tees | CATALOGUE NUMBER THIRTEEN UNDER THE WILLOWS By WILLEM MARIS ; DUTCH: 1844—1910 WILLEM MARIS DUTCH: 1844—I9IO UNDER THE WILLOWS Under a hazy sky of springtime is shown a broad expanse of lowland mead- ows, with scarcely a suggestion of slightly rising ground in the distance, appear- ing in a faint blue against the grayish horizon. ‘The meadows are in varied tones of green and through them comes a shallow brook, broadened in the immediate foreground, where it occupies all but the whole of the canvas. Here, in the centre of the composition, in the cool water and under the scant shade of a line of trees which edge the stream at the right, four cows stand in placid comfort. A white one tipped with black, facing away from the spectator, has raised her head to nibble at tender shoots of the young foliage. Another of like coloring, which ap- pears in different values in the higher light beyond the trees, is drinking of the waters at her feet between two other cows, one red and one black, all facing to the left, where, out of the water and heedless of them, another cow pokes her nose through a break in a farm fence. The day is quiet, with just a trace of motion in the slow flight of a bird or the drift of an occasional leaf. Height, 23% inches, length, 44 inches Signed at the lower left, WILLEM Maris Exhibited at the Dutch and French Exhibition, No. 181, Edinburgh, 1886, and engraved in the catalogue Collection of Witt1aM MytLin Collection of the late THomas McDouaat, of Dalhousie Castle CATALOGUE NUMBER THIRTEEN ae al Ryo lel Sad gh mm ty 4 Li . og Diy os) ae . F ae (a + y i ¢ ~ a ys , " re CATALOGUE NUMBER FOURTEEN LE CAVALIER DANS LA CAMPAGNE By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 ! ae S } a ¥, ~ " * ‘ ‘ ‘ é PF i vr =e S =? F ” J 7 a « JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LE CAVALIER DANS LA CAMPAGNE On rising land to left of centre a group of trees stands, above a foreground | grown with wildflowers. ‘Through a depression at the centre of the foreground a solitary horseman on a white horse pursues his way toward a sheet of water shim- mering in the distance. He has paused to converse with a couple of peasant wo- men, one of whom kneels at a clump of flowers. On a high background to left, hoe the water, a group of rambling buildings extends over a hillside. ~ Height, 22 inches, length, 29% inches Signed at the lower left, Corot Painted at Ville d’Avray Sold by Corot to M. Leroy, 1874 Collection Faure, Paris, 1878 Collection of ALEXANDER DuMAN, Paris, 1892 Collection of EuGENE Lyon, Brussels, 1903 Collection of J. W. Simpson, New York Illustrated in Robaut, Vol. III, page 382, No. 2423 Recorded in “Corot and Millet” by Gustave Geffroy and Arséne Viocay ; From M. KNoepLer & Company, 1912 a ; CATALOGUE NUMBER FOURTEEN _ CATALOGUE NUMBER FIFTEEN BOSQUET D’ARBRES By THEODORE PIERRE ETIENNE ROUSSEAU _ FRENCH: 1812—1867 = a5 a ® THEODORE PIERRE ETIENNE ROUSSEAU FRENCH: 1812—1867 BOSQUET D’ARBRES In this fine example of Rousseau’s art he has shown us his great analytical skill at its highest, the details of herbage, of trees, even of rocks and stones, being executed with the utmost fidelity. It is withal a most artistic conception, show- ing in every brushmark the hand of him whom all his contemporaries acknowl- edged as master of them all. ‘Through the level countryside a narrow river wends its placid way. A few cows crop the sparse herbage which grows upon the rock- strewn meadow or drink from the many pools which bejewel the foreground. In the middle distance a few trees grow, outlined against the sky, making the absolute flatness of the landscape, if anything, more accentuated by their presence. The sky is a grayish-blue, largely overspread by the filmiest fleecy white clouds, the azure of its brightest spots being repeated in the waters of the pools. Height, 16% inches; length, 25 inches Signed at the lower left, TH. RoussEau Purchased from WiLLiAM ScHaus, 1881 Collection of the late ‘THERON R. BUTLER, New York, 1910 From M. Knorpiter & Company, 1910 CATALOGUE NUMBER FIFTEEN i ‘ ey c pe a aM ‘. 2 4 7 i = ¥, Pi. Lae \ mh : ri 4 bal » ‘ ; . ; f , " ; . 7 . ‘ Lf ¥ ij ? t 7} CATALOGUE NUMBER SIXTEEN LAKE NEMI By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LAKE NEMI On the bank in the foreground a girl sits, with her staff across her lap, watch- ing her cows that are standing in the water some distance back on the right. The artist has given to the figure of this cowherd, as she leans her weight on one arm, the hand planted on the grass, and gazes over the water, the suggestion of a classic pose and dreamy feeling that seems atune with the mingling of naturalism and classic serenity in the composition and sentiment of the landscape. Over the water, cooled by the greenish gray reflections of the surrounding vegetation, the light floats softly toward the girl from the central distance. Here a low hill forms a lavender silhouette against the rosy suffusion of the lower sky. The latter, as it mounts, pales to a warm ivory and thence to ivory touched with blue, passing up into a faint dove-gray, barred with dipping strata of feathery tufts of white. Its tremulous expanse is bounded on the right and left by the wooded hills of the middle distance that form a V with the horizon, where a pile of buildings nes- tles at the foot of the left slope. The color of these hills is a greenish-gray. Pricked out in front of the one on the left is the dainty yellow, green and brown leafage of a tree with a twisted interlacement of boughs, while on the right of the water rises a white birch trunk with a few tiny limbs frilled with leaves. ‘The cows beyond show spots of dull red and black, while the girl’s figure, in a yellow- ish drab skirt with a touch of blue on one sleeve and a golden-white kerchief, makes a piquant note in the foreground. Height, 21% inches; length, 31% inches Signed at the lower left, Corot Collection LivEQUE, Paris, 1907 eae in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 1638, under title of “Solitude” Collection Boussop, VALADON & Co., Paris Collection of the late H. S. HENry, New York, 1910 CATALOGUE NUMBER SIXTEEN Ea TS CATALOGUE NUMBER SEVENTEEN THE HAYSTACKS By JEAN FRANCOIS MILLET FRENCH: 1814—1875 JEAN FRANCOIS MILLET FRENCH: 1814—1875 THE HAYSTACKS At a little distance from the hamlet, whose red and green tiled roofs are seen at the right, three haystacks have been erected on the level farm land, over which their fat bulk throws shadows. In the shade of one of them a red-capped shepherd is leaning on a stick, and here and there about him sheep are grazing. It is a Barbizon plain motive. Overhead a black, menacing cloud is being driven by the wind, threatening a violent storm, but all the landscape in the picture is in a bright, diffused light. Height, 33% inches, length, 43% inches Signed lower right, J. F. MILuet Purchased from the Artist by Mr. Frep HartTMANnn, of Paris HARTMANN Collection, Paris, 1881. Engraved by Champollion J. F. Millet Exhibition, Paris, 1887 (under the title “L’Automne”’), No. 55 Centennial Exhibition French Art, Paris, 1889 “Cent Chefs-d’CEuvre des Collections Francaises et Etrangéres,’ Grorcrs Perit, Paris, 1892 Collection of MmMr. SAMSON-DAVILLIERS From M. KNorpter & ComMPANY CATALOGUE NUMBER SEVENTEEN : ee, Ry ea Be j _ CATALOGUE NUMBER EIGHTEEN “ic Ch aw ( é LA CHARRETTE DE GRES By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LA CHARRETTE DE GRES An unusual Corot, combining the charm of tree and sky with an incident of every-day peasant life such as is very infrequently found among the artist’s work. In the centre of the picture, and the most prominent feature of the composition, stands a huge tree, with twisted trunk and great limbs which have spread their shade for many a decade. The dense mass of its foliage obscures the sky, the deep green of the leaves shading off, as the lighter branches and twigs are reached, into feathery bunches of bluish-green through which filters a tender silvery light. Other smaller trees grow on the right, and a tangle of undergrowth fills the spaces between the trunks. On the left, the side of a low hill has been broken away for building stone. A workman, buried to his knees, is busy at it, and a high two- wheeled cart, heavily laden with blocks of stone and drawn by two horses, is just being driven away. Beyond, the low hills sweep to the right, and the gleam of a large body of water catches the eye. The sky is a light blue, covered with gray clouds, from between which the sun casts a pallid light, falling full upon the cart and the immediate surroundings and making ill-defined shadows over the rest of the picture. Height, 32 inches, length, 39% inches Signed at the lower left, Corot Collection of the late JoHN T. Martin, New York, 1909 Exhibited at l’Ecole des Beaux-Arts, 1875, No. 68, by Docror CAMBAY Described in “L’C&uvre de Corot” by Alfred Robaut and Moreau-Nélaton, 2422 CATALOGUE NUMBER EIGHTEEN ? CATALOGUE NUMBER NINETEEN LES BAIGNEUSES DES iLES BORROMEES By JEAN BAPTISTE CAMILLE COROT ; FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: I1796—1875 LES BAIGNEUSES DES ILES BORROMEES The spectator is looking against the light upon waters in gentle motion, marked by the shadows of tree trunks, and on the left by those of shrubbery, and on the right by the shadow of a large gray boulder. At the trees, near the centre of the stream, in the foreground, whose roots are overflowed, two nude women bathers cling to the trunks—one bather standing knee-deep in the shallows, the other partly suspending herself from a vine branch to touch the water, while hav- ing a foothold on the tree. In the background at left, buildings on a hillside. Height, 3134 inches; width, 22% inches Signed at the lower left, Corot Bought from Corot by M. Martin and sold by him to HEnrt Rovart In the Memorial Exhibition of Corot’s Work, at the Ecole des Beaux-Arts, 1875, No. 45 Corot Exhibition, DURAND-RUEL galleries, Paris, 1878, No. 105 Reproduced in Robaut, No. 1653, vol. III, page 154 From M. Knorpirr & Company CATALOGUE NUMBER NINETEEN —— THE WILLOW TREE By JOHN (OLD) CROME ENGLISH: 1769—1821 J 7] JOHN (OLD) CROME ENGLISH: 1769—1821 THE WILLOW TREE The composition is dominated by a group of trees—a birch to the left, and in the centre two large willows—rising on the banks of a little brook which al- most fills the foreground. At the foot of the willows is a bit of fence beyond a rustic bridge. On the right bank of the stream, a peasant on a pony is talking with a peasant woman, and beyond them the distant landscape shows. The scene is bathed in summer sunshine, the blue sky being almost covered with soft white clouds. Height, 51 inches; width, 4034 inches Exhibited at Winter Exhibitions of Old Masters at Burlington House in 1876 (No. 280 of the catalogue), and in 1891 (No. 33) when owned by Mr. Grorcr Hotes. Sale (about 1870) of the best known collection of pictures of the Norwich School, the SHERRINGTON Collection (bought by Mr. Grorcr Hoimss,from whom it came into Mr. BorpEN’s Collection) Exhibitions of Old Masters, M. KNorpurr & Company, New York, 1912 Collection of M. C. D. Borpen, American Art Association, 1913 CATALOGUE NUMBER TWENTY i fa ae a a CATALOGUE NUMBER TWENTY-ONE GOOD COMRADES By JOSEF ISRAELS DUTCH: 1824—1911 ; ; fs < nr " ch } . 4 i be yan) A? A vv 7 , ay : A 4 ‘ n bi! ’ he, hoe ;: J 7 7 ' ; il ital ar \\4 iA ee von Ns ee Pe aise ce See CA ee ae a JOSEF ISRAELS DUTCH: 1824—I9QII GOOD COMRADES A fisherman, left in charge of the baby, is captivating its interest with a toy soldier. The child is seated in one of the baby-chairs characteristic of a Dutch household; her head, encased in a rosy cream cap, showing against a blue scroll- work of the chair-back. Her hands are laid on the tray in front of her, as she eag- erly watches the red and blue figure, which is held erect by the fisherman. The latter wears a silvery blue woolen cap and jersey, the short sleeve of which dis- plays a red undersleeve. His figure, seen to a little below the knee, leans forward in an armchair, so that his face is in profile, looking toward the right. Behind the child’s seat, on the right, is partly visible a chair, on which lies some knitting. The wall of the room is of dark grayish-olive tone, broken with silvery-lights. Height, 43% inches, length, 59% inches Signed low down on the side of the child’s seat, JosEF IsRAELS The Salon, 1877, No. 1905 Collection of GrorcE I. SENEy, American Art Association, 1891, No. 298 Collection of P. A. B. WipENER From M. KnorpLer & Company CATALOGUE NUMBER TWENTY-ONE } s, _. CATALOGUE NUMBER TWENTY-TWO _ LE PARC AUX BCEUFS ‘ By NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 LE PARC AUX BCEUFS A little pool occupies the centre of the foreground, which is cleared of trees and tufted with scrubby grass and bunches of foliage sprouting from the stumps. Farther back on the right stand three handsome oaks, whose white bark catches a brilliant light, while their tall masses of yellow and green leafage spread finely against the sky. The latter is a grayish-blue, interrupted with a few puffs of white cloud and overarched with a canopy of dove-gray vapor. The vista of level fore- ground terminates in a horizontal band of trees, the advance line of the forest. Towards the left appears a signboard on a post; and near this is a slanting tree with a succession of curving twisted boughs that overhang an open gateway. Height, 32% inches; length, 4414 inches Signed and dated lower left, N. Diaz, ’69 Collection of BARON DE HAUPE Collection of M. BoucuEron, Paris “Cent Chef-d’Giuvres,” exhibited 1883 Collection of Paintings, AMERICAN ART ASSOCIATION, 1892, No. 1 53 Collection of ANTHONY Roux, Paris From M. KnorpLer & Company CATALOGUE NUMBER TWENTY-TWO 7 By CONSTANT TROYON FRENCH: 1810—1865 CONSTANT TROYON FRENCH: I810—1865 LA CHARRETTE DE FOIN The lower sky is filled with grayish vapor, which grows whiter toward the zenith and shows intervals of blue. There is a stir of breeze, but the light, though veiled, is warm and gives a liquid quality to all the hues. In the foreground lies a stick of timber, at the end of which a brown dog and a white one stand facing each other. Beyond them a stream of shallow water crosses the picture, its surface sprightly with reflected tints. A white cart-horse, a blue cloth edged with red on its back and a blue coat hanging over the flap of its collar, is standing in the water. The wagoner is seen behind it, dressed in blue blouse and golden brown breeches. He holds up a stick as he turns the horse with its head down stream, so that two oxen which are yoked behind it may have free way with the hay-cart which they are dragging down the little slope that leads to the water. One of the oxen is a pale dun, its yoke-mate white with redddish-brown head and neck. The two wheeled cart is piled high with hay that glistens in various tones of green. Be- hind the cart follows a man in shirt sleeves, with a fork over his shoulder, accom- panied by a woman in a brownish plum dress, white cap and apron, and a boy who is frisking with a dog. Behind this group the meadow recedes to dull pur- plish hills along the horizon, which appear nearer on the right and become green. The scene is inclosed on the right by the end of a thatched barn, its drab walls rising close beside the stream. Near it stand four slender trees with delicate leaf- age that grow out of a mass of deep green shrubbery. Height, 3034 inches; length, 44 inches Signed at the lower left, C. ‘TRoyon Collection of Prince Worouzorr, Florence Collection of ALEXANDER YOUNG, London, 1906 Illustrated in the “International Studio,’ November, 1906 Collection of the late H. S. HENry, New York, 1910 CATALOGUE NUMBER TWENTY-THREE ’ i i ? ES IY 4 ] te A aA x CATALOGUE NUMBER TWENTY-FOUR LE TEVERON E, SOUVENIR D’ITALIE By HENRI JOSEPH HARPIGNIES FRENCH: 1819—1916 ’ Ke » t 1 7 ~ 4 a - - 7 % ac ‘ % pa c +h, , Ay 2 aa, foe, ‘ ¥ % eT Ta) \ Pieters ih Anh ' oa PLA tay Ad Drie Sey basen “> vn Se, rani TAN, Autos HENRI JOSEPH HARPIGNIES FRENCH: 1819—I916 LE TEVERONE, SOUVENIR D’ITALIE A narrow river, its crystal waters sparkling in the brilliant sunlight, winds through a luscious landscape at the foot of a noble group of trees of heavy foliage. The nearer low bank in the foreground has taken a deep emerald hue under the umbrageous canopy, while across the stream the higher bank slopes to a broad meadow bathed in sunshine, and revealing tender greens, with suggestions of light yellows, in its luxuriant vegetation. Fleecy clouds of rounded contours float in a turquoise sky over hillside and meadow and the blue summits of distant mountains. Height, 48 inches; length, 59 inches Signed at the lower right, HARPIGNIES, 1898 The Salon, 1891, No. 1001 Collection of J. Staats Forses, London From M. Knorpier & Company CATALOGUE NUMBER TWENTY-FOUR Rie 2B. - ‘ou~ a o 4 t +. * a _ CATALOGUE NUMBER TWENTY-FIVE GLEANERS, PRES DES MEULES By LEON LHERMITTE FRENCH: 1844—1925 | et LEON LHERMITTE FRENCH: 1844—I925 GLEANERS, PRES DES MEULES Golden the harvest, and golden the fields after it, through which the glean wend their way. Three of them, women, are at work on the left, two bendin; gather the precious leavings of grain, one standing, a bundle of sheaves under arm, and looking toward the figure of a sleeping man on the right—a harve exhausted, who in the heat of the day has thrown himself down upon a bundl hay or grain which lies in the grateful shadow of a haystack. Back in the middle distance rise other stacks, a rich golden tone, with contrasting transparent sha ows, and in the background at the left low green encircling hills are obser under a fair summer sky of robin’s-egg blue and mauve-white cloud billows. ace Height, 3534 inches; length, 5134 inches Signed at the lower right, L. LHERMITTE, 1912 The Salon, 1912 From M. KnoepLer & CoMPANY CATALOGUE NUMBER TWENTY-FIVE .. CATALOGUE NUMBER TWENTY-SIX INTERIOR AT SCHEVENINGEN By BERNARDUS JOHANNES BLOMMERS DUTCH: 1845—1914 _ ; a eo ' ae, => 1 ie at ba] Paes ir. BERNARDUS JOHANNES BLOMMERS DUTCH: 1845—I1914 INTERIOR AT SCHEVENINGEN At a window within a cottage room two young peasant women and a small girl are grouped about a table eating a frugal meal. The two elder wear quaint headdresses. She at the right is seated, her knitting in her lap where her left hand rests still holding on to it. Her right elbow rests on the table, and with her right hand she holds a cup she has just taken from her lips, which, still open, give to her features the suggestion of a listless smile. Across the table, at the opposite side of the window casement, her companion stands, a loaf of bread held against her breast with her left arm. She has paused in the act of cutting a thick slice and is gazing at the floor in vacuous contemplation, while the child, who has been munch- ing bread, looks wistfully up at her. A deep blue spread covers the table and across it are lying the dried herring of the lunch. The sunlight throws the shad- ows of the window frames upon the curtains, and falling on the red carpet bright- ens this cozy corner of an humble room. The seated girl wears a brown waist and a bluish-green skirt, the one standing, a rose waist and brown striped skirt, while the child has a red skirt and striped overdress. Against the wall is seen a corner of the china cupboard. Height, 43 inches; width, 3514 inches Signed at the lower right, B. J. BLOMMERS Purchased from the late HERMANN SCHAUS CATALOGUE NUMBER TWENTY-SIX CA TALOG UE NUMBER TWENTY-SEVEN HOLLAND MEADOWS By ANTON MAUVE DUTCH: 1838—1888 ‘ { i *