DUKE UNIVERSITY WOMAN’S COLLEGE LIBRARY ♦ EARLY AMERICAN AND BRITISH PORTRAITS THE REMARKABLE AND WIDELY KNOWN COLLECTION FORMED BY THE CONNOISSEUR, THE LATE FRANK BULKELEY SMITH OF WORCESTER, MASS. TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE ADMINISTRATORS . IN THE GRAND BALLROOM OF THE PLAZA HOTEL UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION NEW YORK ■-’ '.j V./ O' li ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK BEGINNING SATURDAY, APRIL 17th, 1920 FROM 9 . A. M. UNTIL 6 P. M. AND CONTINUING UNTIL THE DAY OF SALE THE WIDELY KNOWN COLLECTION OF THE CONNOISSEUR, THE LATE FRANK BULKELEY SMITH OF WORCESTER, MASS. TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE ADMINISTRATORS IN THE GRAND BALLROOM OF THE PLAZA HOTEL FIFTH AVENUE. 58th to 59th STREET ON THURSDAY AND FRIDAY EVENINGS APRIL 22nd AND 23rd BEGINNING PROMPTLY AT 8.15 O’CLOCK 58856 Digitized by the Internet Archive in 2017 with funding from Duke University Libraries https://archive.org/details/illustratedcatal01smit ILLUSTRATED CATALOGUE h OF THE REMARKABLE AND WIDELY KNOWN COLLECTION OF EARLY AMERICAN AND BRITISH PORTRAITS, LANDSCAPES AND HISTORICAL PICTURES FORMED BY THE CONNOISSEUR. THE LATE FRANK BULKELEY SMITH OF WORCESTER, MASS. TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE ADMINISTRATORS ON THE EVENINGS HEREIN STATED IN THE GRAND BALLROOM OF THE PLAZA HOTEL THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, MR. OTTO BERNET AND MR. H. H. PARKE, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1920 0^2 P THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY CONDITIONS OF SALE 1. Any bid 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. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the pur- chasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale shall be made within ten days thereafter, in default of Avhicli the undersigned may either continue to hold tlie lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other tlian this notice, re-sell the lots for the benefit of such purchaser, and tlie deficiency (if any) arising from such re-sale shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purclfascs at the sale. Deliveries will be made on sales da^^s between the hours of 9 A. ]\I. and 1 P. M., and on other days — except holidays — between the hours of 9 A. M. and 5 P. INI. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on pre- senting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or Avrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. 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. 6. Storage of any purchase shall be at the sole risk of the pur- chaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Association will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 7. Guarantee is not made either by the owner or the Association of the correctness of the description, genuineness or authenticit}’ of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imperfection not noted. Ever}' lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot cor- rectly, and 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 either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion without proper foundation. AMERICAN ART ASSOCIATION, American Art Galleries, iVIadison Square South, New York City. CATALOGUE FIRST EVENING’S SALE THURSDAY, APRIL 22, 1920 IN THE GRAND BALLROOM OF THE PLAZA BEGINNING AT 8.15 o'CEOCK UNKNOWN ARTIST ^ \~THE FUE SUING SATYR (Wood) Height, inches; width, 7 inches Two small, full-length nude figues. A n^unph attempts to climb a tree in her effort to escape from the satyr who, approaching from the left, attempts to assault her. Blue sky at the back BYZANTINE SCHOOL 2— AN IKON: THE MADONNA AND CHILD (Wood) Height, 131/4 inches; width, IO 14 inches The Madonna, in fanciful Gr.TCO-Byzantine robes and with a large cir- cular nimbus, holds the Infant on her left arm. Greek inscription of “The Mother of God” in the roundels at the back. The whole compo- sition is contained within a brown and an outer red border. THOMAS STOTHARD, R.A. English: 1755 — 1834 3— A MIDSUMMER NIGHT’S DREAM (Wood) Height, 9 inches; width, 6% inches A NUDE figure reclines on her side in a blaze of light in a bower. She makes a gesture to a cupid on the left ; another is above, on the right. UNKNOWN Early American School ^—PORTRAIT OF A YOUNG MAN ( Panel) Height, 9^ inches; width, inches Half-length seated, facing the front, shoulders turned slightly to left. A young gentleman of high and broad forehead, large eyes and nose, smooth-shaven and with thick brown hair swept lightly above his brow and brought easily forward beside his temples. He is in formal dress, toward the second quarter of the nineteenth century, with black coat and double-breasted cream-colored ivaistcoat, choker collar and heavy black cravat. Dark neutral background of greenish-blue. UNKNOWN Early American School ^—PORTRAIT OF A MAN Height, 10 inches; width, 8 inches A MAN in middle life, of much dignity of bearing, seated and facing the left, three-quarters front, and observed at half-length against a neutral background of light grayish-brown. His sandy hair has retreated from his already high forehead, and except for short side-whiskers he is clean-shaven ; complexion warm. He wears a blue coat with high- rolled collar, white collar with choker-wings and black cravat, and white waistcoat which opens low. HENRY INMAN American: 1801 — 1846 6- PORTRAIT OF A MAN (Panel) Height, 16 inches; width, 12 inches Three-quarter-length portrait of a gentleman in full middle life, seated and facing the spectator, to right, three-quarters front. He is of high and broad forehead and large features, with agreeable expres- sion and thoughtful, and he holds a book in both hands, resting on his lap, a finger between the leaves. Smooth-shaven after the fashion of his time, curly side-whiskers connecting with his dark hair disappear within his choker collar, about which is worn a deep black stock. Black coat and velvet waistcoat, and buff trousers. Attributed to SIR JOSHUA REYNOLDS English: 1723—1792 7— A YOUNG GIRL Height, inches; width, 11 inches Bitst, leaning forward; brown liair; blue eyes looking to the right. In a red dress. UNKNOWN Early American School ^—PORTRAIT OF A LADY Height, 12 inches; width, 10 inches Half-length, seated ; to right, three-quarters front. A ladv young but mature, with large features, and curled hair of deep mahogany- brown hue. In a very low-necked white gown, edged with lace, green belt, and over her arms a wra]) or drapery of golden-brown. Neck encircled by a long gold watcli chain and a coral necklace. In her hair a bunch of flowers. A companion to No. 9 and by the same artist. UNKNOWN Early American School Q— PORTRAIT OF A GENTLEMAN Height, 12 inches; zcidth, 10 inches Half-length, seated; to left, with face three-quarters front. A smooth-shaven young man with light and bushy chestnut hair, large features and a smiling expression. He is in the costume of the early nineteenth century, a coat of deep greenish-blue with gilt buttons, white choker collar and stock, and creamy waistcoat. A companion portrait to that of the lady. No. 8, and b}" the same artist. JOHN COLE, JR. British School \0— PORTRAIT OF A MAN Height, 12Yj inches; width, 10 % inches Bust portrait, to riglit, with face nearly full to the front ; a youngish man, with fair skin and pinkish cheeks ; clean-shaven ; hair of light sandy-yellow, brushed with engaging and effective carelessness in sweeps and curls which twist around his brow and temples. In black with white stock. Neutral grayish background. GUSTAVUS HESSELIUS American : Early Eighteenth Century \\—JOHN LEEDS ( 1705 - 1790 ) Height, Id inches; zcidth, 12 inches Hai,f-length portrait of a smooth-shaven man, plump and of ros}' face, with prominent nose and large dark brown eyes ; seated, to right, three-quarters front, with light from the left and against a dark back- ground. He wears a large turban-like cap of old-rose, and a dark olive coat with old-rose revers, an olive-brown waistcoat and a white neckcloth. John Leeds was horn at the family homestead in the Bay Hundred of Talbot county, Md., and died at Wades Point Plantation. He was Surveyor-General of Maryland, and in 17()0-17C4 was specially commissioned to supervise the boundary between Maryland and Pennsylvania. In 1709 he wrote “Observations of the Transit of Venus.” He was for forty years clerk of the County Court; was treasurer of the Eastern Shore; was Judge of the Province Court. The jjortrait came from the residence of Charles J. Kerr, at one time United States Attorney at Baltimore, a great-great-grandson of John Leeds of Wades Point. Gustavus Hesselius was a Swede by birth, who came to America in 1711, and established himself as a man of mark in the early art of the Colonies, whose artistic worth has been recognized by succeeding critics. He was the father of the American portrait ])ainter John Hesselius, who was born in 1728 and whose portraits are found in Maryland following the middle of the Eighteenth century. John Hesselius’s natal year coincided with the mortal year of Henrietta Johnson, whose work is represented in this collection. The portrait here identified as of John Leeds by those whose authority Mr. Smith accepted is not aggressively American in its sug- gestion, yet its color and inspiration seem less foreign in the light of a remark by Charles Henry Hart that “Gustavus Hesselius of Sweden * * * still holds the place of the first painter of consideration in the Colonies, whose Last Supper, executed in 1721-1722, is quite equal in conception and execution to the same subject j)ainted by many of the Old Masters.” THOMAS DOUGHTY American: 1793 — 1856 V2— LANDSCAPE WITH FIGURES X Height, 12^ inches; length, 15% inches A RIVER silvery blue and white from the sky and shadowed by reflections of trees and rocks on its banks comes through a green landscape some of whose foliage has turned to autumn browns. At left in the fore- ground are two young men, one standing, one seated, their trousers rolled up to their knees, fishing. GEORGE MORLAND English: 1763 — 1804 IS—SEASCAPE Height, 13 inches; length, 16^ inches A TWO-MASTED ship in a gale near rocks, on the left. Cloudy sk^L MANNER OF HOGARTH 14— AN INTERIOR (Wood) Height, 15 inches; width, 11),4 inches Four small half-length figures. An old lady, in brown dress and black mantle, is seated near a table on which are gold coins and documents. She addresses a man by her side, while another examines a timepiece and a third hands her a receipted paper. A dog on a chair in the right foreground. GEORGE :mori:axd English: 1T().‘3 — 1804 15— A FARM HAND RESTING Height, 12 inches; zcidth, 10 inches Small, full-length figure of a farm laborer, in a red coat, seated under a tree with a hay fork by his side, a tlog on the ground ; the village church in the distance. Period or HOGARTH 16 — AiV ARTIST IN CONTEMPLATION Height, 15% inches; width, inches Small full-length figure of a dwarf who, as an artist, admires a paint- ing of a nude woman Ixion who stands on a wheel placed on the ground between two horses. Papers near a chair in the foreground. SIR DAVID WILKIE, R.A. English: 1785—1841 11— THE BLIND FIDDLER Height, 9 inches; length, lll/^ inches An itinerant musician is entertaining a cottager and liis famiR; the father gaily snaps his fingers at an infant on the knees of its mother. All of the twelve small figures appear to be intent upon the music of the fiddlei*. The accessories are very minute and elaborateW painted. The composition recalls, but differs from that by Wilkie in the National Gallery, London, which is signed and dated and measures 23 inches by 31 inches. The larger picture is discussed at length in Pinnington's “Wilkie,” p. 67. Mr. Philip J. Centner, director of the Worcester Art Museum, writing to Mr. Frank Bulkeley Smith, on May 10, 1913, says: “Wilkie’s painting ‘The Blind Fiddler,’ exhibited some months ago in the Worcester Art Museum, is probably a smaller work executed as a model for his larger one now in the National Gallery, London. The latter work, executed for Sir George Beaumont, was painted with exceptional care and under circumstances which gave it unusual reputation, but for all that its superiority to your little masterpiece is doubtful. Both exhibit the same scrupulous drawing, mastery of exact detail and bright local coloring kept in harmony by the clear silvery qualities of tone and interior light for which Wilkie remains unrivalled.” SIR WILLIAM BEECHF.Y, R.A. English: 1753 — 1839 \^—BEGGAl{S AT A COTTAGE DOOR: SCENE NEAR DOVER, ENGLAND ( Panel) Height, 12 inches: length, 14*/o inches An aged beggar, with a load of faggots on his back, appears at the door of a cottage in the left foreground and begs alms of two girls. On the right is a high bank, the sea in the distance. On the hack of the panel in the artist’s own handwriting: “This picture sketched from Nature and painted at the house of David Pyke \Vatts, Esqr. to whom it was presented as a mark of humble esteem and regard hy his sincere friend, W. Beechey, 1802.” One of four' companion pictures presented in 1802 hy the artist to David Fyke (or Pike) Watts, of Dover and of Portland Place. London. In the collection of Jesse Watts Russell, of Tlam Hall, Staffs, sold July 3, 1875, Xo. 4. Sold at Christie's, May 6, 1905. In the possession of E. E. Leggatt Bros., London, and of C. TP. Kraus- haar. New York. Roberts: “W. Beechey," 1907, p. 79. WII.LIAM ETTY, R.A. English: 1787—1849 19— A NUDE (Panel) Height, 20 inches; leidth, 14 inches A SMALL full-lengtli figure of a nude ivoman, her back to the spectator, in a studio. She rests her right knee on a cushion. A red curtain in the background. SIR EDWIN H. LANDSEER, R.A. English: 1802 — 1873 20^THE RETURN FROM HAWKING Height, 26 inches; width, 19^ inches Two small full-length figures. A woman in a white dress and green cloak stands at tlie door of the house; a dog at her side. She receives a young man, in a red coat, who returns from the day’s sport with game hung over his slioulders. Sketchily painted. Landseer painted, and exhibited at the Royal Academy in 1837, a picture with this title. It contains the portraits of Lord Francis Egerton (afterward created Earl of Ellesmere) and family. It belongs to the Earl of Ellesmere. It was engraved by Samuel Cousins in 18-10, and by C. G. Lewis; there is also a lithograph tw I.afosse. A. Graves: “Landseer,” ]>. 19. From the collection of A. Harris, who paid Landseer £110 for it. The autograph account is affhred to the hack of the panel. JOHN CKOME (OLD CROME) English: 1768 — 1821 21— F ART OF A FOREST Height, 25 inches; •width, 20 inches On the outskirts of a wood, a man and a woman are seated on the trunk of a fallen tree. Cottages and other figures in the right distance. Purchased from Messrs. Arthur Tooth Sons, London. THOMAS DOUGHTY American: 1793 — 1856 22— LANDSCAPE WITH FI GIBE ( Panel) Height, 181/4 inches; zcidth, llyg inches A HIGH cliff of brownish shale rock abuts on the right, its centre eroded, a naked ledge lielow, and a crest ledge above topped by green trees and shrubs. In the foreground to right, other trees rise against the shale wall, and wild flowers bloom at their foot, at the edge of a stream which winds back along a densely wooded background shore at the left. On a green bank at the foot of the lower rock ledge a man in his shirt-sleeves stands fishing with a pole and line. THOMAS DOUGHTY Ameuican : 1793 — 1856 23~LANDSCAPE Height, 18 inches; xmdth, 15 inches At left in sunliglit a cliff of various ledges, with slender trees crowning it, and other trees showing autumn colors and some blasted limbs pro- jecting at different levels lower down. At right a taller cliff partly in its own shadow, its face a mass of dense green trees, broken only by occasional outstanding walls of brown rock. In tbe gorge between the cliffs a dark green river of placid current, and on it in the right foreground two men in a boat. GEORGE DE FOREST BRUSH, X.A. American: 1855 — -n—THE WEAVER Height, 12 inches; length, 15 inches In a plain room whose brown and gray walls are partly shadowed, a Navajo Indian squats low on a seat formed of two logs with a skin thrown over them, and works at his primitive loom, weaving a dark vermilion and checkered rug. He is nude save for a black silver-studded belt supporting a loose and flowing breech cloth of dark green, and his black hair is bound in an orange fillet. Behind him is a water bottle of dark green pottery, and above him hangs a black and gray woven blanket. Signed at the lorcer right. Geo. de F. Brush, 1909. Exhibited at the Worcester Art Museum. WINSLOW HOMER, X.A. American: 1836 — 1910 25— THE COCK FIGHT (Water Color) Height, lO^A inches; length, 19 inches A PROUD tliougli much-punished game cock, with head and clipped tail erect, stands athwart the picture, over the body of his finished antag- onist, while the ground about them is strewn with feathers from both of the valiant birds. Signed at the loicer right, Homer, 1885. Manuscript note on the back, by Mr. Smith, saying that he met Homer at M. Knoedler & Co.’s in 1910, and that Homer told him he painted three pictures of game cocks when in Santiago de Cuba in 188.5; that one of them (this picture) went to La Farge, who later sold it. From M. Knoedler (§• Co., 1910. UNKNOWN Early American School 2Q— SIGNERS OF THE DECLARATION OF INDEPENDENCE Height, {each) 10% inches; width, 9 inches Set of fifty-four oil portraits on heavy millboard, probably painted in the early part of the second quarter of the nineteenth century (when three of the Signers were still living) ; contemporary identification in manuscript on back of each. An old catalogue record says : “Evidently painted many years ago for engravers’ use or for some historical museum. Bought in Philadelphia many years ago, and it is possible they came from Peak’s Museum. Without doubt seventy-five years old.” The frames bear the label, “Jules A. Bautz, Maison Francaise, 290 Sixth avenue, N. Y.” Nearly complete set — fifty-three of the fixty-six Signers, and portrait of Chai'les Thompson, the secretary ; the three Signers whose portraits are missing, were Benjamin Franklin, Samuel Huntington and James Smith. Ten of the portraits have old- fashioned gold frames ; the others are unframed. UNKNOWN Early American School 27— GEORGE WASHINGTON (Oval panel) Vertical diameter, 22% inches; horizontal, 19% inches Head and shoulders portrait of the First President, in civilian clothes, with black coat and grayish waistcoat, and white stock and jabot. Shoulders to left, face nearly full to the front, and gray wig tied with a black bow. The features are finely drawn and full of color, and show an incipient humorous smile which is emphasized by the glance of the eye. Painted within a reeded, basketed and beflowered frame as though copied, or enlarged from a miniature, the background a neutral brownish-gray. FRANCIS AI.FXANDEK Ameuk’ax: 1800 — 1881 2S~JOHN L. GOULD ( I’anel) Height, 81/> inches; zcidth. TI 4 i^iches Three-quarteu-lexgth })ortrait of a youngisli, sniootli-shaven man, stout, with high forehead and liglit curly liair, the hair bruslied well back; seated, facing the left, three-quarters front. He is in a gray coat, with Byronic collai’ and black flowing scarf, and white plaited shirt. His left arm rests on a red-covered table which holds a book, an inkwell and writing paper, and in his left hand he holds a quill pen. Francis Alexander was horn at Windliain, Connecticut. In 1820 he came to New York and studied under Alexander Robertson and in 1838 went to Rome. Thereafter he was in Boston for a decade, and there in 1842 painted Charles Dickens. He died in Florence. HENRY INMAN American: 1801 — 1816 29— PORTRAIT OF THE ARTIST’S FATHER Height, 151/4 inches; width, 12^ inches A MAN of bold features and florid complexion, with thick dark hair care- lessly brushed, and large eyes directed at the spectator, is portrayed at full length, seated in a heavy armchair and facing the right with head turned almost full to the front. He is smooth shaven, with the choker collar and large black cravat of his day, white pleated shirt with large pearl pin, gray waistcoat and formal black suit. His hat and stick are on a green-covered table beside him, at the foot of which his dog is lying. Background of mahogany-hued drapery, gray pillar and a river landscape with sail and steamers. Inman’s father was an Englishman, and he and his wife were among the first settlers of Utica, New York, where the son was born. The father encouraged the son in his leaning toward art, and in 1812 the family moved to New York and the son pursued his studies. UNKNOWN Early American School ^0~~B1SHOP G. W. DOANE ( 1799 - 1859 ) ( Panel) Height, 11 inches; width, 7 inches Half-length, witli tlie hands included ; figure slightly to the right and face almost full^" to the front. The distinguished Churchman appears a man of intellectual features and thoughtful expression, and penetrat- ing hut kindly eyes. He is beardless, and his dark brown hair is brushed down in thin and curling strands over his high forehead. He wears surplice and bands and a black stole, and holds a prayer-book in both hands, a finger of his right hand between the leaves. Brown back- ground. (The panel bears on its face, visible when turned to the horizontal, to right, an impressed advertisement in large letters and figures beneath the pigment: “J. Green, 1815.”) Bishop George Washington Doane was born at Trenton, X. J., in 1799, and ordained a priest of the Protestant Episcopal Church in 1821. He was elected Bishop of New Jersey in 1832, and in 1846 he founded Burlington College, in New Jersey. Before his election as Bishop of New Jersey he preached for several years in New York City and Boston. His son, George Hobart Doane, who was graduated from Burlington College in 1850, liecame a Roman Catholic five years later, was admitted to priesthood in that Church, and afterward was at the Cathedral Church in Newark, N. J., and served as Vicar-General. He was made a domestic prelate to the Pope and in his later life was known as Monsignor Doane. FRAXCIS ALEXANDER American: 1800 — 1881 ^\— MASTER LORD ( Panel) Height, 18% inches; width, 10),4 inches Head and shoulders of a boy, painted as a portrait within an oval frame, on the rectilinear panel. He looks out to the right, three-quar- ters front, a strong light from the left illumining the right half of his face, the left half being in transparent shadow. He has short and very light golden hair and rosy cheeks, and wears a wide and fluted white collar over a blue coat with metal buttons and a golden-buff waistcoat. 1) ark background within the painted oval frame, which itself is reddish. Francis Alexander was liorn at AVindhain, Connecticut, and was at first self- taught. In 1820 he came to New York and studied under Alexander Robertson and in 1838 went to Rome. Thereafter he was in Boston for a decade, and there in 1842 painted Charles Dickens. He died in Florence. “One of his hest portraits is that of Mrs. Fletcher Webster, in the Boston ^Museum of Fine Arts." — Encyclo- 'padia Britannira. JOHN JAMES AUDUBON American: 1780 — 1851 32~MISS AUDUBON Height, 19^/2 inches; width, 18% inches Three-quarter-length portrait of a diild — a blue-eyed little lady w'ith rosy cheeks and a mass of wavy blond liair, seated and facing squarely to the front, with a conventional background atmospheric and colorful. She is in white with bare shoulders and arms, and a red sasli just under her arnqiits ; and with her left hand she supports an informal bouquet of garden flowers. This portrait, witli the liird canvas by the same great artist-ornithologist, in this collection, was obtained from a New Jersey family estate, the two pictures having been purchased by members of the family directly from the painter, whose renown as the authority on “Birds of America” has obscured in many minds the fact that he was also an accomplished artist, even aside from his wonderful draw- ings of the birds which so engrossed his interest. JOHN JAMES AUDUBON American; 1780 — 1851 Height, 2()l/4 inches; leidth, 21 inches A PAIR of hawks most carefully and painstakingly studied, both on the wing; one headed downward and toward the left, with back and eye to the spectator, the other below it and headed leftward with throat and underbody and the under-wings in view. They are seen against a tall and slender stem of green leaves, resembling (if they are not) the sassa- fras, — the whole against a blue and gray sky-background, above a foreground of tree-tops, a middle-distance yellow-green valley, and a distant ridge of vague blue hills. This canvas, with the Portrait of Miss Audubon In' the same artist, was obtained from a New Jersey family, members of which purcliased the two pictures from the artist himself — the great ornithologist. GILBERT STUART NEWTON British School: 1795 — 1835 M—PORTRAIT OF A LADY Height, 20 inches; width, ll^ inches A YOUNG lady is portrayed with back to the spectator, lier face turned toward her left slioulder and brought to view slightly more than in profile, in a full light. She has large features and a warm complexion, and reddish-brown hair, from which ribbons and a kerchief depend to a white yoke within her tiglitly fitting red gown. On a table on which her left elbow rests is a blue drapery. Dark interior background with a window-view of landscape at the left. Gilbert Stuart Newton, who boasted that he was not an American citizen, disclaiming American citizenship, was a nephew of Gilliert Stuart ; he was born in Halifax, where the family had been driven from Boston, and was brought back as a boy to Charlestown. Received instruction from his uncle, went to Italy, France and England, and painted many Americans in London and Paris. WILLIAM J. BAXXIXG American: 1810 — 1856 (Born at Lyme, Connecticut) ^5— SAMUEL WALDO ( 1783 - 1861 ) (Panel) Height, 221/^ inches; width, 17 inches Head and shoulders to left, three-quarters front. The artist appears as a young man, with eyes fixed on the observer and an affable smile. He is in formal black coat with shawl collar, and displays a con- siderable expanse of white shirt-front below his black stock. Black hair, bushy and inclined to be curly ; high, light forehead and smooth- shaven face with ros}" color. Dark background. Samuel Lovett Waldo, A.X.A., was born in Windham, Connecticut, 1783; went to London in 1806, where he joined West and Copley and worked in the Royal Academy; returned to America in 1809, living in New York City until his death in 1861. JOHN BLAKE WHITE American: 1782-1859 36— GEN. MARION IN HIS SJFA3IP ENCA3IP- 3IENT, INVITING A BRITISH OFFICER TO DINNER Height, inches; length, 21^ inches In an open space along tlie edge of a dense wood the two officers are seen in the foreground, Gen. Marion extending to the Briton an invita- tion to partake of a meal ivhich a negro cook is preparing over a small fire, beside a low board table set up on crotched branches cut from a tree. Behind the officers a sorrel horse rubs its nose on the hoards, and various men of the general’s following are standing around or reclining on the grass. Others are seen on the far side of a stream, winch two horsemen are elsewhere fording. The officers are both in buff breeches, with their scarlet and blue coats in contrast. General Francis Marion (1732-179.5) was a South Carolinian of Huguenot descent, famous in Revolutionary times, first as the head of irregular troojis usu- ally numbering twenty to seventy men, afterward as commander of the State militia. Lieut. -Col. Banastre Tarleton was sent out l)y the British to capture the “Swamp Fox,” but Marion eluded bim. The British officer in the picture resembles Tarleton, as jiainted by Sir Joshua Reynolds. Marion liad a fine career and received the thanks of Congress for the rescue of an xVmerican force from the British. He was also a State Senator. In August, 1780, he captured one hundred and fifty Maryland prisoners and a score of the British guard, and later larger bodies of Loyalists or British Regulars. Tlie picture may perhaps represent one of these occasions. John Blake White was born in South Carolina in 1782. He was a pupil of West in Ixmdon. He was an author as well as an artist, and was a member and a director of tbe South Carolina Academy of Fine Arts. Engraved by J. N. Ginibrede for “Godey's Magazine,” “by permission of the Society of Art Union.” COL. HENRY SARGENT American: 1770 — 1845 ^7— SABAH ANNE S2\ JOHN ( 1794 - 1867 ) Height, 241/0 inches; xcidth, 18)^ inches Seen nearly at half-lengtli, seated, a young woman of rosy cheeks and dark blue eyes looks out at the observer from a gray wool cap, bell-shapcil and rakishly worn, which conceals her ears and reA'eals chestnut curls wliicli straggle down to her eyebrows. She was twent 3 ’- one years old when the portrait ivas painted, at Hingham, Massa- chusetts, in 1815. She looks directh" at the spectator, with figure to right, three-quarters front, and is wearing a purplish-grav out- door wrap with shawl-colar and high belt, disclosing a plaited white waist with flaring white collar. Dark neutral background of brownish tone. Sarah Anne (Tilton) St. John, wife of Charles Cook St. John of New Canaan, Connecticut, and Westchester, New York, was horn at New Canaan in 1794 and died in New York City in 1867, when the portrait passed to her granddaughter Sarah Ward St. John, daughter of Mrs. St. .John's eldest son Augustus E. St. John. Augustus K. St. John died in 18.58. Sarah Ward St. John, who was born in 1849, married Augustus C. Sarles, and died childless in 1902. She gave the portrait to her friend Mrs. Helen Ueade Hammersley Stiekney, from whose estate it was accpiired by the late owner. A jiaster on the streteher, reading “Sarah .\nne St. .John, .Jany. 31st, 1815,” is marked “Her autograph: M. St. John;” also, “This was painted at Hingham, Mass., by Col. Henry Sargent; M. St. John” — inferentially, Mrs. Martha I.aurina (Ward) St. John (1820-1900), mother of Sarah "Ward St. John. Col. Henry Sargent of Boston was a pupil of Gilbert Stuart, a member of the American Academy of Fine Arts, and was an officer in the War of 1812. ETHAN ALLEN GREENWOOD American: 1779 — 1856 POET BAIT OF AN UNIDENTIFIED MAN ( Panel ) Height, 26 inches; ■width, 191^ inches Bust portrait, nearly elbow length, of a man beyond middle age, with short gray side-whiskers and gra}' wig, facing the left, three-quarters front. His high brow is seamed and his jowls are heavy. His some- what swarthy and lined but genial face is in the light against a black background, with a dark garnet drapery on the left, and he looks contemplatively at the observer. Black coat with high-rolled collar, and white stock and jabot. Signed at the tower left. Greenwood, dinxt., C. 1815. This canvas, which had come down as a likeness of “a former iSIayor of Boston,’' was at one time supposed to be a portrait of John Phillips, first iMayor of Boston. But as Mr. Phillips, who died in office May 29, 1823, was born in 1770 and would have been but forty-five years old at the date of the portrait, and is described as having been alwaj’s of delicate jihysique, that identification was manifestly erroneous; furthermore it conflicts with the portrait of Phillips in M'indsor's “Memorial History of Boston” (Vol. Ill, p. 223). Ethan Allen Greenwood, born in Massachusetts in 1779, painted portraits as early as 1803; he studied with Edward Savage, and in later life succeeded Savage as owner of the New England Museum, which became the Boston Museum. He died in 1856. OLIVER FRAZER American: 1808 — 1864 (Elite Grass School of Kentucky) PORTRAIT OF A LADY Height, 25 inches; width, 20)4 inches A HANDSOME and mature young woman of agreeable countenance, with rosy cheeks and dark chestnut hair; seated facing tlie obseiwer, turned sliglitly toward the left. She wears a voluminous white lace cap, and pink roses with sprigs of leaves in front of her hidden ears, from which gold earrings depend. Dark green gown cut low beneath an ornate white lace fichu which is crossed and pinned with a brooch. Jeweled necklace, and gold watch with a bead-chain encircling her shoulders. Dark background. (Companion portrait to Xo. 40) Oliver Frazer was born in Kentucky in 1808; his father was a native of Ireland, lie studied under Jouett in Kentucky, and under Sully in Philadelphia, and in 1834 under the American G. P. A. Healy in Paris. He painted a portrait of Edwin Forrest. OLIVER FRAZER Ameeicax: 1808 — 186-1 (Beue Grass School of Kentucky) ^Q—PORTBAIT OF A 3IAN Height, 251/0 inches; •width, 201/0 inches HALF-LENGTir, facing front with very slight turn toAvards left. A smooth-shaA’en man of affable countenance, grayish-blue penetrating eyes, and bushy light broAvn hair aaIucIi is possibly grayish. In black AAuth black stock, Avatch chain encircling his neck, and plaited and studded shirt. Dark neutral background. {Companion portrait to Fo. 39 ) JAMES FROTHIXGHAM American: 1781 — 1864; FHINIAS CARLTON (Panel) Height, 27^ inches; width, 21 inches Half-length, not including hands, to left with face three-quarters front. A mature woman with the lines of early comeliness in her features, dark brown eyes, and lips lightly parted. White cap with lace frill, and white neckerchief, which in front is tucked within lier dark red and loosely-fitting waist. Dark olive-brown background. BASS OTIS Amekican : 178-1 — 1861 4>2—‘MRS. NICOLSON” (Oval) Height, 27 inches; width, 22 inches Best portrait of a smiling \mung woman, to left, three-quarters front, in a dark green gown, against a dark brown and blackish background. Slie is blue-cjed, and her hair, a light cliestnut-red, is brushed smoothly from the centre down about her ears, and wound in a braid at the back of lier head, a jeweled earring pendent below its rounding folds. Her tight bodice is cut low and edged witii white lace, and a black neck- ribbon is crossed and ])inned with a jewel. Bass Otis was Ixirn at Bridgewater, iMassaduisetts, in 1784-; was painting por- traits in New York in 1808 and in Philadelphia in 1812; he became President of the Pennsylvania Academy. He made the first lithographs in America — pnhlished in the Analectic Ma(/azine in .Inly, 1819. UXKXOWX Early American School 43— OLD LADY IN A WHITE CAP Height, 27 inches; -width, 22 inches Half-length seated, facing front and slightly to the right. A woman of masculine features, with cold, penetrating eyes and self-contained expression, in a brown gown which has more or less merged with the dark background. She has dark reddish-brown hair parted at tlie centre, just visible under her white frilled cap which shows a grayish bow on top and in tlie knot beneath her chin, and her forehead and cheeks are lined. Face in a strong light from the left. BENJAMIN WEST, P.R.A. American: 1T38 — 1820 ^—ALLEGORICAL (Panel) Height, 19^ inches; length, 21% inches A WINGED male figure, nude with a rose drapery, torch bearer of light and inspiration, descends among clouds upon young women personi- fying the arts — Painting, Sculpture, Architecture and Music — on the right, while amorini with scrolls approach in numbers ; on the left, Science is represented. Ail told the figures are a score and one, in warm flesh tints and draperies of soft colors. (Panel rectilinear; the painting is oval.) A companion-piece on cardboard in the Rhode Island School of Design, Providence, and sketch in the British Museum. Attributed to JOHN WOOLASTON American: (Circa) 1760 ^5— 31 A R THA WA SHINGTON Height, 27 inches; zcidth, 22 inches The First I.ady of the Land is presented at full-lengtli, stepping forward and toward the left and looking toward tlie spectator, her right arm brought across her breast and catching uji a white scarf that falls back of her shoulders. She is in a white silk decollete gowm with elbow sleeves of flowing lace, a blue bow at the corsage, and a mahogany-colored overdress, and is bare-headed, lier hair banded vdth brilliants. Landscape background witli a corner pillar of the Mount Vernon portico, and trees, on the right, and the Potomac in the dis- tance on the left. John Woolaston painted in Philadelphia in 17.58 and subsequently, and painted many portraits which have been attributed to his father, John Woolaston, Sr., an Englishman who came to the Colonies in 1772 and painted in Maryland and Virginia. JOHX MASON FURNESS Amekican: — 1809 m—JOHN VINAL: “MASTER FINAL’’ (1736-1823) (Panel) Height, 28^A inches; width, 22% inches Seated in a red-frame chair, over the back of which his left arm is thrown, the old Boston schoolmaster is portrayed nearly at half-length, a quill whicli is held in his right hand entering the picture, though the hand itself is not included. He is facing the spectator, turned slightly to the right, and wears an expression of rather ostentatious if not exaggerated dignity. His white hair falls loosely over his forehead, and long at the back. An unbuttoned white waistcoat with red embroidery discloses a white jabot and stock; his opened coat is of dark green. Blackish background. John Vinal, long a schoolmaster in Boston, noted for his penmanship and mathematics; author of “Vinal’s Arithmetic” (a copy in the Boston Public Library); married in 1760 Ruth Osborne of Charlestown, whose portrait Copley painted; in 1796 bought a home on Beacon street, next the Copley house. The date of John Furness’s birth has not been established; he died at 16 Federal street, Boston, in 1809. In 1777 the engraver and silversmith Nathaniel Hurd, whose sister he had married, left by will his tools to Furness “owing to the genius he discovers for the business.” An advertisement he published in the Columbian Sentinel, of Boston, in 1785, contains not only a note of interest of the time but a ring of today: “John Mason Furness begs leave to inform his friends and the publick that he has taken a commodious chamber . . . formerly improved by Mr. Smibert and lately by Mr. King, limners, where he executes portrait painting in oil and water colours * * ♦ and as he is a native of Boston he hopes for the same encouragement that is given to Foreigners, provided his Paintings are as well executed.” HENRIETTA JOHNSON American: — 1728 4^7— LADY JOHNSON, WIFE OF SIF NATHANIEL JOHNSON Height, 27% inches; u'iclth, 23% inches Three-quarter length, seated, to left, three-quarters front. A young but mature woman, rounded and fair, with (juizzical eyes and the suggestion of a smile ; warm lips and a hint of rose in her cheeks, and elaborate coiffure. She is in a gown of soft red, with tight waist and flowing sleeves, the low corsage lace-edged and pinned with brooches, and she wears a pearl necklace and })earl ear-pendants. Dark background with a light exposure of conventional landscape at the left. {Companion portrait to Xo. 48) Lady Johnson while on her way to Europe was captured by the French and died after a year’s imprisonment. HENRIETTA JOHNSON American: — 1T28 ^^—GOVEKNOli SIB NATHANIEL JOHNSON (1644-1712) Height, 28 inches; width, 24 inches Half-length seated, shoulders slightly to right and head to left, with face three-quarters front and eyes on the spectator. He wears a huge gray-brown periwig and a thin but long and curling gray moustache, and is shown as in dress armor with rivets and joint-bands of the plates gilded; over this the long ends of his loosely-tied white lace neck-cloth hang before his chest, reaching to his right hand which is brought before his breast, resting on tbe head of a sword or baton. Dark neutral background. At right of his head: “Aetatis 61; Aprill 7th., 1705.” At upper left, coat-of-arms with motto (in English) “Lo^'alty ; not Interest.” (Companion portrait to Xo. 47) Illustratetl in Cliarles Knowles Bolton's “Portraits of the Founders”; also in Alice Morse Earle’s “Two Centuries of Costume in America.” Nathaniel Johnson was born in England in 1644, entered the army and then Parliament; was knighted in 1680; in 1683 had a warrant for 560 acres in Carolina; 1686, was Governor of the Leeward Islands; 1702, Governor of South Carolina. Died 1712. Henrietta Johnson has previously been found as a pastellist as early as 1703, in Charleston, S. C. ; according to Hart she “considerately signed and dated her ]>ortraits, as also had lier tombstone record her death on March 9, 1728.” ANSON DICKINSON Amekican : 1780 — 1847 PORTRAIT OF A LADY Height, 28 %. inches; u'idth, 24 inches Half-length, seated, to left, three-quarters front. A woman of ma- ture life but with a young face and fair complexion, her sandy-brown hair enclosed by a sheer white lace mob cap; a transparent fichu about her neck is tucked into her low-cut and loose-fitting mahogany-brown or reddish waist, and a light brown shawl falls lightly about ber elbows; from beneath it the right hand comes to view. She sits in a green wooden chair which is striped with gold, before a neutral dark brownish background. “Tills painter is better known for miniatures than for his portraits in oil, and this example shows the manner of a jiainter in little. It is a jileasant portrait, with animation and character, and has the suffused pink hue that was notable in all of Dickinson’s works, whether on ivory or canvas.” — Ciiari.es Hexrv Hart, in catalogue of the Thaw Collection. From the collection of Mrs. Benjamin TIuik', XclC Yoi'k, 1916 . MATTHEW HARRIS JOUETT American: 1788 — 1827 50— FRANCES BERRYMAN 3IcKINNEY {MRS. JAMES G. McKINNEY) Height, 27^/4 inches; width, 22 inches Haef-lengtii, to tlie front, face turned a little to the sitter’s right and her eyes directed toward her left, with a somewhat quizzical glance. She is young, of creamy complexion, with rosy cheeks, dark hair worn in wide-spreading puffs, and is clad in a dark grayish-plum dress with small waist and blue-gray belt, and voluminous sleeves. A two-fold and plaited lace collar at her neck overlies a broader one tucked and pointed, which overspreads her breast and shoulders. Light olive-gra}’ back- ground. Mrs. James G. McKinney, wife of Major Janies G. McKinney. A portrait of Janies G. McKinney, by Jouett, is in the collection of Mr. Herbert L. Pratt, of New York and Glen Cove, Long Island, and listed in the private cata- logue of that collection by Charles Henry Hart, who in a note on Jouett therein says of him: “He did not have to learn how to paint — he knew how.” And Hart likens Jouett to Athena, “who came forth fully armored from the brain of Jove.” Jouett was a Kentuckian, an early master of the trans-Appalachian region. For two other portraits by Jouett, see Nos. 51 and 56. From Williaon Macbeth, who purchased the portrait from Mrs. M. H. Berryman, of Louisville, Kentucky. MATTHEW HARRIS JOUETT American: 1788 — 1827 51— JOHN G. 3IcKINNEY, JR. Height, 29% inches; zenith, 21% inches Three-qvakter-eength standing figure of a youth with gray-hlue eyes and dark curly liair, to left, tliree-quarters fi’ont, liis right liand resting on the head of a hrown hound with gray muzzle which looks up at its small master. The lad looks (juietly but fixedly toward the specta- tor. He is in a dark greenish-hlue jacket ivith gilt buttons, trousers to match, and a cream-colored dress-waistcoat, and wears a broad white shoulder-collar and loosely tied black cravat. Conventional back- ground. A different liandling from that of the jjortrait of Mrs. James G. McKinney hy tlie same artist (No. .50). A third portrait by Jouett appears in the collection. No. 56. FRANCIS ALEXANDER 1800—1881 52— PORTRAIT OF A LADY Height, inches; zcidth, 23^4 inches A PRIM young woman of somewhat sharp features, and pink and wliite complexion, witli blue eyes, is portrayed at three-quarter length, to right, three-quarters front. Her bromi hair in formal dress is seen below her white lace caj) which has a ruffled edging. She is in gray, with a broad white lace collar wliich overspreads a scarlet cape or shawl, and she wears white gloves and is seen against a neutral grayish background. Exhibited at the Worcester Art Museum. WILLIAM DUNLAP, N.A. American: 1766 — 1839 5^— CAPTAIN WATSON Height, 30 inches; width, 21 inches A youngish man rotund of face and figure, with smooth and smiling rosy face and twinkling eye, and abundant loose and curly hair parted at the centre, is observed at half-length, facing the observer. He is seated, in a wooden side-chair, with left arm thrown over the chair-back. Black coat and creamy w'aistcoat, revealing a soft white shirt and a broad blue scarf with a gold chain-pin. Warm brown background, with a drawn crimson drapery disclosing a glimpse of shipping — either th rough a window' or in a painting. Perhaps Captain Thomas Watson, of the “Betsy,” in which Dunlap went to England in 1784? HENRY RENBRIDGE Am5;rican: 1744 — 1812 PORTRAIT OF A MAN Height, 30 inches; width, 25 inches Hai>f-i.ength, including the riglit hand tucked into the loosened waist- coat ; facing left but turned well to the front. A youngish man of florid complexion, with blue eyes and dark eyebrows, smooth face, and dark brown hair and peruke. Klaborate apparel, both coat and waist- coat of dark bluish-green adorned with gold braid, bars and buttons ; white collar turned down over a white stock, and white jabot. Neutral ba ckg round of warm brown. l?enl)riclge, though comparatively little known today, in what was truly a galaxy of early American painters was so clever a limner that his works have often and long masqueraded as Copley’s. And through no great stretch of the imagination he links u]i Stuart England with independent America; for Dr. Johnson was ‘‘touched for the king's evil” by Queen Anne, last of the Stuart sovereigns, Boswell the doc- tor's biographer praises highly a work of Benbridge's executed in Europe, and Benbridge died in 1812 — a date insejiarably uniting the histories of England and the United States. Benbridge was born in Philadelphia in 174J; his father died when the boy was seven years old, and his mother married Tliomas Gordon, a man of wealth; the boy went early to Italy, and in 17C8 was sent to Corsica on the order of James Boswell of Auchinleck to paint General Paoli; his portrait was exhibited in England in 17G9, and mezzotints of it were jiublished in which the artist's name is ]irinted “Bembridge.” He also })ainted Franklin, and on his return to Philadelphia was elected a member of the American Philosophical Society, at the time a distinct national honor. BASS OTIS American: ITSi — 1861 55— JAMES MADISON (1751-1836), Fourth President of the United States (1809-1817) Height, 29 inches; width, 23 inches Short half-length, to right, three-quarters front; seated in a red- backed chair before a dark red portiere, in a library. The President is presented as a man of composure, and of dignity which sits lightly upon him, looking at the observer. He is in a black coat, with white neck-cloth and jabot, and a gray wig. That the canvas was at one time erroneously attributed to Stuart — for no mani- fest reason — seems to be indicated liy a paster on the frame, which reads: “President Madison, by Gilbert Stuart; from the estate of Gen’l Sinclair of Phila.” MATTHEW HARRIS JOUETT American: 1788—1827 56— DOCTOR WILLIAM S. WALLER OF KENTUCKY Height, 28% inches; zcidth, 21% inches Half-length, witliout the liands, seated, to right, three-quarters front; an intellectual looking man in the prime of life, Avith blue eyes and fresh comjilexion, and bush_v reddish-brown hair and side-whiskers. He wears a blue-black coat with flat brass buttons, white stock and jabot and choker-wing collar, and he sits in a reddish leather-covered chair before a background of deep olive. For other portraits hy Jonett, see Nos. .50 and 51. EZRA AMES American: 1768 — 1836 57— N. ALLEN, ESQ. Height, 30 inches; width, 24* inches Portrait of a sniootli-shaven stout man with short cui'Ia' side whiskers of sandy line and dark sandy hair, seated in a carved and red-uphols- tered armchair, facing front and toward the right. He is in a dark brownish coat and light cream-colored waistcoat, with loose white stock and jabot. Light olive-gray and warm dark brown background. Ezra Ames was born in Albany, New York, and came to distinction in 1812 by exhibiting at tbe Pennsylvania Academy a portrait of Governor Clinton of New’ York. He painted many members of the New York State Legislature, and these portraits are widely scattered in this state. MATHER BROWN American: 1761 — 1831 5^— PORTRAIT OF A MAN Height, 30 inches; width, 25 inches A FUEL-CHESTED mail witli a single button of his gray-black and high- collared coat buttoned below his chest, his bluish-gray waistcoat un- buttoned to display a wdiite fluted jabot, above which a white stock is tied, is depicted at half-length, seated. He faces right and the front, with gray-blue eyes upon the observer, and his dark and bushy hair is in orderly disarray, above tufts of curly and brownish side-whiskers. Olive-gray background with a looped portiere of crimson brocade. Signed at right, helow centre, M. Brown. UXKXOWX 59— 31 A DAME AIUEL FITCH, WIFE OF HON. THOMAS FITCH OF BOSTON (Oval) Vertical diameter, inches; horizontal, 26 inches H ALF-LENGTii, Seated, facing tlie front, bust slightly to right, head to left with the eyes directed markedly to the right. A middle-aged woman with blond hair worn high, in a dark green velvet bodice, decollete, corsage and elbow sleeves frilled in white; over her shoulders a mantle of golden-brown. Dark brown background. Thomas Fitcli was the son of .John, who was a steamboat inventor, clock-maker and engraver, born in Connecticut in 1743 and died in Kentucky in 179S. UXKXOWN 60 ~JOHN FITCH, SON OF HON. THOMAS FITCH OF BOSTON Height, 29% inches; ividth, 25% inches Three-quarter length, standing; figui’e to right, face almost full to the front. A handsome youth, of gracious dignity of expression and of poise, wdth red-brown hair worn long and full — with the volume of a wig — to his shoulders, a white neck-cloth twisted into a jabot effect, and a green velvet coat with brown revers and garnet clasps ; full white cuffs. Right arm akimbo with hand at hip holding a brown cloak which is looped over his left forearm, the left hand resting on the head of a brown and white dog which looks up at its master. Dark neutral background. On hack of canvas: “Mr. John Fitch, eldest son of Hon. Col. Thomas Fitch of Boston.” ELIAB METCALF American: 1785 — 1834 Ql—POBTBAIT OF A GENTLEMAN Height, 30 inches; tcidth, 24 inches A GENTLEMAN of joutliful midcllc-age is portra^^ed seated, half-length including the right hand, which holds a letter. He is facing the spec- tator, and looks up from reading the letter. He is in an inlaid chair, and at his left is a writing table on which are paper, ink and a quill pen. He wears a black coat, and white waistcoat, stock and jabot. The letter he has received is dated X ew York, January 1, 1816, and is addressed to Mr. E. IMetcalf. Olive-brown wall background with crim- son curtain drawn back at the right. Elial) iNIetcalf, son of James, was horn in Massachusetts in 1TS5; his family occupied the same farm they had had from the time of the Pilgrims’ landing at Plymouth. His mother was a relative of Chester Harding’s. He painted first miniatures in the Eastern States and Canada, afterward portraits in New York, New Orleans and the West Indies. He died in 1834. SAMUEI. FIXLEY BREEZE MORSE, P.X.A. Amekicax: 1791 — 1872 ()2— FBEDEl{ICK VOX SLADE” Height, 29-;4 inches: zcidth, 25^ inches Half-length, seated, front with a sliglit inclination to left; a man of many years, with hair white and eyebrows whitening; warm complexion and affable blue eyes ; smooth-shaven, with high collar and white stock. Black coat and waistcoat, tlic standing collar of the waistcoat lined with scarlet, and a note of the red upholstery of the subject's chair coming to view within his elbow. Dark background. Tlie name of tlie sitter has also been jjiven as “Steele.” Canvas authenticated as a work by Morse, by Charles Henry Hart. JOHN GREENWOOD American: 1727 — 1T92 WILLIAM LYNDE, ESQ. (1710—) Height, 30 inches; width, 25 inches Hal K-LENGTH, standing, to right, three-quarters front; a portrait of a portrait, the subject ap})earing within an oval frame painted on the rectilinear canvas. A man in middle life, with gray hair and curled wig, in blue coat and yellowish-olive surcoat with white revers, pleated shirt and long white ncck-clotli. Olive and brown background. John Greenwood was horn in Boston in 1727, the son of Samuel; in 1742 he was ajiprenticed to Thomas Johnston, a Boston engraver. His American portraits were all painted before 1752, as he went then to Surinam where he spent the next ten years; afterward to Paris, and to England where he settled as a mezzotint engraver and died. CHARLES BRIDGES American: Circa 1710 PORTRAIT OF A LADY Height, 18 inches; width, 38 inches Three-ouarter length, in full face. In a low-cut dark blue dress with short sleeves. The left arm resting on a pedestal. Charles Bridges is recorded as jiainting portraits in Virginia between 1735 and 1750. One later critic has said that Bridges was painting good jiortraits in Vir- ginia in 1735. Most of his portraits of women dis])layed a curl brought forward over one shoulder. UNIDENTIFIED Early American School Q5— PORTRAIT OF A 31 AN (Panel) Height, 28% inches; width, 24% inches Three-quarter length, seated, to left three-quarters front. A man in the prime of life, full of vigor, robust ; broini eyes and florid face, with a high light on his brow ; smooth-shaven, but with curling side-whiskers extending from his dark brown and carelessly brushed locks. Black double-breasted coat with large gilt buttons, and white waistcoat and stock. A bit of the red upholstery of his chair comes to view beneath his elbow. Neutral brownish background. Attributed to HOGARTH 06 — A CONVEliSATION PIECE Height, 30 inches; K'idth, 25 inches Two small full-length figures, standing. On the left is a man wearing a court dress of blue and gray-brown, and silk stockings. On the riglit, a lady in white dress, a dog nearby'. Brown curtain background. JOHN RUSSELL, R.A. English: IT-i-i — 1806 Q7—FOETEAIT OF A GIEL WITH A EOSE Height, 27Li inches; width, 21L_) inches Small fuil-Ieiigth figure. In a wliite dress with blue sash and red shoes. SJie is seated on a bank under a tree ; and liolds up a rose in her riglit iiaiid and a lily of the valley in her left. Flowers in a basket at her side. ETHAX ALLEN GREENWOOD American: 1779 — 1856 PORTRAIT OF A MAN Height, 26 inches; ii'idth, 20 inches Half-length, seated, to left, with face well to the front. A 3 'oung man with sandy-brown hair, bushy, and brushed well up above the fore- head, and keen eyes that sujjport the incipient smile of his lips. High wing collar with white stock and jabot and white waistcoat, and black coat with its collar rolled high. Neutral olive-brown background. Signed at the Jou'er left. Greenwood, 1812. ENGLISH SCHOOL Eighteenth Century m— PORTRAIT OF AN ECCLESIASTIC Height, 31 inches; width, 26 inches Bust length; in full face, wearing a black gown, with a pectoral cross falling from a ribbon round his neck, bands and a wig. Curtain back- ground. The upper corners feigned as rounded. ENGLISH SCHOOL Eighteenth Century 70— A CHILD WITH A SQUIRREL Height, 30 inches; width, 24 inches In a green dress, red skirt and sash. She holds a squirrel on her left wrist. ALVAN FISHER American: 1792 — 1863 71— RIVER LANDSCAPE WITH HORSEMAN Height, 23 inches; length, 30 inches The composition suggests a reach of the upper Hudson with the hazy Catskills in the distant background, under a light sky with tenuous creamy clouds. Green wooded shores descend at the left and in the foreground, and near by on the right, the middle distance being occu- pied by the stream, on which are sail and a raft. In a smooth road in the foreground an equestrian at a slow trot, his dog running ahead of him. Signed at the lower left, A. Fisher, 1823. Alvan Fisher was born at Needham, Mass.; he was a clerk and the village house- painter, but at 23 was painting portraits. Ten years later he went to Europe, and on his return was recognized as an artist. He had a talent for landscape as well as for portraiture. In 1831, with Harding, Alexander and Doughty, he held “per- haps the first joint display by painters ever held in Boston.” JOSEPH KYI.E, A.X.A. Amehicax: 1815 — 18G3 12-^P(mTl{AlT GEOUF Height, 3(51/4 inches; width, 28 inches A FAMILY group of five figures, in an interior of shadowy depths, tlie figures in a soft liglit coining from the left and in mellow colors. A man with a high and broad forehead, in a great-coat with deep collar, stands beside a table from which he is about to take Ids beaver hat, a little girl clinging to him to delay his departure ; he facing tlie left, she the right. Before them a young woman in a golden-buft gown and grayish fichu is seated, to right, three-cpiarters front, with face in jirofile, looking at the man. An infant girl stands at her knee, and another small girl, half-kneeling, near by, liolds up a nosegay from a basket of flowers. On stretcher a paster, “Original painting by Joseph Kyle, 1837.” .Josejili Kyle was horn in Oliio and in his childhood lived in Ohio and Kentucky. At twenty he entered Sully's studio in Philadelphia and later studied with Bass Otis. He painted both in Philadelphia and New York, both portraits and historical compositions, and is represented in the ^Metropolitan Museum of .Vrt by a “Portrait of a Lady” — 18(11. Exhibited at the Pattania-Pacific Exhibition. San Erancisco, 1915. HENRY WILLIAMS American: 1787 — 1830 7S— PORTRAIT OF AN OLD LADY Height, 361/4 inches; -width, 29^ inches Three-quarter lengtli, to left, tliree-quarters front. An old lady of deeply lined face, with keen brown eyes looking at the observer, sits bolt upright in a heavily cushioned armchair of deep crimson. She has looked u]! from an opened book on a green-covered table before her, her right hand turning a leaf, and she holds her spectacles in her left hand. She is in a black velvet gown of loose folds, and wears a white frilled cap, a white neckerchief, and a bluish shawl about her shoulders, the shawl embroidered in black. Dark olive background. Henry 'Williams was an artist of iMassachusetts, where his portraits are mainly found, and in the works of his later years showed that he had been influenced by Stuart. From the collection of Mrs. Benjamin Thaw, Xew York, 1916. SIR PETER LELY English: 1618—1680 14^—POBTliAlT OF A YOUNG LADY Height, 32 inches; width, 25 inches Thkee-qitahter length; tliree-quartcrs to the riglit. In a dark green, low-cut dress, with full sleeves lined with white, a small black bow at the breast. Her hands before her, one pressing against the palm of the other. Her hair falls in ringlets on to her forehead and on her shoulders. Pearl necklace. In the C. Bertrand collection, Paris. Purchased from Messrs. Scott and Foides, Xew York. JAMES AORTHCOTE, R.A. English: 174<6 — 1831 75—FOllTllAIT OF THE ARTIST Height, 31 inches; width, 251^ inches Half-length, in profile to the left. In black coat and white cravat, he is seated in a hig-h-backcd chair before an easel. A brush in his right hand, his palette and other brushes in his left. O’Donoghue, “Engraved British Portraits in British iSIuseum,” Vol. Ill, p. 348, mentions a large number of engravings after portraits of Xorthcote by Dance. Harlow, Hoare, Lonsdale, Opie, Wivell and Xorthcote. BENJAMIN WEST, P.R.A. American: 1738 — 1820 IQ— THE HOLY SFIIUT DESCENDING UPON C HEIST A FT EE HIS BAPTISM Height, 36^2 inches; ri'idth, 28 inches The Clirist appears at full length, walking toward the right. His face in profile, the Holy Spirit in form of a haloed dove descending from the clouds over his head. To left and right on the ground about him adoring figures male and female, old and young, to the number of above a dozen, variously clad and partly nude. In the background, beyond the river, nude figures on the farther bank, and distant green hills. A mellow golden tone over all. THOMAS BIRCH, N.A. (Honorary Member, elected 1833) American: 1779 — 1851 77— THE SHIPWRECK Height, 22 inches; length, 30 inches Off a rocky coast whicli appears under gray clouds of a passing storm on the right, and in a heaving sea which breaks over outstanding rocks in the foreground, a sliip is seen a-wreck, mizzenmast gone and fore top snapped off, canvas ripped and spray bursting over her decks. Her crew escaping in their boat are seen in the heavy wash between the hulk and the shore, and to left the sky is clearing. Thomas Birch, eminent marine painter, born Warwickshire, England, 1779; came to Philadelphia, 1794, with his father, William, a distinguished enameller. Became infatuated with the sea by a trip down to the Capes of the Delaware, in 1S07, and devoted himself to marine painting. GEORGE D. HART American ; Contemporary 78— OLD IRONSIDES ’ Height, 29 inches; length, 40 inches A REPRESENTATION of the United States frigate “Constitution,” ob- served broadside-on headed toward the right under full sail, over a green and white-capped sea beneath a sky massed with white and creamy rolling clouds. At right and left, other sail, and at left a headland with light and fortifications. Signed at the lower left. Geo. D. Hart, 1901. JOSEPH BADGER American: 1707 — 79— CAPTAIN JOHN LARKABEE, LIEUTENANT OF C ASTLE WILLIAM Height, 821/4 inches; rcidth, 511^ inches Full-length standing figure, facing front and slightly toward the right ; white wig and stock, grayish plum-colored outer coat, rose- lined, and black under coat ; plum-colored breeches and white stockings. Sword at his side, he stands before a cannon on which rests the liead of his long, red-covered spyglass, which he holds upright, sup- ported by his left hand while his right hand rests arm akimbo at his hip. He is smooth-shaven and of warm complexion, with eyes kindly but keen, and expressive of conscious determination rather than of natural firmness. In the background to right are ancient men-o’-war in the bay and a pinnace under way near at hand, and at the left are trees, shrubbery and grasses. Exhibited at the BrookljTi Institute of Arts and Sciences, 1917, where the cata- logue stated: “The New England Register has a reference to the marriage of Sarah Larrabee, daughter of Captain John Larrabee, stationed in Castle William, Boston Harbor, 1738.” “While Gilbert Stuart’s work is sui generis, there were other painters here who painted principally portraits, worthy of serious consideration; and the wide interest awakened in the history of art in the colonies has brought to light many names heretofore unknown, whose work has been wrongly attributed to other painters who happened to be known. Thus, within a couple of years, have been discovered two accomplished limners, Nathaniel Emmons and Joseph Badger, both born in New England, in 1704 and 1707 respectively.”- — Charies Henry Hart in “Works of Ameri- can Artists in Collection of Herbert L. Pratt” (privately printed), 1917. SECOND AND LAST EVENING’S SALE FRIDAY, APRIL 23, 1920 IN THE GRAND BALLROOM OF THE PLAZA BEGINNING AT 8.15 O^CLOCK .••■■Si .. '■ ■- r! ' V.- - ■ ' ' . ’ SIR DAVID WILKIE, R.A. English: 1785 — 1811 • m— CAMPING GYPSIES (Panel) Height, 10 inches; width, TV inches Two small full-length figures of women, one of whom nurses a child on her lap ; another child on the ground to the right. U7ifinished. Signed, and dated 1811. It is thus one of his very latest jiictures, as the artist died on June 1st of that year. GEORGE MORLAND English: 1763 — 1801 * ^\—RUliAL GOSSIPS Height, 21 inches; length, 26^/2 inches Two women, accompanied by a child and a dog, stop to talk on the road in front of a cottage in ruin; the liigh bank on the left is topped with trees. In the riglit foreground three horses are near a rail. Wide view with cottages in the right distance. Signed, and dated on a stone on the left, G. Morland, 1798. THOMAS WEBSTER, R.A. English: 1800 — 1886 S2—DOTHEnOYS HALL CSQUEERS’ SCHOOL’’) ( Panel) Height, 6^/2 inches; length, 13 inches A COMPOSITON of some thirty small figures, mostly schoolboy's. Mrs. Squeers stands by the desk on the right ; further back is an open door. “This admirable specimen of Webster, a perfect gem, representing iNIrs. Squeers administering the brimstone and treacle to her shuddering victims, while Master Wackford struggles with the new boy’s boots, pulling poor Smike’s hair meanwhile, and while the meek little owner of the aforesaid boots looks on aghast, enlists one’s sympathy and laughter on the instant.” — P. 181. Painted expressly for Charles Dickens, the novelist, whose autograph is on the hack of the panel. Sold by order of his Executors at Christie's in 1870. Exhibited at the Royal Academy, 1906, Ao. -13, hy Sir Bruce Seton, as “Squeers’ School." Bedford: “Art Sales," 1888, p. 181. Purchased from A. Ackermann, Xew York. JOHX CROME (OLD CROME) Exgi.tsh : 17G8 — 1821 m-^YAimOVTH BEACH Height, 121/4 inches; length, 18i'o inches Fishekfolk with baskets and two liorses are seen at low tide, a man with a telescope looking out to sea. Buildings on the shore on the right. Sailing vessels in tlie left distance. W. F. Dk'kes, “Norwich School,” 190-5, p. 129, describes the “Yarmouth Beach,” “looking towards the old Jetty,” that was in the Humphrey Roberts Collection. In the collection of Majon Oszcald Collinson. Purchased from Arthur Tooth & Sons, London. JOHN CONSTABLE, R.A. English: 1776 — 1837 84— A LANDSCAPE-. SUN AND SHOWER A SKETCH of about 1825. Calm water in the foreground with farm buildings on the right. Other buildings in the distance, and trees on the left. The sky cloudy after the thunderstorm. In the collection of Miss Isabel and in that of Miss Elizabeth Constable, and so described on the back. In the Ashniead Bartlet Sale at Christie' s. THOMAS GAIXSEOROUGH, R.A. English: 1727 — 1788 85— A LANDSCAPE Height, 24 inches; length, 29 inches A MAX, with his dog, stands on the road near a high bank to the riglit : two cows arc on tlie left near a large withered tree. A windmill in the distance. Bought from Arthur Tooth k Sons, London. JOHN CROME (OLD CROME) English: 1768—1821 86— THE MILL Height, 29 inches; width, 25 inches A MAN, in a red coat, is standing in a punt before a high-gabled house, tJie shadows of which are reflected in the sluggish water. Trees in the distance. Bought from Arthur Tooth & Sons, London. SIK JOSHUA REYXOLUS, P.R.A. Kxgi.ish : 1723 — 1792 87— A ROMANTIC WOODY LANDSCAPE Height, 29 inches- -width, 28 inches Trees in full foliage, with a stream flowing through the middle distance. Hills licyond, and a blue sky towards sunset. Said to have been the property of Mar/j Palmer, Re/jnolds's niece, who became Marchioness of Thomond. Sold after her death at Chris- tie's in 1821 as “J Woodg Landscape, one of the feze performances in this line." In the Rogers sale, 1856, Xo. 604, where it was described as ‘M Ro- mantic Landscape intersected bp a stream of water, a highly poetical worh-, in the manner of Titian." In the Wynn Ellis Sale, May 6, 1876, and in that of H. de Zoete, May 8, 1885. It was subsequently acquired by Sir James Knowles. Exhibited at the Royal Academy, 1886, Xo. 42, and in 1903, Xo. 7. Redford-. "Art Sales," 1888, p. 104. Graves k Cronin : “irorAw of Reynolds," 1899, Vol. Ill, p. 1234. JOHN CONSTABLE, R.A. English: 1776—1837 88—FLATFOKD LOCK Height, 27 inches; length, 36 inches A LARGE is passing tlvrough the Lock, near trees, on the right. On tJie bank on the left is a man on the back of a barge-horse. A church tower in the distance. C. J. Holmes: “Constable,” 1902, p. 247, claiming that this picture was painted about 182.5, alludes to “The Lock” in the Diploma Gallery at Burlington House. He adds that “Constable speaks in a letter of being engaged on two pictures of ‘A Lock’ during this year. Lady Tate has a smaller variant of the subject which has been excellently mezzotinted by Frank Short.” From the Tate Collection it passed to Vicars Brothers, to whom on July 7, 1914. Sir Frank Short. P.R.E., wrote: “The picture of Flatford Lock by Constable now in your possession is the one from which I made my mezzotint engraving in 1889. It was at that time in the collection of the late Sir Henry Tate.” WILLAM HOGARTH English: 1697 — 1761 89— MISS PERT: A CONVERSATION PIECE Height, 22 inches; u'idtli, 19 inches Small full-length ; seated on a bank, the body turned toward the left, with the face to the spectator. In a low-cut white satin dress with ample skirt, pink corsage, short sleeves, small flat straw hat, pearl necklace. Fruit in her hands. Said to be one of a series painted by Hogarth 17-50-1760. The traditional pedigree of this picture is that it u'as sold by Hogarth at auction; was in the collection of Mr. Lane of Hillington (who. it will he remembered, owned the ^'’Marriage a la Mode" series now in the National Gallery) ; was in the collection of Wynn Ellis; in that of Kenneth Clark, and subsequently belonged to Michael Dreicer. SIR HEXRY RAEBURX, R.A. English: 1756 — 1823 90—POETBAIT OF MBS. THOMAS LIN ACHE Height, 24 inches: width, 201/2 inches Bust, three-quarters to the riglit. In a wliite dress and a white cap tied with black bows under the chin. In the collection of Lord lionald Gower. Purchased front Messrs. Shepherd Bros., London. SIR HENRY RAEBURN, R.A. English: 1756 — 1823 PORTRAIT OF THE REV. DR FRAXCTS NICOL Height, 30 inches; width, 25 inches Bust, tliree-quarters to tlie right. A middle-aged man, with ruddy complexion. In a brown coat, white cravat, and wig. Dr. Nicol was Principal of the United College of St. Andrews. Exhibited at Edinburgh, 1824', and in 1876. Exhibited at the Royal Academy, 1883. ir. Armstrong, “Raeburn,'' 19, p. 109. Greig: “Raeburn," 1911, p. 55. Bought from the family by Arthur Tooth, London. JOHX OPIE, R.A. English: 1761 — 1807 ^2— PORTRAIT OF 3IRS. RITTERDON Height, 30 inches; zvidth, 25 inches Half-length, the body turned toward tlie right, looking out at the spectator. Wide flat cape; mob cap; tlie riglit hand crossed before her over the left. In the collection of Charles A. IVallcer, Boston. Exhibited on Loan in the Worcester Museum, Massachusetts, 1913. FRANCIS COTES, R.A. English: 1725 — 1770 9S— PORTRAIT OF 3IISS AXNA WILLIAMS Height^ 21 inches; width, 20 inches Bust, tliree-quarters to the right. In a green low-cut dress, and a yellow-brown mantle edged with fur. Anna, daughter of John Williams of Mold. From the collection of Colonel Ridgway, of Sheplegh Court, De-con. JOHN OPIE, R.A. English: 1761—1807 M— PORTRAIT OF THE EARL OF ORPEN Height, 30 inches; width, 25 inches Half-length, three-quarters to the left. Middle-aged, and with a florid expression, clean shaven, and with gray hair, wearing a black coat and a stock. Under a tree. Landscape background. JOHX IIOPPXER, K.A. English: 1758 — 1810 95—F(mTKAIT OF THE COUNTESS OF EUSTON Height, 211/4 inches; zi'idth, 201/4 inches liusT length, tlirec-quartcrs to the left, looking out at the spectator. In a white dress, cut low over the breast. Charlotte Maria, second daughter of Janies, 2nd Earl of tValdegrave, was born October 11, 17()1; married George, Earl of Euston, who succeeded his father as -Ith Duke of Grafton. She died February 1, 1808. In the collection of the Duke of Grafton, there is a half-length portrait painted in 1798, and engraved by C. Wilkin and T. Burke. The miniature of her in the Pierpont Morgan Collection (illustrated in G. C. MJlliamson's “Catalogue” and as “The Countess of Exeter” in the Connoisseur, May, 1907, p. 4) does not seem to be by Hoppner, who had neither the training nor the patience for painting portraits. This picture is described by 4V. Roberts: “Hoppner,” Supplement, 1914, p. 16, as “lacking the artist’s finishing touches. It represents the Countess at an earlier period than 1798 when the engraved portrait was painted, and is more nearly like the miniature of her, ascribed to Hoppner, now in the J. Pierpont Morgan Collection.” Downman also painted her portrait. SIR THOMAS LAWREXCE, P.R.A. English: 1769—1830 PORTRAIT OF THE RT. HON. GEORGE CANNING Height, 30 inches; width, 25 inches Bust length ; full face. In black coat and white cravat. Bald-headed. His left elbow on a table and the fingers raised to his cheek. Red curtain background. This distinguished statesman and orator (1770-1827) as a youth enjoyed the friendship of I.ord Liverpool. In 1800 he married Joan Scott, sister of the Duke of Portland. In 1814 he was appointed Ambassador to Lisbon. He died at the Duke of Devonshire’s villa at Chiswick in the room in which Charles James Fox had expired twenty-one years earlier. As a parliamentary orator he holds a prominent place in British annals. I.awrence exhibited portraits of Canning at the Royal Academy in 182.5, N'o. 83, and 1826, No. 109. Portraits of him by Lawrence were exhibited by the King and by Sir Robert Peel at the British Institution in 1830, No. 56 and No. 90. Another was lent by the Corporation of Liverpool to the National Portrait Exhibition, 1868, No. 237. Another was lent to Christ Church, Oxford, to the Exhibition of Portraits, 1906, No. 187. Other portraits were painted by him in 1810 and 1814. Sir Walter Armstrong in his “Lawrence,” 1913, p. 119, “lists” seven. Some were engraved by W. Say and C. Turner. O’Donoghue: “Engraved British Portraits,” Vol. I, p. 333. In the collection of M)s. Cooke of Leyhourne, Yorks, from whom it was purchased. SIR WILLIAM BEECHEY, R.A. English: 1753 — 1839 Q7— PORTRAIT OF A NAVAL OFFICER Height, 30 inches; reidth, 25 inches Half-length, tliree-quarters to the right. Blue uniform with gold buttons, white vest and cravat and black cocked hat. Resting his right arm against a table, the hand grasping his sword below the hilt. Purchased from Scott & Fozcles, Xeu; York. FRANCIS COTES, R.A. Exglish : 1725 — 1770 98~PORTBAIT OF A LADY Height, 30^ inches; width, 25 inches Half-lengtpi, in full face. In a pink dress lined with ermine, full short sleeves ; pearl ornaments. Her hands rest on a parapet before her. THOMAS GAINSBOROUGH, R.A. English: 1727 — 1788 ^^—POBTRAIT OF 3IFS. COCKBUEX OF ROCHESTER Height, 30 inches; width, 25 inches Half-length, three-quarters to the right. Seated, wearing a low-cut dress, necklace and earrings ; flowers at her breast. Purchased from a direct descendant of the lady. GEORGE ROMNEY English: 1734 — 1802 im— PORTRAIT OF A MAN IN A RED COAT Height, 30 inches; width, 25 inches Half-length ; three-quarters to the left. In a red buttoned coat, white cravat and full wig. He has a florid complexion. In the collection of Maurice Kann, sold June 9, 1911, No. 52, p. 57. Has been engraved. Purchased from Messrs. Cottier & Co., New York. JOHN HOPPNER, R.A. English: 1758 — 1810 101— POBTR AIT OF SIR GEORGE BEAUMOXT (Oval) Height, 29 inches; width, 21 inches Brsx length, three-quarters to the left. Black coat, with brass buttons, white cravat. Florid complexion and curly gray hair. Red curtain, withdrawn on the left to show a landscape. Sir George Howland lieaumont, Bart., of Stoughton Grange, Co. Leicester; born Nov. 6, 17.53; succeeded his father in 1762; iNI.P. for Beeralston, 1790-1796; married Margaret Wilts, May 6, 1778. Died Feb. 7, 1827. Another portrait by Hoj^pner, engraved by W. Say, J. S. Agar and J. Wright, was formerly in the Mulgrave Castle Collection and that of Sir Edward Sassoon. Hoppner probably painted several examples of his portrait of Beaumont; one was in the Hojjpner sale, 1823, No. 27 ; another in the David Wilkie Sale, .Vpril 30, 1842, No. 674. Sir Joshua Reynolds and Sir Thomas I.awrence also painted his portrait. O'Donoghue: “Engraved British Portraits in British Museum," I, 148. W. Roberts: “Hoppner," 1909, p. 17. In the collection of G. H. S. Glasier, London. SIR JOSHUA REYNOLDS, P.R.A. English: 1723—1792 \02~PORTRAIT OF ARCHIBALD BOWER Height, 30 inches; width, 25 inches Half-length, tlie eyes to the left. In a gray-black coat, lace cuffs and full wig. A folio in his right hand. He sat to Reynolds in February, 17.57, and .Tune, 1758; this picture was paid for before 1760 by I.ord Carysfort. In the Anthony Sale at Christie’s, Februarj', 1871, No. 375, it was bought in. Sold afterward at Foster’s to Henry Graves & Co., from whom it passed to Charles William Kraushaar, of New York. The life of Archibald Bower (1686-1766), British ecclesiastical historian and antiquarian, was a strange one. He left Scotland for Italy as a child, and was educated at the Scotch College at Douai and at Rome, where in 1706 he joined the order of the Jesuits. Suspicion of heresy having risen against him, he fled to England in 1726, where he made public profession of Protestantism. He subse- quently withdrew from the Roman Catholic Church. For years he lived on terms of intimacy with Lord Aylmer. He became I.ibrarian to Queen Charlotte. G. Knapton also painted the portrait of .Archibald Bower. “This picture I well rememher. We bought it at Mr. Anthony’s sale in 1871, together with the ‘Mrs. Bower’ which was in the possession of Baron de Bournon- ville ten years ago. Both pictures were good specimens of Sir Joshua’s early manner, and I believe tbe ‘Mrs. Bower’ to be the original engraved by J. Faber in 1755. The picture is recorded in Mr. Reynolds’s books, and the ownership there is ‘given to yourself.’ ’’ — Extract from a letter of Oct. 24, 1910, from Algernon Graves to C. W. Kraushaar. I.eslie and Taylor, “Reynolds,” 1865, I, p. 155; Graves and Cronin, “Works of Reynolds,” 1899, Vol. I, p. 106. W. Armstrong: “Sir Joshua Reynolds,” 1900, p. 195. O’Donoghue: “Engraved British Portraits in British Museum,” Vol. I, p. 220. Engraved by J. Faber and by Richard Josey. Exhibited at the National Portrait Exhibition, 1867, No. 382. Purchased from Mr. C. TF. Kraushaar by Mr. Smith in 1912. JOHN HOPPNER, R.A. English: 1758 — 1810 PORTRAIT OF 31ISS HOME {“The Girl tcith the Kitten”) Height, 30 inches; width, 25 inches Small full-lengtli, the body turned toward the left looking out at the spectator. Seated on the ground in a landsca 2 )e, in a white frock with short sleeves. A kitten in her arms. She was the daughter of Sir Everard Home, Bart. (17.56-1832), 1st President of the Royal College of Surgeons. Sold at Christie's, Jnlg 12, 1912, No. 61. In the possession of Asher Wertheimer. Dictionary of National Biography, 1891, Vol. NNVII, p. 227. W. Roberts: “J. Hoppner," Supplement, 1911, p. 21. SIR THOMAS LAWREXCE, P.R.A. English: 1760—1830 PORTRAIT OF MARIE CLOTILDE MOTTE ET BE LA FONTAINE, LADY RUSSELL Height, 30 inches; width, 25 inches Three-quarter length, turned three-quarters to the right, looking out at the spectator. In white dress, pink wrap and blue sash. Her hands raised to her breast. Landscape background. She was the daughter of Benoit Motte et de la Fontaine, Baron de Sr. Corneille, Seigneur de la Motte et de la Fontaine in Picardy. In 1816 she married, as his second wife. Sir Henry Russell, 2nd Bart, of Swallowfield, Yorks, who was for many years British resident at the Court of Hyderabad. “Dictionary of National Biography,'’' Vol. 19, p. T28. In the collection of Benjamin Faulkner, London. Exhibited on loan in the Worcester Museum, Massachusetts, 1913. SIR JOSHUA REYNOLDS, P.R.A. English: 1727 — 1788 lOo—rOllTRAIT OF 3I11S. HILLERSDEN Height, 30 inches; width, 25 inches Half-length, in full front. In a white satin dress with long sleeves ; blue cloak trimmed with ermine. A blue band round her neck and one in her hair. For some time this portrait was tentatively identified with that for which Mrs. Hillersden gave sittings to Sir Joshua in December, 1757. (See Leslie and Taylor, “Reynolds,” 1865, Vol. I, p. 157; and Graves and Cronin: “Reynolds,” 1899, Vol. It, ]). 465.) From the collection of W. E. Hadden, RE., of Kent Gardens, Ealing, London. The companion portrait of Mr. Hillersden, of Harpen- den Heights, Herts, is said to he in private possession at Cleveland, Ohio. GEORGE ROMXEY English: 1734 — 1802 \0Q— PORTRAIT OF MRS. PHIPPS Height, 30 inches; width, 25 inches Three-quarter length, tliree-quarters to the left. In green dress spotted with white, and wliite fichu. Large white mob cap, the strings tied under her chin. Neutral backgi'ound. Mary, daughter and sole heir of Richard Peckham, of Upper Marden, Sussex, married Thomas Phipps, of Heywood, 1742. She died 1793. Sittings to Romney were given in March and April, 1780. In the collection of the family. In the possession of Thomas Agnew & Sons, and M. Knoedler & Co. Ward and Roberts: "‘'Romney," 1904, Vol. II, p. 123. THOMAS HUDSON English: 1701—1779 \Q7~FOBTEAIT OF A YOUNG WOMAN Height, 30 inches; ■width, 25 inches Half-length slight!}' to the left. In a low-cut white dress, seen to the elbows, with pink insertion. Her hair falls on her shoulders. Painted in a feigned oval. Exhibited on loan in the Worcester Museum, Massachusetts, 1913. SIR GODFREY KNELLER English: 1646 — 1723 10^— PORTRAIT OF MRS. KING Height, 30 inches; width, 25 inches Half-length, full face. In a blue dress, with short sleeves ; a mantle over her left shoulder. A bow in her hair. Her name is inscribed on the front of the canvas. Exhibited at Roy. In the collection of the King family, and of Sholto Montgomery Cay. Purchased from Messrs. Scott & Fowles. SIR PETER LELY PjNglish : 1618 — 1680 lOQ—POllTRAIT OF BARBARA VILLI ERS, DUCHESS OF CLEVELAND Height, 19 inches; width, IQl/o inches Three-quarter length, three-quarters to the left, seated. In a saffron yellow low-cut dress with short sleeves lined with white. Her hair, decked with pearls, falls in ringlets on her forehead. The fingers of her right hand placed on the left wrist, on which is a bracelet ; flowers in her left hand. A curtain in the left background ; the base of a col- umn on the right. Barbara Villiers (1641-1709), daughter of WiUiam, 2nd Viscount Grandison, married, in 1659, the Earl of Castlemaine. Became Countess of Northampton and Duchess of Cleveland. She was regarded as "a woman of great beauty, but most enormously vicious and ravenous, foolish but imperious.” In the collection of Martin Colnaghi, London, and bought at his death by Thomas Agncw & Sons. Exhibited at the Royal Academy, 1908, Xo. 184. SIR HENRY RAEBURN, R.A., P.R.S.A. English: 1756—1823 1\0— PORTRAIT OF JOHN GRAY, OF NEW HOLM Height, 50 inches; •width, 4*0 inches THREE-auARTER length; full face. A portly old gentleman, seated; in a brown coat, lemon-colored waistcoat, black knee-breeches and silk stockings. In his left hand he holds a snuff-box. His right hangs over the back of the chair. Landscape seen through the window on the left. John Gray (1731-1811) was for many years Town Clerk of Edinburgh. Painted before 1806. In the collection of Major General Cunningham, who for many years lent it to the Scottish National Gallery. Exhibited at Edinburgh, 1876, No. 113. Mezzotinted by G. Dawe, 1806. W. R. Andrew: “Raeburn,” 1894, p. 124. Sir W. Armstrong : “Raeburn,” 1901, p. 103, plate at p. 52. J. Greig: “Raeburn,” 1911, p. 47. O'Donoghue : “Engraved Portraits in British Museum,” Vol. II, p. 375. CHARLES BALTHAZAR JULIEN FEVRET DE SAINT MEMIN French-Americak : 1770 — 1852 111— TWO POET R AIT S'. GENERAL AQUILA GILES AND ELIZABETH SHIPTON GILES (Black and white crayon, on pink ground) Height (each), 19 inches; width, inches Both portraits in profile to left ; that of the General on a cool grayish- pink ground, that of his wife on a warm pink ground. Both persons in middle age. He is in a military coat with epaulettes, and with jabot and wig or peruke. She wears a mass of puffed and curled hair bound with double bands of pearls, pearl earrings and necklace, and a plaited waist with lace neck frill. The portraits are accompanied by a number of letters to and from General Aquila Giles, and other manuscripts. Gen. Aquila Giles, son of Jacob Giles of Maryland; keeper of military stores; taker of First Census; first United States Marshal of New York City; married during the Revolutionary War, while on the staff of Gen. St. Clair and a prisoner, Elizabeth Shipton, niece of the wife of Col. William Axtell, British commander at Flatbush. Both tlie General and his wife are buried in Trinity Churchyard. Their son George Washington Giles, who inherited these drawings, married Elizabeth, daughter of Suzanne Murray, of the Murrays of Murray Hill, and William Ogden, and the ])ortraits passed to their son William Ogden Giles (born 1829). William Ogden Giles married as his second wife, in 1872, Catherine Chambers Darlington, from whom the j)ortraits were obtained and sold to Mr. Smith. Saint Memin was born in Dijon in 1770, and died there in 1852, after having spent the last thirty-five years of his life as Director of the museum of that city. He came to New York at the age of twenty-three and remained here five years, until 1798, in which year he was also in New Jersey, going thence to Philadelphia and remaining until 1804; the succeeding three years he spent in Baltimore, Annapolis and Washington, the following year he was in Yirginia, and the next in South Carolina. Back in New York in 1810, he sailed for France, returning in 1812 for three years, after which he went to his native land for good and two years later entered upon the directorship of the Dijon Museum. In New York in 1793 he “introduced the physionotrace, an instrument to trace the human profile with mathe- matical accuracy. These life size profiles were drawn on soft pink pajjer, finished in black and white crayon, producing very attractive and life-like portraits. ♦ * * Of these portraits Saint Memin took in this country more than eight hundred. ♦ ♦ * But for the art of Saint Memin we should be without portraits of many important characters whose likenesses he has alone taken.” — Ch.ari.es Hexrv H.\rt in the cata- logue of the private collection of iMr. Herbert L. Pratt. AMERICAN PORTRAITS THOMAS SULLY, X.A. ( flonorary ^lember, elected 1827) Ameuicax: 1783 — 1872 1 1 2— DOUBLE FICTUliE : FOBTEAIT OF MISS SULLY AXD SELF-PORTRAIT OF THE ARTIST (Oh cardboard; circular) Diameter, 7)/b inches On one face a balf-lengtli sketch-portrait of the artist, by liimself, to right, til ree-(juarters front, bolding a letter or a bit of sketching paper. He is in a black coat, wears a white neck-cloth, and the background is brown and gray. On the opposite face, “Miss Sully” — a bead and shoulders portrait of a chubby child with cherubic face and reddish- golden hair, against an azure and gray background. In a letter dated Ajiril 27, 1917, the jirevious owner of the picture, from whom Mr. Smith purcliased it, wrote: “The circular jiainting of the bahy's head by Thos. Sully was brought to me several years ago. It is an unusual specimen of Sally's work and well painted. It may interest you to know that when I purchased it it was mounted on a cardlioard, and on removing the board with the intention of putting it on a panel I discovered the sketch, evidently of Sully by himself. It is difficult to say which side of the frame is most interesting." HENRY INMAN, N.A. American: 1801 — 1816 113— ELIZABETH OAKES SMITH, nee PRINCE (1806-1893) Height, 30 inches; width, 25 inches Bust portrait — substantially a half-length — of a handsome young woman with large e 3 ’es of deep blue, and dark hair worn in wavy ring- lets to her shoulders ; she is facing the left, three-quarters front. She wears a mauve waist of light material, drawn to a V at the belt, and a white underwaist folded low and exposing a jeweled necklace with cross pendant on her breast ; a grayish drapery enfolds her shoulders. Nebulous background of grayish tones. Mrs. Elizabeth Oakes Smith {nee Prince) was born in Cumberland, Maine, in 1806, and about 1840 she and her husband Seba Smith settled in Brookljm, where she was known as a poet and lecturer. Her death occurred in 1893. JAMES SHARPLES American: 1751 — 1811 1\4>—P01{TKAIT OF A 31 AN (Pastel) Height, 9 inches; xcidth, 7 inches Bust portrait, to right, witli face to tlie front; a man with white wig, neck-clotli and waistcoat, and blue coat, the coat of brilliant hut soft lapis note, with a grayish velvet collar. He is of hold features, with keen eyes and set lips, but withal an expression of genial aflfability. Dark matt background. James Sharpies was distinctively a pastellist, although he painted also in oils, and exhibited both pastel and oil portraits at the Royal Academy in London; he sent them there from Cambridge in 1779, Bath in 1782, and I.ondon (Soho) in 178.3. He was born at Bath (England) in 17.51; he came to New York from his Soho residence (45 Gerrard Street) in 1794, and he died here (at 8 Lispenard Street) February 2(), 1811. He did crayon portraits in this country, the prominent persons he portrayed including Washington, Hamilton and Jefferson. He went around the country in a carriage of his own construction, doing portraits. His will is on file in the New York Surrogate's office. >/ JAMES PEALE American: 1749 — 1831 l\o~CAPTAIN (?) JAMES CHAMBERS ( Panel ) Height, 14 inches; width, 12 inches Half-eexgth portrait of a dignified and distinguished-looking man with young face and white hair, which in its thriving abundance is brushed ivith “attentive carelessness” in large curling masses. Warm comjilexion ; aquiline nose, fine mouth and large blue eyes. A ery slightly turned to the left, he looks with frank expression direct!}' at the spec- tator. Brilliant dress uniform of blue-black coat inth high-standing scarlet collar, scarlet revers and gold braid ; formal black stock about a white one, and white choker collar. Neutral background in light and dark tones. Signed at the lower right, J. P., 1809. James Peale was the youngest lirother of Charles Willson Peale and was born at Annapolis; died in Philadelphia, 1831. Received instruction from his brother. Was noted as a painter of miniatures, and painted miniatures of Washington on ivory and on ])aj)er. He painted portraits in oils at least as late as 1812. THOMAS SULLY American: 1783 — 1872 WQSFBINGTIME Height, 18 inches; xcidth, 13i/_> inches Three-quarter-length portrait of a hazel-eyed young mother of rosy countenance, standing, in outdoor costume, holding in her arms a sturdy little girl with the mother’s own eyes and cheeks, and with reddish-golden tousled hair. The eyes of both are centred back of the observer and to his left. The child is bare-headed, and in blue with a white smock. The girlish mother is in pinkish-gray and is partly enfolded in a maroon cloak, and she wears a buff-graA' felt hat with down-rolling brim and a rose-red feather. Earth and sky background. On back of canvas: “‘Spring time,’ Harper's AVeekly; T S 1866." (Possibly the date is 186.5.) JOHN WESLEY JARVIS American: 1780 — 1839 111— DANIEL DEWEY BABNABD (1797-1861) Height, 21 inches; width, 20 inches The distinguislied lawyer and legislator appears head and shoulders, very slightly turned towards the left, in formal black, with black stock and white choker collar, and a single large jeweled stud in his white shirt-front. He is smooth-shaven (with closely trimmed side-whiskers), of florid complexion, and his black hair is carelessly brushed. Interior background of dark olive, with purplish-rose drapery. Mr. Barnard was born at Sheffield, Massachusetts, in 1797, the family removing early in the succeeding- century to New York State, where the subject of the por- trait was elected to Congress from Monroe county in 1827. He was at that time an attorney. Five years later he moved to Albany and was eleeted to the State Legislature, and in 1838 was again sent to Congress, being twice reelected and refus- ing a third nomination. Geneva College gave him the degree LL.D. in 1835 and Columbia in 184-5. He had traveled in Europe in 1830, and in 1850 President Fill- more sent him as Minister to Prussia, where he served for three years. He died in Albany. JOHN VANDERLYN American: 1775—1852 PORTRAIT OF A MAN (Panel) Height, 211/2 inches; width, 17 inches Head and shoulders, to left, more than half to the front, of a stout and youthful man with dark brown hair of sand}^ trend, and connecting side-whiskers which curl, his graA'-blue eyes looking upward with a smiling expression of jejune innocence, which his years belie. He is in a brownish-black coat, with white high-collared waistcoat and a white roll-collar and neck-cloth. Broiraish-olive background. John Vanclerlyn, an Utster County, New York, man, died where he was born, in Kingston; horn 1775, died 1852. Aaron Burr became his patron, and Vanderlyn through him had an opportunity to see Gilbert Stuart at work and also to copy Stuart’s portrait of Burr — one of the first portraits Stuart painted after his return to this country from England in 1793. Vanderlyn went to Paris in 1796 and ex- hibited in the Salon of 1800; his Marius was medaled by Napoleon, and he brought it hack here with his famous Ariadne, which Charles Henry Hart has declared “the finest nude figure yet painted by an American.” Both a portrait and a nude by Vanderlyn were sold in the Thomas B. Clarke Collection of Early American Por- traits last year. WILLI A^I JAMES HUBARD Americax: — 1862 119— JOLIxV MARSHALL (17.5o-183.5) Height, 21 inches; icidth, 17 inches Full-lexgth portrait of the famous American jurist, seated in a red- upholstered armchair and looking intently at the spectator, his lean shanks crossed to his right and his hands separated on his lajD. He is in black throughout, with short-clothes and loose shoes, and he wears a white stock loosely tied. Conventional background of landscape, statuary and a dark crimson drapery. On hack- of canvas, in ink, John Marshall, by Hubard ; 071 stretcher, in ink, Hubard, pixxt. John Marshall (175.5-1835), in Congress, 1799; Secretary of M'ar, 1800; Secretary of State, 1800; Chief Justice of the United States, 1801-1835; President of American Colonization Society; Vice President American Bible Society. William James Hubard, portrait painter, exhibited at the Xational Academy of Design as early as 1834. He was brought to this country as a boy from England, by persons who profited from his ability to cut profiles, and Robert W. Weir per- ceiving his talent persuaded him to try oil work. Hubard studied both under Weir and Sully, and worked in Philadelphia, New York, Boston and Baltimore, and died in the Confederate service at Richmond in 1862. Portraits of Charles Carroll of Carrollton and of Henry Clay, by him, are in the collection of the ^Maryland His- torical Society. THOMAS SULLY American: 1783 — 1872 120— THU YOUNG POET” Height, 21 inches; •width, 20 inches An unfinished portrait of an unidentified young man — the head alone probably about completed — called “The Young Poet,” and believed to be the start or sketch for a portrait or figure-canvas of a poet or of an artist. The head of a dreamy-eyed young man of large but delicate features, witli long brown hair brushed carelessly smooth over the crown and falling in thick disheveled ringlets to his neck. Head to right, three-quarters front ; shoulders slightl}' to left ; complexion fair and warm. He seems to be wearing a stock, almost the color of his hair. From the collection of Mrs. Benjamin Thaw, Xew York, 1916, Xo. 153. COLONEL JOHN TRUMBULL American: 1756 — ISIS V2\~CALEB STRONG, GOVERNOR OF MASSACHUSETTS (1745-1819) Height, 241/4 inches; width, 191/2 inches Bust portrait to riglit, face three-quarters front ; a man of middle age, with light eyes and eyebrows, dark hair and thin side-whiskers. Blue- black coat and waistcoat, and white neck-cloth. Dark brownish back- ground. The title as above given is that by which Mr. Smith held the picture, which, however, was catalogued as “Portrait of a ilan” in the collection of Mrs. Benjamin Thaw, whence it came, in 1917. The authenticity of the canvas as by Trumbull is not questioned. The identity of the sitter was not established in that catalogue, but the possible identification of the sid/ject as Governor Strong was disposed of by Charles Henry Hart, writer of the catalogue, to his own satisfaction, as follows: “This portrait bears a considerable resemblance to the portrait of Caleb Strong. Governor of Massachusetts, when a much older man, but from the period of the costume, which is later than Strong's, cannot be of him at an earlier date. It is beautifully drawn, and modeled in TrumbuU’s manner of the second decade of the last century.” The several jirints of jiortraits of Governor Strong assembled by Mr. Smith justify the comparison of likeness; equally, they fail to disturb Mr. Hart’s logic. JOHN SINGLETOX COPLEY Americax : 1737 — 1815 V22—GAWEN BROWN (1719-1801) Height, 28 inches; width, 22 inches The early New England clockniaker, who made tlie clock of tlie Old South Cliurch, Boston, receiving eighty pounds for it in 1774, is por- trayed standing, observed at half-length witli figure toward the right and head turned to look full at the observer. He holds in his left hand his gold watch, its domed crystal open and key hanging as pendant to its fine looped chain. Pie is of warm complexion, with deep gray-blue eyes, and his abundant brown hair is brushed smooth over a high fore- head, and outward in a curly mass about his ears, which it almost covers up. A white stock- jabot stands out above his ])artly unbuttoned old- rose waistcoat, and his green-blue coat with a ruffled flap-collar is open. Olive-brown background. Portrait painted in 1763. Mr. Brown was the father, by the second of his tliree wives, Elizal)eth Bytes, of the American portrait painter Mather Brown, who is represented in the collec- tion by a Portrait of a Man, No. 58. The son was named for his mother's father, the Rev. IVIather Byles. The marriage of Gawen Brown to Elizabeth Byles took place exactly three weeks after his first wife's death in 1760. Copley also painted a portrait of Elizabeth Byles Brown in the same year as this one, the year in which she died, 1763; both she and Copley at this time w’ere 26 years old. That portrait was sold in the Thomas B. Clarke Collection of Early American Portraits. New York, January, 1919. “Copley's portrait of Gawen Brown is a rarely fine example of Copley's best American straight portraiture, dignified and simple in pose, earnest in expression, and subdued in color; w'ithout elaborateness in the drapery; being very like in pose and treatment to his self-portrait in New York Historical Society.'' — Chahi.es Hexry Hart. REMBRANDT REAI.E, X.A. Amerioax: 1778 — 18(50 V2'i— CAPTAIN DENNISON WOOD, NEW Y OR KEF Height, 30 inches; width, 'il inches As the largest sliipowner of liis da^g this native New Yorker is appro- priately presented holding a sliip’s glass, which is tucked within his left elbow and gripped by his riglit hand, as he stands facing the left with head turned forward — but his clear and keen blue eyes lookiiig far back of the spectator. He is seen at half-length, and behind him a window in a brown paneled wall looks out upon the breezy, gray-blue bay, toward the distant Narrows. A few sail are seen, and the green- blue sky is massed with rolling summer clouds. He is in a black coat witli rolled collar, a white waistcoat and cravat, and his face has a rosy outdoor color. His dark hair is curly and tousled, and he wears curly sidc-wliiskcrs, trimmed higli. Ca]itain ^\'ood was reputed the largest sliipowner of his time, and operated lines of luereliantnien between New York and Havre and Boston and Havre. His descendants have continued to live in New York, his native city, and the portrait had never Iieen out of Xew York. It was accpiired from his great-great-grandson, Ernest Lockwood, who inlierited it in direct line. JOHN WESLEY JARVIS Amehicax: 1780 — 1839 124^— PRESIDENT WASHINGTON Height, 30 inches; width, 251/4 inches A PORTRAIT done without a sitting, but signed by the painter. Full- length standing, facing the observer, head turned toward the subject’s right, and glance somewhat downward and abstract. The First Presi- dent is in deep blue — almost black — civilian attire, inth black stockings and silver shoe buckles, and white stock and jabot and white lace cuffs. In his left hand a scroll, right hand resting on a marble writing table. He stands within a circular portico, beside a crimson portiere, and over a stair balustrade at the left the Capitol appears in the distance, beneath a sunset sky. Signed on the table, J. W. Jarvis. JEREMIAH THEUS American: 1719 — 1771< 125— PORTRAIT OF A BOY WITH A BOG Height, 29’^ inches; width, 25 inches Standing figure of a bo}’, nearly at full-length, facing the spectator, very slightly turned toward the left. He stands before the base of a pillar, which is on the right, with a landscape background on the left. On a green mound which is as high as his belt, in front of him and to his right, lies a brown pet dog about whose neck he places his hands. He is a round-faced and rosy-cheeked young gentleman, in eighteenth century costume of yellow-lined blue coat, blue breeches, and buff-brown under-coat with ornate trimmings, and he wears a white jabot and wig. On the stretcher a paster, “Died single, Samuel Smethan, born . . . (paster torn) son of Samuel and Elizabeth Smethan.” Through the mis-copying of this “horn” as “Bos,” with the implication of Boston, an idea arose that this was a northern portrait, and identity of the persons mentioned was sought in the North, without avail. Hart, on the strength of a photograph and the paster information (he had not seen the canvas), attributing the painting to Theus with confidence, conjectured that the portrait had been painted on a visit made by Theus to the North about 18.50, when he painted the portrait of Caroline Van Voorhees (Mrs. Hendrick Van Buren), No. 143, of this collection, although he jiointed out that the palmetto in the background neutralized the “bos.” It seems clear that the word was written “born,” so that a further search may reveal the sitter as belonging to the precincts of Theus’s best known activities, Charleston, S. C. JACOB EICHHOLTZ American: 1776 — 1842 126 — J/iCV. ARUNDEL Height, 30 inches; leiclth, 25 inches TiiREE-auARTER. leiigtli, to left, three-quarters front; a middle-aged woman of agreeable expression, with chestnut-brown hair parted smoothly over the forehead, curled beside the temples, and enwound in a white kerchief or turban-like cap. She is in black, with puffed sleeves, and a deep ruffle of white lace about her neck. Over her arm and laj) an India shawl. Background of reddish-brown curtain and conventional landscape. Jacob Eichholtz was a native of Lancaster, Pa., liorn in 177(). When Sully visited that home of Pennsylvania art and invention Eichholtz offered him his painting room, and Sully in recognition gave the Lancastrian some of his brushes. Eichholtz later had some instruction from Stuart, in Boston. He painted portraits of prominent persons of Lancaster county, and died in Philadelphia. His portrait of General Andrew Jackson, seventh President of the L’nited States was sold in the Thomas B. Clarke Collection of Early American Portraits last year. Exhibited at the Panama-Pacific Exhibition, San Fr'ancisco, 1915. JACOB EICHHOLTZ Amekicax: 1TT6 — 184'2 V21—MR. ARUNDEL {Son of 31. S. Arundel) Height, 30 inches; width, 25 inches Half-length figure of a young man of dignified mien, seated with figure to the front and face turned slightly toward his left shoulder, as he rests his left arm and white-gloved hand on the curved arm of the red-upholstered chair or sofa upon which he sits. In black formal dress, the coat with shawl collar, white choker collar and stock. He has a rosy complexion, green-blue eyes and dark chestnut hair, which is worn in engaging disarray. Hark crimson drapery and neutral olive background. Exhibited at the Panama-Pacific Exhibition, San Francisco, 1915. SAISIUEI. LOVETT WALDO, A.X.A. American: 1783 — 1861 V2^-^W1LL1AM STEELE (1762-18.51) ( Panel ) Height, 30 inches; width, 21'-)4 inches Hal F-EENGTii ])ortrait of the Revolutionary hero, in blue-green velvet coat with gilt buttons and high-rolled collar, and white waistcoat and stock. He is seated on a carved-gilt and red-upholstered side-chair, to right, three-quarters front, his face turned almost full to the front with alert and intent glance. Eyes dark ; bristling gray hair, and florid complexion ; a high light on the brow. He holds in his right hand an opened letter. Neutral background. M'illiani Steele, who was born in Xew York in 17()2, served in the Revolutionary War. In 1780, while hearing desjiatehes on the twenty-gun .ship .\urora, which was ca))tured by tlie British frigate Iris, he was wounded during the battle, .\fter being held for some months a jirisoner, he was exchanged. He married, in 1791. a daughter of Jonathan Dayton. William Steele's father, Stephens Steele, was an active Whig in Revolutionary times, and on the British capture of New York had to abandon his home and a valuable property. Shown at the opening exhibition of the Brooklgn Institute of Arts and Sciences, 1897; loaned by TP. D. Steele, 1'23 Montague street, Brooklyn. Exhibited at the same Brooklyn Museum, 1917. From the collection of TIh D. Steele. JOHN SIXGLETOX COPLEY Amekicax: 1737 — 1815 Vl^—MAJCm JOHN ANDRE ( 17 . 51 - 1780 ) Height, 29 inches: width, 25'^ inches The young and gallant Oritish major is seen in uniform and hatted. ap])earing at a little less than half-length, with figure very slightly turned to the left and head to the right. His face is observed three- quarfers front, as he looks with bright, alert eye, across his left .shoul- der; his clean-cut features are finely delineated; the flesh is warm and fhe cheeks are rosy. An inner whife sfock overlaps a black one, and his white jabot and scarlet coat collar and gold epaulettes relieve the deep blue-black of the coat itself. Atmospheric background with, clouds, in ])olychrome of neufral tones. On a ])aster on the stretcher: “John S. Copley, pinxt., 1774.’' The aspect, in the ])ortrait, of the man to whom Benedict Arnold betrayed the plans of AVest Point, accords with the other likenesses of him which were ])opular on both sides of the Atlantic in his day. And he looks the enthusiastic and con- fident character exenqilified romantically a year after the date given for this canvas, when, taken ])risoner at the cai)itulation of St. .John's (1775), and stripped of everything- else, he concealed in his mouth the picture of his first love (though she had married, in England), and was able to write: “Preserving this, I yet think myself fortunate.” liven Washington seemed to regret the necessity of executing iAndrc. The date of his execution was October 3. 1780. JOHN SMIBERT American: 1688 — 1751 \m~BISHOP GEORGE BERKELEY (1685-1753) Height, 29% inches; iciclth, 25% inches The enthusiastic bislio]), — Dean Berkeley he was at tlie time — whose large dreams for a universal college in the Bermudas enlisted the per- sonal as well as the artistic interest of Smibert, is presented head and bust — nearly at half-length — in Ids black gown, white lawn collarette and great curled periwig. With figure turned slightly to right, he faces front, looking at the spectator with kindly hazel eyes and a beneficent official smile, his comjilexion showing a pleasant pinkish warmth. On a S(juare canvas, but ])ainted for an oval frame. Dark background, especially deep within the oval. After careful examination of this portrait Cliarles Henry Hart wrote of it: “Doiilitless a contenijioraneous re]ilica of the canvas in the Worcester Art ^luseuni, whicli is signed and dated ‘Jo. Smibert, fc., 17‘28.’ It is an extremely good example of Smibert at his l)est. and ]>articularlv interesting from the close relations that existed between the suliject and the painter.” Smibert, born a Scot, estalilished himself as a successful ]iortraitist in I.ondon at the age of thirty-two, in 17‘20. When, eight years later, Berkeley relinquished his deanery of Derry to establish a universal college of art and science in the Bermudas and for the benefit of all the .Vmericas, he induced Smibert to accompany him as jirofessor of art. They landed at Newport, January ‘2:3, 172S (O. S.). The dream collajvsed, the dean returned home and became Bishop of Clbyne; Smibert became the leading .Vmerican portrait ])ainter of Boston. A paster on the stretcher of this portrait says: '’"Bought from the old Berleley home outside Xexeport, R. I. — "Westzeard the course of empire' ...” ROBERT EDGE PINE American: 1780 — 1788 WILLIAM ASH {circa 1800 ) Height, 30 inches; zcidfh, 2174 inches Half-eength, facing front, sliglitly to left ; seated, in a red-uphols- tered armchair. A man of smiling countenance, and a warmth of facial color which caused the portrait to be attributed for man}' years to Gilbert Stuart. Black coat, and white neck-cloth and jabot, and gray wig. Dark brown and blackish background. On back: “Mr. William Asli, by Gilbert Stuart; relined, 1916.” “The accompanying painting is of my great-grandfather, "William Ash, who was a gentleman of independent means living in Xew York City and vicinity about 1800. He had a brother Thomas .\sh, also a gentleman of independent means, having a countiy estate at Throgg's Neck on I.ong Island Sounud. This picture was jiainted tor "William Ash himself, and has never been out of the possession of the family. It was presented to my father, the late John C. Ham of New York City, by Mrs. Ash, widow of the aforesaid Thomas .\sh, and given to me hy my father at the time of my marriage. "We have always understood that the painting was by Gilbert Stuart, and it is certainly of that period.” — (INIrs.) Josephine H. 68 "West l()2nd street. Hart, with the above memorandum before him when he examined the canvas, declared his opinion that it was not painted by Stuart but by Pine. Pine was born in London in 1730 (some say 1742) ; he came here in 1783 with the idea of painting heroes of the Revolution, but was unable to complete that task, owing to his early death. He painted numerous portraits of notables, however, and "Washington has recorded his pleasure in receiving him. for the jiainting of his portrait. JOHN NEAGLE, N.A. (Honorary Member, elected 1828) American: 1796 — 1865 Vd'2— WASHINGTON IBVING (1783-1859) Height, 30 inches; width, 25 inches Half-length, seated, to left, three-quarters front. The distinguished author, with smooth face, dark brown hair smoothed clear of his brow and brought carelessly forward beside his tenqiles, is in eas 3 '-fitting black coat and waistcoat, his loose shirt-front unadorned, black cravat and loosely fitting choker collar. His brown-blue eyes are benign and thoughtful, and his features express his cliaracteristic geniality. Neu- tral background grayish in the light and dark in .shadow. A note on tlie well-beloved, Ininioroiis, eng'aging and serious writer, would be almost as o-rntuitoiis as an elementary biography of the distinguished American whose name he shared, yet the reminder may be |)ermitted that Washington Irving was as well known in England as in .\meriea, that lie told England in language of current understanding just how the two countries stood as to jiotentialities, that interest in Siiain did not interfere with his interest in Washington, and that lie knew America not only in Knickerbocker Xew York but through the first John Jacob Astor all the way to the Pacific Coast. John Neagle was a Philadelphian; lived and died in that city, although a casual journey of his jiarents made Boston the city of his nativity. He married Sully s stepdaughter, and jiainted “the virile men" while Stdly jiainted “the pretty women" of the City of Brotherly I.ove. He went to Boston and painted what has been called the best ])ortrait of Cdlbert Stuart. ROBERT FULTON Ameuicax: 1767 — 1815 Vd'd—BOliKRT FULTON (1767-1815) Height, 30 inches; width, 25 inches This self-])ortrait rcjH’Csents tlie inventor of the steamboat at half- length, seated, with figure slightly to right and face very slightly to left; blue coat, white waistcoat and stock, and choker collar; buff breeches. He regards the observer, with ])reoccupied exj^ression, and holds in his riglit hand a small book, finger between the leaves ; his left hand is thrust within his coat. Conventional landscape background, with a side-wheel steamer in a river, and in the distance a domed struc- ture resembling St. Peter’s at Home and also suggesting the Capitol at Washington — and hy some thought to be from a design Fulton is known to have made for the Ca])itol. On hack the following ]iaster.s: “I,e 1(1 Aoiit 1S07, le 'Claremont,' bateau a vajienr, invente par Fulton, citoyen ainericain, fit son premier voyage sur riludson entre New-York & Alliany. l.e Claremont mesurait 50 metres de long sur 5 metres de large.” “The above writing was ])asted on the back of this portrait and was removed by me to reline the canvas. I have rej)laced it in the same position it occujiied on the first linen. Joiix B. tViLivixsox, Fhila. May, 1910.” This jiortrait was at one time the subject of a bitter controversy, particularly on a declaration or confession of a former holder as to repainting or jiainting over the background. Charles Henry Hart, in a signed article in the Yetc Era of l.ancaster, Pa., November 30, 1912, demolished the repainting argument, hy announc- ing that the jticture had been submitted for his ojunion some years previously, that he had then seen that the entire background had been painted over and a com- jiaratively modern walking-beam steamer introduced (instead of Fulton's paddle- box type), and that the canvas had been cleaned and relined under his direction, revealing the true background. Y'ith bis usual sledge-hammer blows Hart demon- strated that the portrait is of Fulton, and gave his opinion that it is hy k'nlton. and told why. 'J'he portrait was then (1912) in a Lancaster County Portraiture Exhibition (Lancaster claiming Fulton as its most eminent son). m DANIEL HUNTINGTON, N.A. American: 1816 — 1906 134— LOU/iV AGASSIZ (1807-1873) Height, OOU inches; K'idth, 25 inches Head ami shoulders portrait — nearly a half-length — to right, three- quarters front; witli a nebulous sky background of gray, cream and blue. The great teacher is in a gray coat with dark velvet collar, white waistcoat and shirt, and wears a clioker collar enwound in a cream-white stock with blue dots and tied in a loose knot. A strong light from the left strikes his higli brow and jiartly bald head and florid cheek. His hair falls long and loosel}’ nearly to his shoulder at the back, his brilliant eyes have an intent and affable far-away gaze, and the lines of his mouth continue the smiling suggestion of eyes and gen- eral countenance. Agassiz’s geniality and his hearty laugh were dwelt upon by Dr. Oliver Wendell Holmes. Signed at the loxcer left, “Agassiz, by D. Huntington, 1857.” JAMES i rothixgha:m Americax: 1781 — 1861 im—GILBEUT STUABT (17.55-1828) Height, .80 inches: width, 21 inches Half-length (without the hands) seated, to left, three-quarters front, with face turned well to the front. “The master j)ainter of Anierica,“ in Hart’s favorite phrase, which some painters contradict but many amateurs endorse and swear by, looks out at the observer with merry eve, a smile on his lips, and a very vivid and vigorous expression. Stray locks of his hair, which a])pears dark, curl down tlie centre of his fore- head. Complexion warm. He sits erect, and is wearing a black coat and waistcoat, with his white neck-clotli tied with a light flourish. Dark neutral background. “Am of tlie o]iiiiion that it was painted liy .Tames Frothingham, circa 1810, wlien the great artist (Stuart) was about fifty-five years of age. I consider it a very characteristic portrait of America’s Master Painter, and especially interesting from having been ])ainted Ity Frothingham, who was one of Stuart's earliest students in Boston, and who made many of the best copies of Stuart's Washington that we liave. The canvas shows the effect of the suliject’s teacliing in its treatment.’’ — Charies Henry Hart. “To whom it may concern,’’ New York, .\pril 26, 191". TIIOIMAS SULLY American: 1783 — 1872 \m—]{()Bi:RT WALSH OF PHILADELPHIA ( 1 78. j- 18.5 8) Height, 30 inches; iculth, 25 inches Half-eexgth seated, figure to front ; liead to left, three-quarters front. Portrait of a young man with finel}’ chiseled features and thoughtful eyes, leaning back somewhat and supporting his head upon his left hand, with elbow resting upon a large ojien volume on a writing table at Ills side. His thin and long black hair takes its free way over his brow and temples. He is in black, witli white stock and waistcoat, and gold buttons. Neutral background of dark reddish-brown. ]?(il)ert Wal.sh, well-known literary man, horn Baltimore, 17S-5, .son of Count Wal.sh, an Irishman who married a Quakeress; educated at the Catholic colleges at Baltimore and Washington; admitted to the har in Philadelphia in ISOS, hut pre- vented hy deafness from ])racti.sing. A jiamphlet of large proportions, “I.etter on the Genius and Dis])o.sition.s of the French Government,” jmhlished in ISll, went through twelve editions in six weeks in I.ondon. Jeffrey saying of it: “We must learn to love the Americans when they send us such hooks as this.” Walsh established the first (juarterly journal in the L’nited States, his “American Review of History and Politics.” He died in 1S.5S. Fainted in 1814. See Sully Register, Xo. 177-5. Purchased from Henry C. Walsh of X eic York and sold to Mr. Smith. GILBERT STUART, X.A. (Honorary Member, elected 1827) Ameuicax: 1755 — 1828 137— UA RL HA RRYMORE” Height, 30 inches: width, 25 inches Half-length, facing the front, liead directed toward the riglit. A smooth and rosy faced man of quiet cx])ression, in gray wig and dark coat with gilt buttons and white revers ; white waistcoat, stock and jabot. Brown background with dark red drapery. This canvas is guaranteed as a jjortrait by Stuart by !M. Knoedler & Co., and the late Charles Henry Hart also ])a.ssed upon it several years ago, declaring it a Stuart. The identity of the sitter has not been satisfactorily ascertained. Knoedler & Co. sold the jueture as a ])ortrait of “Admiral Barrymore." Hart pointed out that the sul)ject is not in a naval uniform — which would not he a necessity, thougli officers were customarily jiainted in uniform. He mentioned also that Stuart did paint .\dmiral Barrington, adding that tliis was not that officer. Another con- jecture that the jiortrait was of I.ord Barrymore “the Sporting Earl" (1709-1793), etched by Bowlandson, was not borne out. But tliat the jiainting is by Stuart (Hart thought about 17S0) is not contested. Exhibited at the Worcester Art Mnsenin. GII.BERT STUART, X.A. (Honorary Member, elected 1827) Ameiucax: 1755 — 1828) 138— .S/7? BICHAIU) ABKWBIGHT (1732-1792) Height, 30 inches: rcidth, 25 inches The celebrated inventor of the revolutionary cotton-spinning machin- ery which brought great wealth to England and benefited the world is pictured at half-length, seated, figure slightly to right and face to left, with liglit from tlie left falling full upon his features. He is in a wliite wig heavily curled, gray coat with large gold buttons, and brown waistcoat barred in green and yellow ; white neck-cloth. Yellowisli- brown background. “Sir Richard Arkwright was horn at Preston, I.ancashire, in 1732, and died in 1792. Xotwithstanding- the obstacles thrown in his way at first by poverty and want of mechanical skill to reduce his inventions to jwactice, and afterwards in- the un]irinci]iled invasion of his rights by rival manufacturers, he realized a very large fortune; and his machines, but little imjiroved u])on, have been the means of almost innumeralile fortunes being made liy others. IMr. .\rkwright was not l.nighted, as many supjiose, on account of his inventions, but on the occasion of ]iresenting an address as High Sheriff of the County of Derliv, congratulating George III on the failure of the attenpit made u])on his life l)y Margaret Xicholson,“ — Maiixdek's “Treasury of Riograjihy.” Exhibited at the Worcester Art Mnscinn. Certified hif Vicars Brothers, Old Bond street, London, as an original by Stuart “and no replica in existence." Believed to have been painted about 1784. GII.EERT STUART, X.A. (Honorary Member, elected 1827) Americax: 1755 — 1828) 139— DANIEL WEBSTER (GRACE FI. ETCHER) Height, 291^4 inches; width, 211/4 inches Half-length seated, to right, three-cjiiarters front, left hand resting against the seat-arm and right concealed beneath a crimson wrap whicli falls in folds about her elbows. She is in a gown of dark turquoise-blue witli a deep neck-ruffle of white lace in several folds, and wears gold jewelry. A woman thin but of considerable frame; angular face with pinkish cheeks, and gray eyes ; brown hair witli ringlets overhanging the tem])les. Uraj^ery and landscape background in red-brown and gray, rose, white and blue. Grace Fletcher was horn in 1781, daughter of the Rev. Elijah Fletcher of Ilopkinton, New Hani])shire; educated at Atkinson Academy, near Haverhill; in 1807, while visiting her elder sister Rehecca, wife of Israel Webster Kelly, at Salisbury, N. PI., met Daniel Webster, and married him at Salisbury on June 11, 1808. They had five children. She was with him for years in Washington, but soon after he had been sent to the Senate she was taken ill in New York on her way to join him, and died January 21, 1828. The portrait of iMrs. Weh.ster was jiainted about 181(i. Shortly before Webster married his second wife, in 1829, he gave the portrait to the first wife's sister Rehecca, referred to above, from whom it passed to Webster's son Daniel P^letcher Webster, and was retained by his wife after his death. At the close of her peculiar career which ended in misfortune the jiortrait was lost to sight for a time; its recovery is traced in information supplied to Mr. Smith and included in his records. GILIJEKT STUART, X.A. (Honorary Member, elected 1827) Amekican: 1755—1828 IW— MOSES BROWN (17(0-1820) (Panel) Height, 82 inches: zcidth, 2574 inches H ALF-EEXGTH to left, tliree-quarters front, the face more fully to the front; seated, in a gold-frame armchair with deep rose u 2 )holstcry; grayish-olive interior wall hackground. A sandy-haired man with somewhat florid face, clean-shaven cxcejjt for short side-whiskers, and dark blue eyes which fix ujion the observer with studious scrutiny. Black coat, with white waistcoat, jabot and cravat. Moses Brown of Beverly, Massachusetts, a nieniber of the famous family to which the State of Rhode Island considers itself so much indehted, and credited with being the ])ioneer in the introduction of cotton-spinning machinery in New England, was horn at tValtham, Massachusetts, and was graduated from Harvard College in At the beginning of the Revolution he recruited a company, marched to the Common, was ])resented with sword and belt by citizens, com- missioned by (lovernor Hancock and jiroceeded to Washington. He was in the "Crossing of the Delaware” with the Beverly and Marblehead troo])S, under M'ash- ington, and at the close of the war returned to Beverly. I.ater he formally turned over to the authorities his sword and jiara])hernalia. with a diary of his war cxi)eri- ences. He at once entered mercantile life, and at his death in 1S20 left what was in those days a fortune, upward of $1.50,000. “77(c portrait has been ou'tied bg the folhm-ing members of onr fumihj: Moses Brou'ti, then by George Broien his son: then by Mary Ellen Broicn, the daughter of George, udio gave it to myself, the present oxi'iier. Ella Brown Hitchings {Mrs. J. TI'. Hitchings), East Sangns, Massachusetts, August 8, 1918.“ Exhibited at the Boston Museum of Fine Art, 1887. Exhibited at the Worcester Art Muse)im. Exhibited at the Washington Centen- nial Loan Exhibition, Metropolitan Opera House, Sew York, 1889. Exhibited at the Colonial Exhibition, Bhode Island Sehool of Design {one-hundred-and-fiftieth eelebration) , Providence, 19U. GILBERT STUART, N.A. (Honorary Alember, elected 1827) American: 1755 — 1828) \4>l— MATILDA CAROLINE CRUGER (1776-1812) Height, dOU inches; width, 281/4 inches This stunning portrait, whicli will stand up in any portrait group, and wliicli won such high praise from the chief student of Stuart’s work, presents the charming young lady at three-quarters view, figure to the front and head turned toward her right, seated in a round-backed arm- chair wliose red upholstery is finished off with gilt tacks. She is seen before an olive wall with a jianel or a paneled window-shutter in grav at the left. She wears a decollete gown of pearl-white with a lace-flounced neckyoke, tight sleeves with lace at the wrists, and a deep sash of light blue about her slender waist. A mass of soft brown hair curls about her head, witli a long ringlet brought over one shoulder. Her fine features are exjiressive of tlie generous and genial “smile from within.” Painted in 1794. “The largest and the finest pnrtrait of a woman I have ever seen or known of, j)ainted l)y Gilbert Stnart." — Ciiaui.es Hexiiy H.aht. Matilda C'aroline Crnger, horn in Bristol, England, 1776; daughter of Henry Cruger, born in New York in 17.39, who went to England and was elected to Parlia- ment in 1774, where, colleague of Edmund Burke, he advocated the cause of his native land throughout the Revolutionary War. He returned to New York in 1790, and Miss Cruger, a year after her portrait was painted, married I.awrence Reid Yates, whose j)ortrait Stuart had also jiainted in the same year as hers (1794 — Mason’s “Life and Works of Gilbert Stuart”). The portrait of iMr. Yates was sold last year at the Thomas B. Clarke sale. ^Ir. Yates died in 1796, and in 1800 the young widow married her cousin Judge Henry Walton. She died in Charleston, S. C., in 1812. By her second marriage she had six children. Her only child by her first marriage, Caroline Matilda Yates, married .Tames Taylor of Albany, a widower; she died in 1866, leaving her mother’s portrait by Stuart to her step- daughter Maria, wife of Asscx'iate Justice Ward Hunt of the United States Supi'eme Conrt, for life. Mrs. Ward Hunt died July 8, 1912, and the portrait, under iMrs. Taylor’s will, jtassed to Mrs. Hunt’s niece, IMrs. Phineas P. Hillhouse. “I have seen and studied during a period of fifty years more portraits painted by Gilbert Stuart than any other person, and my survey satisfied me that as great an artist as Stuart was in the jiainting of robust, virile men, he was a much greater artist in the delineation of beautiful and dainty women * * * If I had known of the portrait of Miss Cruger and could have gotten it, it would have been the Abou Ben .\dhem of the series and led all the rest." — Ch-^ri.es Henry Hart, in a letter, April 4, 1917. JOHN SINGLETON COPLEY American : 17 * 37 — 1815 1 ^2— MRS. DA VIJNPORT : “LADY DAVENPORT” {circa 1800) Height, 11 iitchca; zcidfh, *301/). inches Ax affable lady with read^v smile is seen at thrcc-cjuarters length, stand- ing beside a vase of tulijis, for one of wliieh she reaches; she clasps tlic stem liglitly, her right forearm being extended across her body to attain tlie flower. Figure sliglitly to right, she faces front, before a conven- tional background of gray, brown and olive notes. She has florid cheeks and dark hi'own Iiair, and wears a low-cut gown of gray-brown satin, generously adorned witli silver fringe and with frills and flounces; flowing sleeves witli lace, and lace-edged corsage. Mrs. ])aveii]K)rt was the wife of .(ohn Daven])()rt, a silversmith and l)uekle- maker of Itostoii who removed to Portsmouth, Xew Hampshire, wliere for iriany years lie was town constalile — whence arose, it lias been rather imaginatively con- jeetiired, the title “I.ady Davenport” by which the subject has been known (possibly from the lady's hearing or ])ersonality ) . Buckle-making iiecoming uniirofitahle “by reason of tlie introduction of shoestrings,” Davenjiort turned his jiremises into an inn, according to information obtained liy ISIr. Smith from writings of IMiss Abhie Watson, late of Lowell, Massachusetts, and a hook “Ranililes Around Ports- mouth," which says: “On Ash Lane, on the corner of State street, stood the Ark Tavern, kejit by .John Davenjiort. * ♦ * Davenjiort then ojiened his jireniises as a jiuhlic house witli the sign of Noah's Ark and denominated h.is house Ark Tavern, exhibiting in front a fanciful jiicture of an ark.” There Mrs. Davenjiort died, “jirohahly about 1818,” according to information given Mr. Smith, “while the Sujireme Court was sitting, in February, and she was kejit until the court closed business about three weeks after.” Miss M’atson's father bought the jiortrait as a Cojilev, in Portsmouth, some eighty years ago. In his hook “John Singleton Cojiley,” Frank W. Bavley of Boston lists the Jiortrait as a Cojiley, describing it, and characterizing it as “a very distinguished and handsome jiortrait of a lady by Cojiley, the subject of which is unknown." It was sulisequentiv that Mr. Smith, through agents sent in search, obtained the foregoing information. Exhibited at the Worcester Art Museum. JEREMIAH THEUS American: 1719—1774 HENDRICK VAN BUREN ( 1730 - 1797 ); JVife of Dr. Hendrick J^an Buren Height, 29'% inches: xvidth, 25 inches Three-quarter-length standing figure of a bright-eved and blond young Moinan facing tbe spectator, head turned a bit to lier right, whence the liglit comes, envelo])ing the entire figure. Her oval face is crowned by brown hair brushed loosely hut smoothly back, and decked over tlic centre of tlie forehead with a how and red posies. She is in blue, with heavy silver embroidery, the bodice tight and decollete, with lace-frilled elbow sleeves, and the skirt standing out in bulging hi])- folds. Slie holds a jiink rose at her breast. Gray background. Painted about 17.50. On hack: “Mrs. Hendrick Van Buren (Catharine A'an ^'oorhees) 1720-1797, hy Jereniiali Theus.” From Charles Henry Hart, who wrote Mr. Smith: “The portrait you own came direct from tlie subject’s family and is one of .Teremiah Theus’s very good works, such as are only seen in some of the old families of South Carolina and Oeorgia. * * * I feel you may consider yourself very fortunate in the ownershij) of this ])ortrait, as it is the only example of a Theus jiortrait I have ever known to he sold, they being cherished heirlooms in the families of the sitters.” That letter is dated May 22, 1917. In January, 1919, a jiortrait of a man hy Theus, Alexander Broughton of South Carolina, was sold in the Thomas B. Clarke Collection of Early American Portraits. (American Art .Vssociation; Plaza Hotel, January 7, 1919.) Theus was well known in his day, and after a jieriod of obscurity is becoming so once more. He reached South Carolina in 17:39 from Switzerland, and so well did he jiaint that during the decades of his occultation his jiortraits have in the main been attributed to Cojiley. RALPH EARL American: 1751 — 1801 14^4^— MRS. NATHANIEL GARDNER, OF GROTON, MASSACHUSETTS Height, 30 inches; width, 25 inches • Half-length, seated, facing the spectator, a strong light from the left illumining her features and her cream and rose breast, as she sits in a lilac-hued silken gown, decollete, wdth lace-edged corsage; lace frills at her wrists and a creamy-white lace drapery enwrapping her shoul- ders. Her abundant dark brown hair is worn in an elaborate dress, spread and massed about her face and head, and it is looped with pearls and crowned b}^ nodding ostrich-plumes. She is seated on a dark green sofa, against a neutral background of brownish notes. Mrs. Gardner was the second wife of Nathaniel Gardner, of Boston and Groton, whose portrait appears in the collection as a conij)anion to this one; both were painted in the same year by the same artist. For biographical notes see the portrait of Mr. Gardner. Mrs. Gardner was Miss Mary Ann Lewis. Painted in 1798. In original carved wood frame designed by Paul Revere. Ralph Earl was born at Leicester, Mass., May 11, 1751; his father was among those who marched to I.exington with the Governor's Guards. He painted Revo- lutionary scenes which were engraved by Amos Doolittle, and he died at Bolton, Conn., in 1801. M'hile he was in England studying under Benjamin West, M'est obtained for him a royal commission to paint the king, George III. RALPH EARL American: 1751 — 1801 14>5— NATHANIEL GARDNER, OF GROTON, MASSACHUSETTS ( 1757-1800 ) Height, 30 inches; xi'klth, 25 inches Short half-length, the hands not included, turned slightly to right with eyes front, the eyes blue, M’ith a vague, reflective expression; aquiline nose and thin, firm lips; florid countenance, and a wig su])pleinenting powdered hair banged low over the brow. A man of maturity beyond his years, in a dark crimson coat with rose revers and waistcoat, and white stock and jabot. Observed against a blackish background with a single grayish-olive area of relief. (It has been observed that the face suggests certain portraits of Washington.) Nathaniel Gardner the son of Thomas (born 1728); great-great-grandson of Thomas (born in England in 1641), who settled in Roxhury, Massachusetts, where his great-great-grandson was born in 1757. Nathaniel married in 1782 Polly Berry, who died in 1786 leaving two daughters. In 1787 he married Mary Ann Lewis (whose portrait accom])anies his own in this collection), by whom he had a son and daughter. They lived in Boston, attending the Hollis street Meeting House, afterward moving to Groton, where they maintained an estate and where Nathaniel died in 1800. In 1798 in a letter to a member of his family he refers to the beautiful j)ortraits of his wife and himself, just received, painted by his old friend Earl. Earl was a native of Leicester, where Gardner also had other friends, two of whom he appointed guardians of his four children. Ralph Earl, who was painting portraits in Leicester in 1771, followed Copley to I.ondon in 1774, studied under M’est and was admitted to the Royal Academy, and painted a portrait of George HI for "Windsor Castle, being recommended to the king for the commission while Copley, Stuart and Mather Brown were all in England. He returned to Connecticut in 1786, and the next year Alexander Hamilton found him in jail for debt in New York City, and secured for him com- missions which enabled his release. He painted, besides portraits, four Revolutionary scenes which Amos Doolittle engraved. JOHX WESLEY JARVIS American: 1780 — 1839 \4>Q~PORTRAlT OF A MAN ( Panel) Height, 30 inches; width, 21% inches Half-length seated, facing the observer, with a slight turn toward the right ; a stout man in youthful maturity, with keen e^’es and warm color, his dark brownish hair worn carelessly, falling easily about brow and temple, and short but equally wandering side-whiskers continuing below it. He wears a black coat and creamy-white waistcoat, and white ruffled shirt, and a wing collar spreads its white folds over his black stock. His right hand is in view, resting on the arm of his chair. CHESTER HARDING American : 1 7 92 — 1 866 \^1—MRS. THOMAS BREWSTER COOLIDGE Height, 35 inches; width, 28 inches Half-length, standing, facing front with a slight inclination toward the right ; in outdoor costume, an ermine-lined gray silk cloak covering a rich olive gown ; pale lemon-yellow gloves and black plume-laden hat with white lace beneath it. A woman still young, with warm complex- ion and sad, pale e^ms, and brown hair which is worn in heavy curls beside the temples. Neutral background of olive-gray and brown. Mrs. Thomas Brewster Coolidge was Clarissa Baldwin, daughter of Colonel Loanii Baldwin of the Twenty-sixth Massachusetts regiment of the Continental Army, who originated the Baldwin apple. This portrait descended to Benjamin Coolidge, the eldest son of Mrs. Coolidge, and to his son Baldwin Coolidge, who sold it to the Boston dealer from whom Mr. Smith acquired it. Chester Harding also painted two portraits of Mrs. Coolidge's brother Loami Baldwin, Jr., one of which is in the Baldwin mansion at M'oburn, Massachusetts, and the other in the Engineers’ Club, Boston. Chester Harding, born in Conway, Mass., in 1792, had a picturesque and erratic career. He was a jack-of-all-trades in early life, painted houses and signs as far away as Pittsburgh, went to Kentucky and worked as a professional portrait painter there, and got together enough money to move to Philadelphia and begin to study in earnest. He went back to St. Louis, and in 1818 journeyed a hundred miles into the woods to paint a portrait of Daniel Boone, which is now in the collection of Mr. Herbert L. Pratt. A decade later he was a fashionable painter of women’s portraits in Boston, where he died in 1866. JONATHAN BLACKBURN American: (Circa) 1700 — 1765 U8—MRS. JOSHUA BABCOCK ( 1714 - 1778 ) Height, 45 inches; width, 361/2 inches Three-quarter length, seated, to left, three-quarters front. In blue decollete gown, the bodice tight and decked with pearls and the elbow sleeves caught up with pearls ; lawn undersleeves ; skirt loose, in heavy folds. An orange drapery thrown over a balcony railing, and encircling her back, falls lights upon her right knee, and she rests her hand on it, holding a nasturtium. With head held noticeably erect and firm, she looks straight forward, past the spectator. Cheeks rosy ; brovm hair bound with pearls. Conventional landscape background, with cypress and other trees. Mrs. Joshua Babcock (Hannah Stanton) was the wife of Joshua Babcock, Chief Justice of Rhode Island. Jonathan Blackburn was born in Connecticut, the son of a painter; had a studio in Boston 17.50-1765; is mentioned by Dunlap as a contemporary of Smibert, and by Tuckerman as having executed notable portraits in Boston, Portsmouth, N. H., and other New England cities. Represented in the Public Library, I^exing- ton. Mass., and the Massachusetts Historical Society, but most of his portraits are I)rivately owned, the majority in Boston. It is said that he quit his Boston studio from jealousy of Copley. “He was a good portrait painter, and some of his pictures were long attributed to Copley .” — Ennjclopcedia Britannica. Exhibited, Metropolitan Museum of Art, 1911 ; Brooklyn Institute of Arts and Sciences, 1917 . Reproduced in Babcock Genealogy, 1903 ; Updike's “History of the Episcopal Church in Xarragansett," 1907 . Descent of the portrait: Mrs. Babcock ( 1714 - 1778 ) to her son Adam ( 1740 - 1817 ); to his son William ( 1764 - 1840 ); to his daughter Elizabeth ( 1817 - 1903 ), wife of Rex'. S. S. Mathews; to her daugh- ter Martha ( 1841 - 1900 ), wife of Dr. R. J. Pray; to her daughter Mary ( 1873 - 1903 ); to her uncle the Rev. Samuel S. Mathews ( 1847 - 1910 ) ; to his daughter Anna Elizabeth Mathews Richard- son of Roxbury, from whom it was purchased by Mr. Clarence S. Brigham of Worcester; thence to William Macbeth of Xrw York, from whom Mr. Smith bought it. JOHX NEAGLE, X.A. (Honorary Member, elected 1828) American : 1796 — 1865 149 — NEAGLE {MRS. JOHN DICKSON) Height, 301^ inches; icidth, 25^^ inches Ha LF-LENGTH, Seated ; ver}' slighth' to left. A mature 3 ’oung woman in a rich black gown, with broad shoulder-collar of white lace, and white lace cap with long lace strings. Dark hair and e^^es, and warm complexion. She looks at the observer, with a quiet, smiling expression. Shadowed background. On back: Painted by John Neagle, Phila., 1834. Considered “one of his father’s finest female portraits," by Garrett C. Neagle, from whom it was obtained by Gilbert S. Parker, a personal friend, who sold it to Mrs. Anna P. Bly, from whom it ]iassed, through a dealer's hands, to Mr. Smith. John Neagle was born in Boston of Philadelphia parents who were there on a visit; he lived in Philadelphia and died there. He wedded Thomas Sully’s step- daughter and niece, and it has been said that while Sully “painted the pretty women” of the city by the Schuylkill, Neagle “painted the virile men.” He painted in Boston what has been called the best portrait we have of Gilbert Stuart; so at least Hart regarded it. ASHER BROWN DURAND, P.N.A. American: 1796 — 1886 150 — 3 / 7 ?^. WINFIELD SCOTT ( 1787 - 1866 ) Height, Si inches; width, 27 inches Three-quarter length seated, face to the front and figure slightly to the left ; a dark-eyed young woman with creamy complexion and black hair, who does not look the years which the date on the canvas gives her (44). Decollete govm of creamy-brown, the corsage lace-edged, with short puff sleeves, and voluminous secondary sleeves of white gauze coming to the wrists. Her right arm rests on a marble-top table, be- side a crimson daldia, and she holds a pale purplish dahlia in her hand. The background includes a river landscape suggesting the Highlands of the Hudson or the Staten Island hills. Signed at the lower left, A. B. D., 1831. Mrs. Winfield Scott (Maria Mayo), wife of General Winfield Scott, was a daughter of John Mayo, Esq., of Richmond, Virginia. Exhibited at the Brooklyn Institute of Arts and Sciences, 1917. CHARLES LORIXG ELLIOTT, N.A. Amekican: 1812 — 1868 \5l—P01lTRAIT OF AN UNIDENTIFIED YOUNG MAN Height, 36 inches; width, 28 inches Three-uuarter-length standing dgure of a well-set-np young man with clcan-cut features, (juiet brown eyes and bushy dark brown hair; he faces slightly toward the right, with riglit arm akimbo with a rest on an abutting balustrade. He is in black, with white waistcoat and a ricli black neck-cloth, in the fashion of the second quarter of tlie nine- teenth century, and he wears as an outer coat a rich fabric of a soft golden-brown hue. Painted as a “poi'trait of a portrait” — the subject seen as painted against a sky background within an oval frame, the whole on a rectilinear canvas. Instead of declaring according to his custom that “in my opinion it is,” Charles Henry Hart wrote of this ])ortrait to James P. Labey of Xew York of whom Mr. Srnitli purchased it that it “is jiainted by Charles L. Elliott (1812-1868) who was the successor of Inman as easily the best portrait painter in the country for a score of years prior to the Civil War. This portrait is a fine example of Elliott’s work circa 1840, beautifullv handled with much charm in its color, treatment and expression, that belong essentially to Elliott’s hand. I consider it a most desirable example of the work of this excellent painter.” Attkibutki) to EDWARD SAVAGE Americax : 1761 — 1817 152— GEORGE WASHINGTON AND FAMILY Height, 25 inches; length, 30 inches A SMATL painting, its composition that of the large canvas owned by the Democratic Club — widely known for generations. A canvas painted (if by Savage, as is believed) by one of the painters who painted Gen- eral Washington and Mrs. Washington during their lifetime (although their portraits in the large “Family” group were not from life but from Savage’s own earlier originals). In the small picture liere the General in his dark blue and buff military uniform sits at left, with right arm on the Custis boy’s shoulder, left hand on a chart the other end of which is held by Mrs. Washington, who is sitting opposite him on the right ; Eleanor Custis, standing back of her, also takes hold of the chart. Behind Mrs. Washington stands the negro servant Billy I^ee. Scene, the portico of Mount Vernon, with red draperies, and in tlie distance the Potomac at sunset. Edward Savage was born at Princeton, tt'orcester county, Massachusetts, where he died; son of Seth; grandson of Edward who came from Ireland in 1696. The grandfather Edward was son of Abraham Sauvage, who had been driven to Ireland from St. Algis, Picardy, by the revocation of the Edict of Nantes. Edward the grandson came to New York at the age of twenty-eight with a letter from the President of Harvard requesting Washington to sit for a portrait for the Uni- versity; Washington did so. (Washington’s Diary 1789-90.) In 1791 Savage went to London; studied under West; became an accomplished stipple engraver; returned to Boston; settled in Philadelphia after 179-1; issued numerous plates after his own paintings of famous men and women, including the “Washing^ton Family” so well known, which was published in 1798. Early in the nineteenth century Savage returned to live in Massachusetts. COLONEL JOHN TRUMBULL American : 1 7 56 — 1 843 \5^—S01lTlE FROM GIBRALTAR Height, 20 inches; length, 30 inches The historic military episode the oral recital of which so greatly im- pressed Col. Trumbull that he was impelled not onU to paint it but to paint it five times, is pictured in a representation of more than fifty figures, a score of them carried to fine detail and the principal charac- ters portraits. In a night landscape lightened by a brilliant and lurid conflagration — as the tragic event and its vivid pictorial contrasts were related to the painter. The Spanish hero prone, poniard in hand, as lie looks back toward the slaughter and flames at the left, raises an arm before the British officers ivho stand grouped before him at the right. In the background at tlie right the British colors, and at the left forces fighting in the firelight and the flames. “In May of this year (1787) ]M. Poggi told me the story of the sortie from Gibraltar, which had taken place in 1781. We were walking in Oxford street, in early twilight. I went to my lodgings, and before I slept put upon paper a small sketch of the scene, now in the possession of the .Vthenenm, Boston.” — Trumbull’s Autobiography. Trumbull first painted the picture on a canvas fourteen inches by twenty-one, which he presented to West; finding he had made a mistake in the uniform of the principal figure he painted a second canvas, twenty inches by thirty, which was sold to Sir Thomas Baring for five hundred guineas. It is this canvas which is in the present collection. It was finished in 1788. His third and largest canvas, finished the following year, is the one now in the Boston Museum of Fine Arts. His fourth he retained, it was inherited by his niece, and is now owned by Mrs. C. L. F. Robinson of Hartford. The fifth is now in the collection of Herbert L. Pratt of New York. The sizes of the third, fourth and fifth canvases are respectively, 72 by 108 inches, 371/3 by 581/3 inches, and 35 by 53 inches. LIST OF ARTISTS REPRESENTED AND TRIER WORKS ' 4 ''' LIST OF ARTISTS REPRESENTED AND THEIR WORKS CATALOGUE NUMBER ALEXANDER, Francis John L. Gould 28 Master Lord 31 Portrait of a Lady 52 AMES, Ezra N. Allen, Esq. 57 AUDUBON, John James Miss Audubon 32 Birds 33 BADGER, Joseph Captain John Larrabee, Lieutenant of Castle William 79 BANNING, William J. Samuel Waldo (1783-1861) 35 BEECHEY, Sir William, R.A. Beggars at a Cottage Door: Scene near Dover, England 18 Portrait of a Naval Officer 97 BENBRIDGE, Henry Portrait of a Man 54 BIRCH, Thomas, N.A. The Shipwreck 77 BLACKBURN, Jonathan Mrs. Joshua Babcock (1714-1778) 148 CATALOGUE NUMBER BRIDGES, Charles Portrait of a Lady 64 liROWN, iNlATHER Portrait of a iMan .58 BRUSH, George De Forest, N.A. The Weaver 24 BYZANTINE SCHOOL An Ikon: The iMadonna and Child 2 COIJ^j, John, Jr. Portrait of a IMan 10 CONSTABLE, John, K.A. A I.andscaj)e: Sun and Shower 84 Flatford Lock 88 COPIjEY, John Singleton Gawen Brown (1719-1801) 122 Major John Andre (17.51-1780) 129 jMrs. Davenport: ‘T.,ady Davenport” {circa 1800) 142 COTES, Francis, li.A. Portrait of iMiss Anna Williams 93 Portrait of a Lady 98 CROME (OLD CROME), John Part of a Forest 21 Yarmouth Beach 83 The Mill 86 DICKINSON, Anson Portrait of a Lady 49 CATALOGUE NUMBER DOUGHTY, Thomas Landscape with Figures 12 Landscape with Figure 22 Landscape 23 DUNLAP, William, N.A. Captain AYatson 53 DURAND, Asher Brown, F.N.A. Mrs. Winfield Scott (1787-1866) 150 EARL, Ralph jMrs. Nathaniel Gardner, of Groton, Massa- ehusetts 144 Nathaniel Gardner, of Groton, Massachusetts (1757-1800) 145 EICHHOLTZ, Jacob IMrs. Arundel 126 Mr. Arundel (Son of M. S. Arundel) 127 ELLIOTT, C HARLES LoRING, JY.A. Portrait of an LTiidentified Young Man 151 ENGLISH SCHOOL Portrait of an Eeclesiastic 69 A Child with a Squirrel 70 ETTY, AVilliam, R.A. A Nude 19 FISHER, Alvan River Landscape with Horseman 71 FRAZER, OLrniR Portrait of a Lady 39 Portrait of a Man 40 CATALOGUE NUMBER FROTHINGHAM, James Mrs. Phinias Carlton 41 Gilbert Stuart (1755-1828) 135 FULTON, Robert Robert Fulton (1767-1815) 133 FURNESS, John Mason John Vinal: “Master Vinal” (1736-1823) 46 GAINSBOROUGH, Thomas, B.A. A Landseape 85 Portrait of Mrs. Cockburn of Roehester 99 GREENWOOD, Ethan Allen Portrait of an Unidentified IMan 38 Portrait of a JMan 68 GREENWOOD, John William I.,ynde, Esq. (1710-) 63 HARDING, Chester Mrs. Thomas Brewster Coolidge 147 HART, George D. “Old Ironsides” 78 HESSELIUS, Gustavus John Leeds (1705-1790) 11 HOGARTH, William Miss Pert: A Conversation Piece 89 HOGARTH {Attributed to) A Conversation Piece 66 HOGARTH {Manner of) An Interior 14 CATALOGUE NUMBER HOGARTH {Period of) An Artist in Contemplation 16 HOMER, Winslow, N.A. The Cock Fight 25 HOPPNER, John, R.A. Portrait of the Countess of Euston 95 Portrait of Sir George Beaumont 101 Portrait of Miss Home (“The Girl with the Kitten”) 103 HUBARD, William James John Marshall (1755-1835) 119 HUDSON, Thomas Portrait of a Young Woman 107 HUNTINGTON, Daniel, N.A. Louis Agassiz (1807-1873) 134 INMAN, Hene.y, N.A. Portrait of a Man 6 Portrait of the Artist’s Father 29 Mrs. Elizabeth Oakes Smith, 71 A Prince (1806-1893) 113 JARVIS, John Wesley Daniel Dewey Barnard (1797-1861) 117 President Washington 124 Portrait of a Man 146 JOHNSON, Henrietta Lady Johnson, Wife of Sir Nathaniel Johnson 47 Governor Sir Nathaniel Johnson (1644-1712) 48 CATALOGUE NUMBER JOUETT, Matthew Hakkis Frances Berryman ^IcKinney (Mrs. James G. jMcKinney) .50 John G. McKinney, Jr. 51 Doctor William S. Waller of Kentucky .56 KXELLEB, SiE Godfeey Portrait of Mrs. King 108 KYLE, Joseph, A.N.A. Portrait Group 72 LAXDSEEB, Sie Edwin H., R.A. The Return from Hawking 20 LAWRENCE, Sie Thomas, F.li.A. Portrait of the Rt. Hon. George Canning 96 Portrait of JMarie Clotilde JMotte et de la Fontaine, Lady Russell 104 LEIA^, Sie Petee Portrait of a Young Lady 74 Portrait of Barbara Yilliers, Duchess of Cleve- land 109 METCALF, Eliab Portrait of a Gentleman 61 MORLAND, Geoege Seascape 13 A Farm Hand Resting 15 Rural Gossips 81 IMORSE, Samuel Finley Beeeze, P.X.A. “Frederick Yon Slade” 62 CATALOGUE NUMBER NEAGLE, John, N.A. Washington Irving (1783-1859) 132 Miss Neagle (Mrs, John Dickson) 149 NEWTOX, Gilbert Stuart Portrait of a Lady 34 XORTHCOTE, James, R.A. Portrait of the Artist 75 OPIE, John, R.A. Portrait of Mrs. Ritterdon 92 Portrait of the Earl of Orpen 94 OTIS, Bass “Mrs. Xicolson” 42 James Madison (1751-1836), Fourth Presi- dent of the Flnited States (1809-1817) 55 PEALE, James Captain (?) James Chambers 115 PEALE, Rembrandt, N.A. Captain Dennison Wood, New Yorker 123 PINE, Robert Edge William Ash {circa 1800) 131 RAEBURN, Sir Henry, R.A., F.R.S.A. Portrait of Mrs. Thomas Linacre 90 Portrait of the Rev. Dr. Franeis Nieol 91 Portrait of John Gray, of Newhohn 110 REYNOLDS, Sir Joshua, P.R.A. A Romantic Woody Landscape 87 Portrait of Archibald Bower 102 Portrait of JNIrs. Ilillersden 105 CATALOGUE NUMBER REYNOLDS, Sir Joshua {Attributed to) A Young Girl 7 ROMNEY, George Portrait of a Man in a Red Coat 100 Portrait of Mrs. Phipps 106 RUSSELL, John, R.A. Portrait of a Girl with a Rose 67 SAINT IMEMIN, ChxVrles Balthazar Juliex Fe^tiet de Two Portraits: General Aquila Giles and Elizabetli Shipton Giles 111 SARGENT, Col. Henry Sarali Anne St. John (1794-1867) 37 SAVAGE, Edward {Attributed to) George Washington and Family 1.52 SHARPI.es, James Portrait of a Man 114 SMIBERT, John Bishop George Berkeley (168.5-1753) 130 STOTHARD, Thomas, E.A. A iMidsuinmer Night’s Dream 3 STUART, Gilbert, N.A. “Earl Barrymore” 137 Sir Riehard Arkwright (1732-1792) 138 Mrs. Daniel Webster (Grace Fletcher) 139 Moses Brown (17(?)-1820) 140 IMatilda Caroline Cruger (1776-1812) 141 CATALOGUE NUMBER SULLY, Thomas, N . A . Double Picture: Portrait of Miss Sully and Self-portrait of the Artist 112 Springtime 116 “The Young Poet” 120 Robert Walsh of Philadelphia (1785-1858) 136 THELTS, Jekemiah Portrait of a Boy with a Dog 125 IMrs. Hendrick Yan Buren (1730-1797): Wife of Dr. Hendrick Yan Buren 143 TRUMBULL, Coloxel Johx Caleb Strong, Governor of Massachusetts (1745-1819) 121 Sortie from Gibraltar 153 UXIDEXTIFIED Portrait of a Man 65 UXKXOWX The Pursuing Satyr 1 Portrait of a Young 3Ian 4 Portrait of a Man 5 Portrait of a Lady 8 Portrait of a Gentleman 9 Signers of the Declaration of Independence 26 George Washington 27 Bishop G. W. Doane (1799-1859) 30 Old Lady in a AVhite Cap 43 IMadame Abiel Fitch, Wife of Hon. Thomas Fitch of Boston 59 John Fitch, Son of Hon. Thomas Fitch of Boston 60 CATALOGUE NUMBER VANDERLYN, John Portrait of a Man 118 WALDO, Samuel Lovett, A.N.A. William Steele (1762-18.51) 128 WEBSTER, Thomas, R.A. Dotheboj^s Hall (Squeers School) 82 WEST, Benjamin, P.R.A. Allegorical 44 The Holy Spirit Descending upon Christ after His Baptism 76 WHITE, John Blake Gen. Marion in His Swamp Encampment, in- viting a British Officer to Dinner 36 WILKIE, Sir David, R.A. The Blind Fiddler 17 Camping Gypsies 80 WILLIAjSIS, Henry Portrait of an Old Lady 73 WOOL ASTON, John {Attributed to) Martha Washington 4.5 INTELLIGENT APPRAISALS FOR UNITED STATES AND STATE TAX INSURANCE AND OTHER PURPOSES The American Art Association IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH APPRAISEMENTS AND INVENTORIES ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION AT CHARGES COMMENSURATE WITH THE DUTIES INVOLVED THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION. PRESSWORK AND BINDING BY ^ '§) iff i- I EARLY AMERICAN AND BRITISH PORTRAITS THE WIDELY KNOWN COLLECTION FORMED BY THE CONNOISSEUR. THE LATE FRANK BULKELEY SMITH OF WORCESTER, MASS. TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY DIRECTION OF THE ADMINISTRATORS IN THE GRAND BALLROOM OF THE PLAZA HOTEL UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION NEW YORK D00903935 70S.144 S647I 58856 , Smith ^ Illustrated catalogue of early Ameriean and Brltlsl DATE J tSSUED TO 708.144 S647I 58856