By Henry "persed at Low Figures. “of seventy-two oil paint- broker, valued at $150,000, huction by John Fell O’Brien of the Waldorf-Astoria last nis rder of C. H. Patterson, e execu- tor, and. brought only $66,910. ee _ The auction audience was made up large- ay of sightseers, and the bidding for the most part was done app ently by dealers, “Works. of Corot, Cazin, bigny, Schrey- “er, and others broush® about half. their original purchase Dp _ The record pric as $4,500 for Anton ‘Mauve's “ Cattle. at*the Well,” This pict- “ure was an unusually luminous and color- ul example 6f the Dutch painter whose ‘works are now so much sought after. It hee ine firm 0 ured by M. Knoedler & Co. The m per siaged re $2,000 Felix Ziem’s vor Venice. ” The .*‘ pictorial 7 grand ns ° Venice ‘has in this work re- f Gonasics: UE ieptea. with the wonderful. ch Ziem is famous. Francois ‘Daubigny’ Bef Corbighy on the Nie sh aa little river. scene, aed M. H. Seligman was the iph Schreye ss ‘* Arabs in the Desert”’ ae opp for $3,150. This is one and sky color ef- cite ef horses. Julien Dupré's ‘‘ Le Regain,” one of the ‘first successes of this artist, was bought Dischen for $2,525 Perot s ‘*Hivening,”” a characteristic com- pi t only $1, 200. This little ae ows as eepy river, impurpled in the akier mM sun, and several white build- gs glowing mellowly through the thick- mg haze. The purchaser was J. L. -awford, rancois Auguste Bonheur’s ‘Cattle in sag lorest of Fontainebleau’ was secured : . A. Copp for $2,400. This work is ‘original picture from which A. T, Stew- Cattle,’”? now in the Metropolitan Mu- seum. oe artist was a brother of Rosa heu “Jongkind s “On the Corniche Road,” a Marie let landscape, was cheap at $2, 028; ed pane Ucton “ Cattle Drinking ”’ went Detaille’s “‘ During the Manoeu- ee drill scene, for $1,400, cand oe a He Hye Geen. for $1, vat. ne A. Arthur ae or *‘ Sheep in the Moon- fish Ags *D Jaeque, and $1,800 for Jules Du- Eres armyard.’”’ Charles G. Hmery got bargain in arpignies’ s Psst sd age, ‘Aux Ebene du Loing’”’ at $2,250, while Crome's ae River’? brought only $850. enck’ 7 The artist died only two weeks ago. Neuville’s “ Chasseur D’Afrique” solid for $1,050, and a marine by. George Inness ORs: 51,000, Cazin’s “ The Chateau Farm ” was bought by R. Hoagland for $1,700. Other prices were as cheap in proportion, ir Dreoby Collection Dis- eorge L. Crosby, a retired. ce ine best-known works of the famous: ‘art ‘ordered made the famous, “ Woodland “Sheep in a Storm” brought. —— ————————EE nT | CROSBY ART COLLECTION SOLD Mauve’s “Cattle. at oe ae Well” Brought | _ the Highest Price of the Sale. ‘For the seventy- -two' paintings -compris- ing the Crosby collection, ‘the sum of $67,- ‘950 was realized at the sale in the Waldor®- ‘Astorix. last night. Anton Mauve's “‘Cat- ‘tle at-the Well’’ br t the: highest price of the sale, M, | dier.& Co. paying $4,500 for. the (pay €@s.. The next. highest ‘price was: ‘t6r the Felix Ziem ‘Grand ‘Canal, Venice,” the same firm being’ the ‘purchasers, The sale; which was conducted by John fell’ O’Brien, took place inthe large ballroom and. had ‘much of the ‘air’ ‘of a social function surrounding it, for ‘many of the’ women present. were, in. bril- Seen toilets aud the boxes were. fairly well e | Some of thie highest pr iced pictures. ad ‘their buyers were: John. (Old). Crdéme’s’ LW Norwich River,’ $850,. M.-H. . Lehman ; i|Nelix Ziem’s aban in .1871,’” $1, -M. H. Lehman; Charles Jacque’s “S} leep dn Fold,”’ | $1,300, ©, AL VArthurs:; By: Harpighi’s “Le | Soir,’ > $1,000, M. Kroedler & Cog. Ridgway. 'Knight’s ‘Lilac Season,’’’ $1,250. Cohen; | William: Hart's ‘‘Cattle at Region 3 tars |B, BH. Arlington; L. Perrat ‘Weary | Gleaner?” $1,000, C. A. Arthurs’ Jules Du- 'pre’s “A Riverside,” $1, 025; --M. Knoedler’ & | Co.; J. Robie’s ‘Roses,’ $1: 200, Steven .Mc- | Keever; ._Cazin’s ‘“‘The Chateau -Farm,”’ $1. 700, R. Hoaglard: George Inness’s ‘Sunset on the Beach,’’ $1,000, Mr. Jacobs; De Neu- ' yille’s “Chasseur d’ Afrique,” $1, 050, MM. | Knoedler & Co.;, Schenck’s “Sheep in. | Storm,’’ $1,250,. Henry :‘Seligman; Harpig- | nie’s “Aux “Bords de Loing,”’ $2,250 Pe Oe G4 i imery: Bonheur’ s “Cattle in the’ Forest of 'Foniainebleu,’’ $2,400, C: A. Copp; ’J. | Joungkind’s “Carniche Road, *’$2,025, ‘Charles ges Emery; Detaille’s ‘During the | Man- 'ceuvres,’’ $1,450, Mr. Cohen; Charles Jacque’s “Flock of Sheep,” $2,300, C. H. Arthur; | Julien Dupre’s ‘Le’ Regain, $2,525, Henry 'Dischen; Daubigny’s “Corbigny on the 'Nievre,”’ $2,800, Henry Seligman; Schreyer’s “Arabs in the Desert,” $3,150, W. A. Copp; 'Corot’s ‘“‘vening,”’ $1,200, J. L. Crawford, /and Jules Dupre’s “Warm ‘Yard,’ $1,800, oo. Bee Arthur. 2 | Nate Gaovee: i: Crosby: was sold in the large an. of the “Lael agra last night aap it the seat Bibleht cai Bote, of the sale. It was bough Messrs: M.. ler & Co. J. GC. : me : cop Chateau Fa his first pict- oe re U9 as sold at auction since his death, pe eat ndance at the sale was very large and. ineluded most of the prominent col- lectors and: dealers in the city./ From the eden the bidding was brisk. Over the more portant pictures the competition ‘was 'par- arly lively, | the Mauve, Schreyer, Ziem yy being especially in demand, i ne GF the pictures sold as follows:— 8 in the Desert,” by Schreyer, $3,100; mal, Venice,’ by Ziem, $3, 000; “Cor- e Nievre,” ‘by Daubigny, $2,800; eth Julien Dupre, $2,525; “Block shee: oonlight,”” by Charles Jacque, 1 ad ux Bords de Long,” by Henri Har- ies, $2,250; “Cattle in the Forest of Fon- pleau,’’ by Auguste Bonheur, $2,400; “On | fhe Corniche Road,’ by Johan Barthold 4 ee pat oT deck “The Farm, Yard,” by PD usiipiaee Se A Ow A ase i ae “SA Riverside,’ ) “Amcon Mauyve’s *$a.e, of tae ‘tand there was some of the macsiterpieces. BIG PRICES FOR PAINTINGS. Crosby ‘Collection of iBevent -two. Canvases Brings $69,000. The, collection of seventy-two oil paintings: formed by the late George S. Croa@by, a.retired Chicago stock broker, was seld. at. auctbon in the large ball- noom of the Waldorf-Astoria. lasit mi ‘by Mr. John Fell O’Brien for $68,990 The bidders included most of the prom- | inent collectors and déa.ers, besides” a great many brilliantly gowned’ women, filling the boxes. . “Cattle art ths well” ‘brow ht $4,500, the hiighest figure of the Messrs. M. Knoedler_ & CO, beihg the purchasers. Tht anva 8 is an un Uaviy luminous. and colorful example great. Duta, master’s) ant, in whica us combined a charming pictorial arrangement and a peculiarly beautiful tonal quality, The same firm purchased the Felix Ziem ‘‘Grand Canal’of Venice” for $3,000, Adoloh. Schrayer’s ‘Arabs in, the Desert,’ which is ‘one. -of ithe’ west- known works of the famous® painter of horses, was ‘bought by W. A. Copp for, $3,150. Hrom the start the bidding was brisk, | much competition oyer , Among the pictatrens Wine brougiht | Hel highest prices’ were ‘Corbigny on the! Nievre,” by Dauvigny, $2,800, ito MM. Hy! Sel aes ‘Le Regian,’’ ‘by. Julien Du-: pre, $2,525, to Henry. Dischen: ‘Cattle in! the wer of Fontainebleau,” by Frans | eois Auguste Bonheur, $2 400, bos Wi Ae Cop; “Sunset on the Beach,” by George, Inneéss, 81,000; Jacsbs; Corot? s Evening,” | $1,200, JS. Orawford; Schenck’s ‘Sheep | Ae the Storm,” $1,200, Henry Seti noe eae Joun: gkind’s “Carniche “Road’ S698, Charies G. Emery; Jules Dubus 3, 025, -M, Knoedler & Co, | bi hk, fnatA 176 6 CATALOGUE GEO. L. CROSBY COLL ECTION fOLL, PAINTINGS TO BE SOLD AT AUCTION, By ORDER OF HIS EXECUTOR, C. H. PATTERSON, Esq. Thursday Evening, March 28, 1901. At 8.15 F acu IN THE GRAND BALLROOM OF THE WALDORF-ASTORIA. Exhibition opens March 23d, at 3 P. M., and continues, except Sunday, until time of sale, in the small ballroom of the Waldorf-Astoria. JOHN FELL O'BRIEN, Auctioneer. OFFICE: 33 and 35 Liberty St., New York City. ARTISTS REPRESENTED. Bruck—Lajos, Louis, 48. Bonheur, F. A., 55. Berne-Bellecour, E., 13, 45. Beraud, Jean, 24. Col, David, to. Morot., ).C. B.,: 69. Pea aie (4. AO: Crome, John (“Old Crome’’),9. Clays, P. J, 62; Casanova, A., 4. Wettaas,) Jo HL. 5, 38. Dupre, Jules, 35, 66. Dupre, Julien, 72. Dieterle, Marie, 58. Detaille, Edouard, 61. DeSchryver, Louis, 6. Dechamps, A. G., 18. Diaz, “N:, 65. Petti, C.,. 63. Daubigny, Charles F., 71. Brnst, R., 33. Epp., R., 8. Gerome, J. L., 41. Gegerfelt, William, 3. Harpignies, Henri, 51, 17. Hagborg, A., 54. Hart, William, 20. Haquette, G., I. Isabey, Eugene, 53. Inness, George, 44. Jacque, Charles, 15, 60. Jongkind, J. B., 56. Knight, D. Ridgway, 20, 43. otistarnat.) 1,11. Lesur, V. Henry, 22. Mauve, Anton, 16, 68. Meissonier, Charles, 57. Meissner, E., 21. Monchablon, Jan, 64. DeNeuville, Alphonse, 47. Offermans, Tony, 28. Perrault, Leon, 34. Rubens-Santoro, 32, 23. Rico, Martin, 42. Rose, Julius, 7. Robie, J., 36. Schenck, A. F. A:, 50. Steinheil, “Age 37,52. Sanchez—Perrier, E., 46. Stark, James, Io. Schreyer, A., 70. Vadema,: Laura;!'27: Vincent, George, 26. Valkenberg, H., 25. Von, Cederstrom,) 1.30. Vibert, J. G., 30. Von Lenbach, Frans, 49. Vollon, Antoine, 2. Weiss, Geo., 37. Willems, F., 12. Worms, Jules, 50. Ziem, Felix, 14, 67. CONDITIONS. 1. The highest bidder to be the buyer, and if any dispute arise between two or more bidders, the lot so in dispute shall be immediately put up again and resold. 2. The purchasers to give their names and addresses, and to pay downa cash deposit, or the whole of the purchase-money, 7/ required, in default of which the lot or lots so purchased to be immediately put up again and resold. 3. The lots to be taken away at the buyer’s expense and risk upon the con- clusion of the sale, and the remainder of the purchase money to be absolutely paid or otherwise settled for to the satisfaction of the auctioneer, on or before delivery ; in default of which the undersigned will not hold himself responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the soie risk of the purchaser. 4. The sale of any article is not to be set aside on account of any error in the description. All articles are exposed for public exhibition one or more days, and are sold just as they are, without recourse. 5. To prevent inaccuracy in delivery, and inconvenience in the settlement of the purchases, no lo can, on any account, be removed during the sale. 6. If, for any cause, an article purchased cannot be delivered in as good condition as the same may have been at the time of its sale, or should any article purchased thereafter be stolen, misdelivered, or lost, the undersigned are not to be held liable in any greater amount than the price bid by the purchaser. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all lots uncleared within the time aforesaid shall be resold by public or private sale, without further notice, and the deficiency Gf any) attending such resale shall be made good by the defaulter at this sale, together with all charges attending the same. This condition is without prejudice to the right of the auctioneer to enforce the contract made at this sale, without such resale, if he thinks fit JOHN FELL O’BRIEN, Auctioneer ND INDEX ee | ; PeOGhariiCAL NOTES AND INDEX LOUIS BRUCK-LAJOS. Born 1846. Contemporaneous. One of the distinguished European painters whose work resembled that of Muncacsy, Briick—Lajos was born at Papa, Hungary, November 3, 1846. At an early age he became a pupil of the Vienna Acad- emy, and from 1869 to 1872 he studied in Italy, especially in Venice, where he was Pony amie ‘at the Academy. Later he came to Paris and went to the atelier of Michael Munkacsy, by whom he was greatly influenced and on whom he founded his style. Many of his important works are in this country, among them Pe) Love’) etter,” M. K. Jessup; Peemidren at Play,” J. W.:.Drexel, and “Unwilling Scholar,’ which was in the Powers collection, at Rochester. “The Poor Helping the Poor.” FRANCOIS AUGUSTE BONHEUR. Born 1824. Died 1884. It was the misfortune of this able painter that he was overshadowed all 7 BIOGRAPHICAL NOTES AND INDEX through his life by the fact of his sister’s fame. If it had not been for Rosa Bon- heur, it is highly probable that Auguste would have gained far greater distinction. He was, however, officially recognized with many medals and honors, and by those who have followed art matters his pictures are highly prized. He was a pupil of his father, Raymond Bonheur. He began as a genre painter, but did not succeed well until he turned his attention to animals. Many of his pictures are owned in this country, in the collections of James H. Stebbins, R. G. Dun Rie ting and the late A. T. Stewart, and it is in the latter collection, the canvas being now in the Metropolitan Museum of Art, that there was the picture ‘“ Woodland and Cattle,’ of which the example in this collection is the original. Medals: 1852, 1857, 1859, 1861 and 1863; Legion of Honor, 1867. “Cattle in the Forest of Fontainebleau.” ETIENNE PROSPER BERNE-BELLECOUR. ~ Born 1838. Contemporaneous. A pupil of Picot and F. Barrias, Berne—Bellecour was born at Boulogne and distinguished himself at the schools, where he drew with surprising facility. Army life, so much in evidence in France, charmed him from the first, and though he has successfully tried genre, landscape and portrait painting, it is depicting the military episodes, the manceuvres, and the 8 BIOGRAPHICAL NOTES AND INDEX simple life of the soldier in which he has been most happy. Some of his single figure studies are among his best works, and his detail in representing all the minutiz of uniform and equipment is re- markable. He has a place at Chateau d’Egreville, in the department of Seine et Marne. Medals: 1869, 1872 and 1878; Legion of Honor, 1878. “ The Sentinel.’’ fae Corporal Drinks.” JEAN BERAUD. Born 1849. Contemporaneous. , Beraud, who was born of French parents in St. Petersburg, Russia, is one of the most interesting figures in the art life of Paris. While he was a student at the Lycée Bonaparte, there came the seige Of Paris, and he served in the Guarde Mobile. Subsequently he entered the stu- dio of Bonnat and sent his first picture to Pie moalon) of 1874: Attracted by the gaiety and sparkle of life in the Paris streets, he constituted himself the historian of that particular city, and his name is as- sociated with pictures of the beautiful ; architecture, the fashionable crowds and the movement of the world’s metropolis. Not content with his successes in that di- rection, he painted some subjects, with certain departures, that started all Paris talking. This was the introduction of the figure of Christ into assemblages of people in modern attire. One was a dinner party, 9 BIOGRAPHICAL NOTES AND INDEX with the Saviour at the head of the table and a fashionable woman at His feet. It was sensational, but it was impossible to pass the work by, for it contained elements of great seriousness, and the satire was tremendous. Medals: 1882, 1883; Grand Pris, 1889; Legion of Honor, 1894. Rite delaras DAVID COL. Born 1822. Contemporaneous. Col was born in Antwerp and went to the Academy there, where he studied for some years. His pictures are mostly on a small scale and are characterized for con- siderable detail. It is said there are few collections in Belgium without examples of Col’s work. He is decorated with the Order of Leopold, which he received in TO75. ivedal si yre vie: “Market Scene.”’ JEAN... BAPTISTE CAMILLERI Gis Born 1796. Died 1875. Accredited a pupil of Michallon and Victor Bertin, it was nature after all that taught Corot all he knew and to her he went for study, inspiration and consola- tion, working always with an enthusiasm, an energy and an intense love of her. He came of modest origin, his father being a hairdresser, and as a young man he was destined for trade, but, revolting, his peo- ple gave him a fixed allowance and he was IO BIOGRAPHICAL NOTES AND INDEX permitted to follow his inclinations. He visited Italy, made many studies there and early in his career made careful search- ings after nature which enabled him later to paint with consummate knowledge of landscape forms. Success came gradually but surely, and he received always the en- couragement and admiration of his con- freres. When he received the decoration of the Legion of Honor, in 1846, Corot’s father doubled his allowance. Corot was the doyen of the little group of Barbizon men. He was almost childlike in his naiveté, beloved by all his fellows and had but one thought in life—his art. No one in all the history of landscape painting ever found more of the beauty, the charm and delicate poetry of nature; his color is exquisite, his sense of beauty complete and his manipulation of his colors that of a genuine master. He lived to a splendid old age, working to the last with all the enthusiasm of youth and he died full of honors, regretted by the world at large. NMedais; 1538, 1848, 1855 and 1867; Legion of Honor, 1846; Officer of the Legion of Honor, 1867; Diploma to the Memory of Deceased Artists, Universal Exposition, 1878. “ Evening.”’ Pea NT CHARLES CAZIN. Contemporary. Although Cazin has carefully con- cealed the date of his birth, he must be II BIOGRAPHICAL NOTES AND INDEX somewhere in the vicinity of fifty-five years of age. He was born at Samer, Pas-de-Calais, and was a pupil of Lecoq de Boisbaudran, a man famous for the suc- cess of his pupils rather than for any personal artistic accomplishment. Cazin had a success in 1876, with a picture called ‘“‘ Dock-Yard,’ but he attracted great attention the year following with his famous “ Flight Into Egypt,’ now in the Museum of the Luxembourg, Paris, wherein the canvas showed so new and so personal a note of color, as to stand quite alone in the Salon. Instantly there fol- lowed a crowd of imitators, but none suc- ceeded in obtaining the charm of the mas- ter’s work. He was in those days a painter of history, sacred and profane, and of genre, though he subsequently gave all up for landscape pure and simple, in which direction he has made a special place -for himself in the history of) art )itiesisme naturalist, but he possesses eyes unlike those of other men and he invests his composition with a charm of color and a poetry entirely his own. Medals: 1876, 1877 and 1882; Legion of Honor, 1882. “The Chateau Farm.” JOHN CROME (Known as “OLD CROME”). Born 1769. Died 1821. John Crome, the son of a journeyman weaver, was born in a public house at Nor- wich, England, in 1769. He was called “Old Crome” to distinguish him from 12 BIOGRAPHICAL NOTES AND INDEX his eldest son, John Bernay Crome, who was also a painter, but without the talent — or reputation of his father. In early life, John Crome was a sign and coach painter and gained a living at that occupation. He longed to become an artist worthy the name. He taught some and _ worked whenever he had the opportunity before nature, and gradually he broke away from the drudgery of coach painting, devoted to making landscapes and gained a modest livlihood thereat. He attracted quite a following and became President of the Norwich Society of Artists. Occasion- ally he sent to the Royal Academy exhibi- tions, but his interests were centred in Norwich, where he was an authority on art. It was reserved for later generations to give him the full measure of praise due his talent and accomplishments, and to-day his pictures are accounted masterpieces. “A Norwich River.” , PAUL JEAN CLAYS. Born 1819. Died 1900. Though the town of Bruges was the birthplace of this distinguished Belgian marine painter, he went early to Paris and enrolled himself as a pupil of Goudin. Immediately after leaving this master he devoted himself to painting the sea along the coast of Flanders and soon achieved a favorable reputation among collectors, who eagerly sought his canvases. . He has 13 BIOGRAPHICAL NOTES AND INDEX also worked along the Thames, in Eng- land, and on the east coast. The mouth of the Scheldt has furnished with many themes. His work has some of the sad- ness of the old Dutch masters, as a rule, but occasionally he seeks brighter skies and always there is excellent color, with a solid craftsman-like way of painting. Medals: 1851, 1867, 1868; Legion mor Honor, 1875; Officer of the Legion of Honor, 1881. “In the Channel.” ANTONIO CASANOVA Y° EStTORAr Born 1847. Contemporaneous. This unusually dexterous Spanish painter, who has enjoyed a great popu- larity for many years, was born in Tor- tosa, Spain, and studied at Barcelona with C. Lorenzalez, afterwards working with F, de Madrazo, at the Madrid Academy. He has been one of the well-known con- tributors to the Paris Salon, sending there pictures of monks, generally in white robes, at various occupations, a vein of humor running through the composition as arule. Fair women he has introduced into these canvases, painting all with astonishing skill, in the most minute way as to the features, yet maintaining a breadth of handling when he so chose. His color sense is refined and his drawing exquisite. He has received many honors at the European exhibitions; his pictures are in. many notable American collections, 14 BIOGRAPHICAL NOTES AND INDEX an important example being owned by the a Se Ciicaco Art Institute. “ Gathering Flowers.” JOHANNES HUBERTUS LEONARDUS DE. * HAAS. Born 1832. Died 1880. Born at Hedel, North Brabant, de Haas went to Haarlem to become a pupil of Van Oos. He left him in 1857 to go to Brussels, where within a few years he achieved a great success. The family has been distinguished in art through several generations and in different branches, our own painter of the same name being a relation. His is most renowned for his pictures of cattle, and these he paints with a free brush, in strong, harmonious color, drawing his animals with an intelligence the result of serious study and investiga- tion into manners and habits. He re- ceived a gold medal in Munich, in 1860, and has had much official recognition. (Cows in Pasture.”’ eeihe River-rasture. ” JULES DUPRE. Born 1812. Died 1880. With Rousseau, Jules Dupré was one of the moving spirits who started the fa- mous Fontainebleau School far back in 1830, and, curiously enough, he was the , , 15 BIOGRAPHICAL NOTES AND INDEX only one of the group who lived to see the work of the school fully appreciated. Dupré had a melancholy strain about him, as may be seen by his pictures, which breathe a tender sentiment, touched, per- haps, by a poetic sadness that is most effective. He was a deep student and lover of nature, and he enjoyed all through his life a very fair measure of prosperity, for he, almost alone of his comrades living in the splendid woods of Fontainebleau, found patrons, and never wanted for money. He enjoys a reputation as a painter of the sea quite as much as of the landscape, and all he did bears a strong personal mark, characteristic of the man and his nature. His color was always good, his touch virile, and, above all, he painted with passion. Medals: 1833, 1867; Legion of Honor, 1849; Officer of the Legion of Honor, 1870. “A Riverside.” “The harm yard. JULIEN DUPRE. Born 1851. Contemporaneous. Pupil in Paris of Pils, Laugeé and Lehmann, as a young man Dupré gave evidence of much facility and secured an Honorable Mention, at the Salon, in 1879. He early went to nature and began paint- ing the peasant life of France, many of his pictures representing farm laborers, gen- erally at haymaking. One of his impor- tant works, “ The Balloon,’ 21s saGeane 16 BIOGRAPHICAL NOTES AND INDEX f | Metropolitan Museum of Art. It came ia? from the Seney collection. Later, he turned his attention to cattle and was no less successful, some of his work in this direction receiving considerable attention at the European exhibitions. It is inter- esting to note that he is a nephew of the great landscape painter, Jules Dupré, the famous member of the group of Barbizon men of 1830. Medals: 1880, 1882, 1880. ipeeanegain.’’ MARIE DIETERLE. Contemporaneous. We may not occupy ourselves too in- quistively with the date of the birth of this able woman painter. It suffices to an- nounce that she is the daughter and pupil of her father, the late Emil van Marcke, himself the most distinguished cattle painter since Troyon. She has imbibed much of the talent of her brilliant parent and paints with a masculine virility and a knowledge quite rare among the profes- sion, whatever the sex. She knows her animal anatomically as well as in its various characteristics, and her drawing is no less satisfactory than is her color. There is breadth to her brush strokes and, using a full palette, she invariably secures a richness and quality most distinguished. She has recetved many honors. “ Cattle Drinking.” BIOGRAPHICAL NOTES AND INDEX JEAN BAPTISTE EDOUARD ‘DETAILLE. Born 1848. Contemporaneous. There was never for a moment any doubt but that Detaiile had the necessary talent to enable him to become a proficient artist. Immediately after his graduation from the Lycée Napoléon, at the age of seventeen, he entered the studio of the famous Meissonier as a pupil, and the very fact of his being taken by that master was guarantee of his promise. He was an apt pupil; no one draws better or has a more comprehensive grasp of the academic. He stops at no problem and attacks a compo- sition full of figures with the facility of a master. From the first, as was natural, he inclined to the army as a theme for his inspiration. He studied the soldier from every point of view, and he had the further advantage of serving with the colors and taking part in at least one bloody cam- paign. At twenty-two he had painted a picture called “ Repose During Drill in Camp St. Maur,” which gained for him his first medal and more orders than he could execute. The army found in him a sym- pathetic champion, and his brush has been busy ever since, picture after picture com- ing from his studio, all worthy serious affairs, though, for that matter, his lightest touch on paper has a rare value. His “Defence of Champigny,” considered one of his masterpieces, hangs in the Metropol- itan Museum of Art. Medals: 1860, 18 BIOGRAPHICAL NOTES AND INDEX 1870, 1872, 1888; Legion of Honor, 1873; Officer Legion of Honor, 1881. “ During the Manceuvres.”’ Pees oCHRY VER. Contemporaneous. Modern French. Studio in Paris. “ Flower Girl.”’ ALEXANDRE GABRIEL DECAMPS. Born! 1803. Died 1860. Decamps was born in Paris March 3, 1803. He was a history, landscape and genre painter, being a pupil of Abel de Pujal, David and Ingres. Early in his career he broke away from the classical principles of style and the imitation of the antique. He became a student of nature and was one of the leaders of the modern romantic school. In 1827 he accompanied the marine painter Garneray to Greece, Constantinople and Asia Minor, and it was while there on this voyage he conceived a lasting predeliction for Oriental subjects, which he treated with consummate skill and power. Many of his works are in the United States in the collections of Miss Wolfe, August Belmont, J. H. Stebbins, Dp, O. Mills, W:. H. Vanderbilt and W. T. Walters. “ Selling the Slave.” 19 BIOGRAPHICAL NOTES AND INDEX NARCISO VIRGILIO DIAZ DE LA PENA, Born 1808. Died 1876. Among all the painters who composed the group of the Barbizon men, none had a more curious history, and few possessed greater individuality than the French-born Spaniard, Diaz. Left to his mother’s care by a recreant father, he was brought up in great poverty by an energetic mother who had a hard struggle and died when the lad was ten years of age. Adopted by a Prot- estant clergyman at Bellevue, near Sevres, close to Paris, he was left to wander pretty much by himself, and at thirteen lost one of his feet through the poisonous bite of an insect. Later he worked in the porcelain works at Sevres, leaving to go with Frangois Souchon, an_ historical painter, but he could never stand restraint and soon he went his own way, painting that which pleased him. He made small panels of cupids, nymphs and gaily dressed men and women, finding a ready market for his work at modest prices, and finally he drifted down to the forest of Fontaine- bleau, where he met Rousseau. There he painted landscape after nature and in his studio. His color is unique and his orig- inality most engaging. Whether in the figure or landscape one must admit his genius, wayward at times, it is true, but there is ever to his most unimportant panel that genuine artistic touch so rare and so valued. It was his intimate friend, Jules Dupré, who said, with a sigh, as he stood 20 BIOGRAPHICAL NOTES AND INDEX at the open grave of Diaz: “ The sun has lost one of its most beautiful rays.”’ Med- als: 1844, 1846, 1848; Legion of Honor, 1851; Diploma to the memory of deceased artists, Universal Exposition, 1878. “Gorge d’Apremont.” CESARE DETTI Contemporaneous. Born in Rome and studying at the Academy of San Luca, Detti having ar- rived at much excellence in his art, sought Paris, where jhe took a studio and: has remained ever since. A number of his paintings have come to this country and are in such collections as those of R. G. Dun, William Astor, R. C. Taft and W. B. Bement. “The Foraging Party.” CHARLES FRANCOIS DAUBIGNY. Born 1817. Died 1878. The youngest of the Barbizon paint- ers, Daubigny was the son of a teacher of drawing, and his aunt and uncle being miniature painters, he may be said to have come by his taste naturally. He was a pupil of Paul Delaroche, and he was an unsuccessful aspirant for the Prix de Rome. He did go to Italy, however, and he traveled considerably about Europe, but he finally settled down in France to paint the landscape along his native rivers, 21 BIOGRAPHICAL NOTES AND INDEX and in this work he holds a unique posi- tion. He received the cross of the Legion of Honor in 1857, his picture “ Spring- time’’ being bought by the government and it now hangs in the Louvre. He built a large boat, which he called “le Bottin,” and he may be said to have spent the latter part of his life floating up and down the French rivers near Paris, paint- ing that scenery which he loved so much and with his name will ever be associated. Medals: 1848, 1853, 1857, 1867; Legion of Honor, 1859; Officer of the Legion of Honor, 1874; Diploma to the memory of deceased artists, Universal Exposition, 1878. “ Corbigny on the Niévre.” RODOLPH ERNST. Contemporaneous. Ernst, who was born in Austria, is a pupil of Anselm Feuerbach, the eminent director of the Vienna Academy. Start- ing in for himself when he had completed his course at the school, he settled in Paris, in the rue de Humboldt, and became a regular contributor to: the Salon, He painted portraits, and, becoming enamored of the East, he made some voyages there, after which he gave himself over to Ori- ental themes. These he paints with con- siderable feeling, great dexterity, and the subjects are always interesting pictorially. He has had a popular success and his works are frequently seen in New York. ‘Loe vitsér 22 ee ee BIOGRAPHICAL NOTES AND INDEX RUDOLF EPP. . Born 1834. Contemporaneous. It was at the Carlsruhe Art School, under the distinguished master, Des- courdes, that Epp received his training; at an early age he started in as a portrait and genre painter, meeting with instant suc- cess, his subjects being chosen with a view to popular approval. The simple vil- lage themes he treated sympathetically and his brush work, his color and good drawing were always appealing. As far back as 1865 he settled in Munich, and since that time he has been in evidence in the exhibitions through Germany, particu- larly in that city. One of his well-known pictures, and which has been reproduced in engraving, is “ Jugglers Performing Be- fore Peasants,” the scene admitting, as may be imagined, of clever character search- ings. “Sunday Morning.” JEAN LEON GEROME. Born 1824. Contemporaneous. None of the modern Frenchmen have achieved more renown than the wonderful portrayer of the manners and customs not alone of modern and ancient France, the far East and the classic days of Rome, but of most European countries, while as a sculptor he has secured the distinction of being awarded the Grand Medal of Honor. Of excellent family, Géréme began his 23 BIOGRAPHICAL NOTES AND INDEX studies early, under the best of auspices, and he has never ceased to be a student. He was a pupil of Paul Delaroche and of Gleyre, and though he failed to get the Prix de Rome, he achieved renown with his picture painted at that time, which is now in the Luxembourg. It is called “The Cock Fight.” He is a professor at the Ecole des Beaux-Arts, a member of the In- stitute of France, of most of the art bodies throughout the world, and, in short, all the medals and honors that one may have are his. Many of his pictures are among the genuine masterpieces of-modern art. He is an academic draughtsman, and his color has at times a tendency to be dry, but his accomplishments are of the highest and his intellectual qualities, his consummate knowledge of picture making, are wonder- ful to the last degree. Among the works that remain as conspicuously distinguished may be mentioned: “Cleopatra and Cesar,” “Death of :@eesan [eo tanee Charmer,” “ Duel After the Masquerade,” “Phryne Before the Pribunaly Qe sa nence Grise,” and ‘‘ Moliere Breakfasting with Louis XIV.” Medals: 1847, 1848, 1855, 1867, 1874, 1878; Commander Le- gion of Honor. “ Returning to the Palace, Cairo.” > WILLIAM, VON GEGERFELT. Contemporaneous. Born in Gothenburg, Sweden, and a member of the Stockholm Academy, Ge- 24 a ee BIOGRAPHICAL NOTES AND INDEX gerfelt has had a studio in Paris for many years. He is a landscape painter of much renown and has painted much in his own country, as well as in Holland and France. He makes frequent trips to Venice, and his picture in this present collection is a souve- nir of that city. | * Venice, Sunset.” HENRI HARPIGNIES. Born 1819. Contemporaneous. The doyen of French landscape paint- ers and one of the most beloved and re- spected in his profession, did not begin the study of art as early as do most of his countrymen, for he was twenty-seven be- fore he went as a pupil to Jean Alexis Achard. With this man he studied, two years after which he went to Italy, where he remained the same length of time. Im- mediately he showed an originality of style that was of the most distinguished and poetic order, and, working seriously, faith- fully and with continual enthusiasm, he attained the highest rank, and is to-day surpassed by none of his contemporaries. The charm of his color is no less agreeable than his delightful choice of subject. He depicts nature in her more quiet moods, at twilight, at early moonrise, or in the full light of midday, and ever sympathetically. His manner of painting is like his nature, big and thoroughly simple; there is no sus- picion of labor, no artificiality, and never a thought of anything but a poetic rendi- 25 BIOGRAPHICAL NOTES AND INDEX tion of the theme. Honors have been fairly heaped upon him, no less than six of his pictures being hung in the Luxem- bourg, and in 1897 he received the Medal of Honor of the Salon, a rare distinction for a landscape painter. At eighty, he is to-day painting away with all the vigor and enthusiasm of youth, and his work shows not the slightest diminution of excel- lence. Medals: 1866, 1868, 1869, 1872, 1878, 1897; Commander of the Legion of Honor. eA bords ide ome. i Dy eeseg ene AUGUST HAGBORG. Contemporaneous. Born at Gothenburg, in Sweden, Hag- borg, after studying at the Stockholm Academy, came to Paris and placed him- self under Palmaroli. He was one of the group of Norsemen in the French capitol in the late seventies who attracted great attention by the virile manner of painting and the clever way of working. He had almost instant success, painting the life of the common fisher people along the coast of Normandy and Britanny. ‘These pic- tures attracted great attention and pres- ently secured for him a medal of the third class, other honors following. One of his paintings was purchased for the Museum of the Luxembourg, and many of his 26 BIOGRAPHICAL NOTES AND INDEX works have come to this country, where he has always been a favorite. “ The Quarrel.” WILLIAM HART, N. A. Born 1822. Died 1894. Born in Paisley, Scotland, and one of two brothers, both artists, William Hart was taken by his parents early to America. His first notions of art were obtained through assisting at coach decoration in a shop in Albany where he was employed. Subsequently he painted portraits, opening a studio in New York in 1853. He was made an Academician in 1858 and was President of the American Water Color Bocety itom 1870 to 1873. He has painted many important pictures, and his work is in many collections in this country and England. He died at Mount Vernon, Rey, an: 1894. emeatte at Brook.”’ GEORGES HAQUETTE. Contemporaneous. Born in Paris, pupil of Adolphe Mil- let and of Cabanel, Haquette secured a medal of the third class in 1880. He has painted a great deal in and near Dieppe, France, the sea having considerable charm for him. A favorite with Americans, 27 BIOGRAPHICAL NOTES AND INDEX some of his most important canvasses are owned in this country. “Entering Port in a Storm.” EUGENE LOUIS GABRIEL ISABEY. Born 1804. . Died 1886. This distinguished son of a dis- tinguished father was born in Paris on the 22d of July, 1804. His father was painter to the Empress Josephine and to Charles X. He was a Commander of the Legion of Honor and the recipient of many official honors. His portraits of Napo- leon I. are among the best in existence, and his works have great historical value. The son, Eugene, who was his pupil, proved himself worthy of the name and promptly took high rank among his con- temporaries. He painted landscapes, hunting scenes and marines, and occasion- ally figures of importance were introduced into his pictures. It was as a marine painter that he gained many of his honors, being made an Officer of the Legion of Honor in 1852. In 1830 Isabey accom- panied the expedition to Algiers as Royal Marine Painter. Many of his marines are in the prominent museums of France and elsewhere. Isabey had much in com- mon with the “ Men of Thirty,” expressing himself in the same simple, frank manner, looking always for tonal results and invari- ably securing the feeling of impressive sincerity. He looked for and generally found the larger truths of nature, and he 28 —— BIOGRAPHICAL NOTES AND INDEX saw things in a poetic, subdued way, bothering himself not at all with detail, yet never lacking for interest or the feeling of finish. Medals: 1824, 1827, 1855; Officer Legion of Honor, 1852. Se alas Elarbor.”’ GEORGE INNESS. Born 1825. Died 1894. Mr. Inness was born in Newburg, N. Y., in 1825, and as a youth was appren- ticed to an engraver. Never possessing much physical strength, he was obliged soon to give up the profession and occupy himself with that which was less confin- ing. Thus it was he began to paint. A- few lessons from Gignoux was all the study he had with a teacher. After that he made his own way, hampered, it should be remembered, by ill health, poverty, and uncongenial surroundings, for art in America in his youth was not inspiring. At twenty-five he went to Europe, where the “men of 1830” were working in a direction that at once appealed to him. The rest is soon told. He saw as he had never seen before the possibilities of his profession, and he returned to his native land to paint in a manner that at once marked him as an innovator, and which, if it pleased the few, did not find instant | public favor. His independence, passion- | ate love of art and confidence in himself | carried the day. The aim of his life was fixed. From then on he never swerved : 7 BIOGRAPHICAL NOTES AND INDEX from the ideals he had set himself. To- day his name stands as the greatest of the landscape painters of his country, and in- deed among those great masters of the world’s art. At the dispersal of the Thomas B. Clarke collection in 1899, nearly forty of his canvases were shown and sold, and prices were established that demonstrated the importance of the man’s position in the world of art from the col- lector’s standpoint of financial values. Since then his works have been eagerly purchased, whenever the chance offered. “* Sunset on the Beach.’’ CHARLES EMILE -JACOUE Born 1813. Died 1895. Jacque, who is high in rank among the painters of landscape and animals, and who excelled in both, harmonized the two with true feeling. Like Millet, for a time 7 he sought elegance in style, but aban- doned it to give to the figures of his rural scenes only the look natural to them. After leaving school Jacque entered the office of a notary; at seventeen he began to study engraving, leaving that to join the army, where he remained seven years. Again he went to engraving and worked for two years, beginning in 1845 to paint. Later he turned his attention to etching, in which medium he became one of the most distinguished masters of his time. It was not until 1861 that his work in oil received official recognition. He was one 30 BIOGRAPHICAL NOTES AND INDEX of the Barbizon—Fontainebleau painters, indeed the last survivor of that group. As a painter of sheep and barnyard fowl he was famous, and the landscape part of his work is no less remarkable, time having somewhat refined and mellowed his color, which at the first was inclined to be heavy. It is interesting to note that the sale of his studio collection of pictures and sketches, after his death, produced the remarkable figures of 600,000 francs. Medals: 1861, 1863, 1864, 1889; Legion of Honor, 1867. »" oneep in Fold.” “Flock of Sheep, Moonlight.” JOHANN BARTHOLD ,JONGKIND. Born 1819. Died 18091. Born at Latrop, near Rotterdam, Jongkind was a pupil of the great Isabey, and as early as 1852 received a third medal at the Salon. After that for awhile his pictures were rejected by the committees. At the Paris Exposition of 1889, however, _ he came into his own and received much honor. He has painted his own country and Paris, particularly the scenes around and about the river front, going down also into Normandy. Houses, ships, wind- mills, market places, and all places that have any traces of human labor are dear to him. It is said that there were few men who knew the buried corners of gay Paris as did Jongkind. He may be called a con- 31 BIOGRAPHICAL NOTES AND INDEX © necting link between the landscape paint- ers of 1830 and the impressionists. “On the Corniche Road.”’ DANIEL RIDGWAY. KNIGHT: Contemporaneous. Although Mr. Knight was born in Philadelphia, Pa., he went early to Paris, where he has remained ever since. He has a house and studio at Poissy, next the country-place of the French painter Meis- sonier, whose pupil he was at one time. He also studied at the Ecole des Beaux Arts and with Gleyre, and he has received many honors at the Salon, to which he has been a regular contributor for many years. His subjects are, as a rule, French peas- ants, young and attractive girls at some pleasant occupation, and the backgrounds are recognizable as being of the hills and valleys round and about his country place. He is said to be the most successful, from a financial standpoint, of any of the Amer- ican painters abroad. “Rest by the Wayside.” “ Lilac Season,” CA GLOGS TA UNA: Contemporaneous. M. Loustaunau, a native of Paris and a pupil of Vibert, Barrias and the Ecole des Beaux Arts under Géréme, is a clever draughtsman and a painter of generally 32 BIOGRAPHICAL NOTES AND INDEX interesting themes. His work is in great detail, much after the manner of his mas- ters, and he has enjoyed considerable pop- ularity. “Gathering Specimens.” WeerteoNiY’ LESUR. Contemporaneous. One of the younger clever Frenchmen. Studio in Paris. “On the Quai.” ANTON MAUVE. Born 1838. . Died 1888. Born at Zaandam, Holland, Mauve was a pupil of Pieter Frederick Van Os, and subsequently became a member of the Dutch Society of Arts and Sciences, as well as of the Belgian Water Color Society. He was one of the most distinguished of the modern Dutch painters, both in oil and water color, and obtained many honors, having been made a Knight of the Order of Leopold and receiving medals at Phila- delphia, Amsterdam, Vienna, Antwerp and Paris. His works are in many of the principal museums of Europe and America, and in late years, since his death, his fame has greatly increased. He delighted in the tender sentimental effects of even- ing, in which he introduced cattle or sheep, and his works have nearly always a poetry 33 ar ig: eae Pe Set Re = se 455 BIOGRAPHICAL NOTES AND INDEX and feeling entirely personal and always charming. “ Cattle at the Well.” “* Morning. (Water colors) JEAN CHARLES MEISSONIER. Contemporaneous. The younger Meissonier has struggled all through his life with the handicap of having a most distinguished father, and but for this it is probable that he would have attained to higher honors, for he has unusual talent and is a craftsman of no mean ability. He was, of course, a pupil of his father, and like him, he was attracted to genre subjects of the middle ages, of picturesque costumes and quaint surround- ings, and these he does exceedingly well. A number of his minute panels are owned in prominent collections in this country and he has had medals abroad. He resides in Paris. “The Musketeer.”’ ERNST ADOLF MEISSNER. Born 1837. Contemporaneous. A German animal and_ landscape painter who has always found great favor in this country, Meissner was born in Dres- den, April 42;:1837, and: studied¥atreae Dresden Academy, as well as under Kum- mer. He spent some years at Zurich, as well as in Rome, and finally settled in 34 BIOGRAPHICAL NOTES AND INDEX Munich in 1870, where he has been ever iecwetie) Has) pictures in. the Vienna Academy and at the Dresden Gallery and is represented in many American collec- tions. His works are, as a rule, sympa- thetically rendered country scenes of sheep and cattle under some interesting effect of | sky with attractive landscape. “Landscape and Sheep.”’ JAN MONCHABLON, Born 1854. Contemporaneous. Monchablon comes from an artistic family, his father being Xavier Alphonse Monchablon, a portrait and history painter, and winner of the Grand Prix of Rome in 1863. The son has devoted himself to a purely personal rendition of nature in a primitive manner, painting in minute de- tail apparently every blade of grass, and giving an almost photographic aspect of the place represented. This, however, is done with no small artistic feeling, and the compositions have always a world of inter- est. Peaceful valleys, generally in mid- summer, under quiet skies, are rendered with alluring dexterity. Each work is signed, numbered and dated, for the artist gives out nothing but that which has re- ceived his most careful attention and on which he has labored faithfully. *La-Saone a Lironcourt, le Soir.” ’ oe BIOGRAPHICAL NOTES AND INDEX “ALPHONSE: Di UNI VII: Born 1836. Died 1885. De Neuville was certainly the greatest of all modern battle painters; perhaps no man ever surpassed him in the truthful rendition of the horrors of war, for he not | only had made sketches on the field under fire, but he was the most distinguished craftsman of'a race not lacking in technical dexterity and academic training. A mas- terly draughtsman, with an intuition for military scenes, de Neuville gave early promise of the fine career he made for him- self. He began at the law, however, but after three years he gave that up and went to study with Picot. When he was twenty-three he took a medal of the third class, and from then on honors ‘fairly flowed in on him. He became intimate with Detaille, a friendship being formed that lasted until death, and with him he subsequently made a panorama of one of the famous battles of the Franco-German war. His pictures are numerous, for he was a rapid workman. Many of them in this country. The Vanderbilt family pos- sess probably his masterpiece, “ Defence of La Bourget.” Medals: 1859, 1861; Officer of the Legion of Honor. “ Chasseur d’Afrique.” TONY OFFERMANS. Contemporaneous. Tony Offermans is one of the leaders of the Dutch school. He was born at 36 BIOGRAPHICAL NOTES AND INDEX The Hague, where he has a studio. He is represented in most of the current Euro- pean exhibitions, and a number of his pic- tures are owned in this country. i f 3 tf oR , d Oe betaine pra uf A P gets ig A bo Xm dS feevesntte (GY Katirn fee f a & {3 * ¥ f f TONY OFFERMANS. THE PATIENT ANGLER. Seated by the bank of a stream, a stolid peasant in gray clothes and sabots, sits holding a pole and watching his line. The facial expression is capital and the patience is admirably suggested in every line of the features. Behind, a field stretches off under an even- ing sky reflected in the water, and the quiet of even- time is given. with artistic ee Signed at right. uk “HNAHNOdT ALSNONV SIOONVAA ‘AVA TSHNIVINOA AO LSAXOd AHL NI WILLVO "SS “ON CATALOGUE i 29 WILLIAM HART. CATTLE AT BROOK. Some cattle in a meadow, through which runs a brook, are drinking. To the right a large tree comes against a somewhat dramatic sky, which, near the horizon, is filled with rain clouds. A burst of sunshine illumines the immediate foreground and animals, and the contrasts of light and shade are admirably ren- dered. Signed at leit. Hi 37, W. 30. 30 TH. VON CEDERSTROM. AT HIS EASE. . Seated before the fire, with his newspaper, the chief functionary of the household, in gorgeous livery, takes his comfort. A superb tapestry is on the wall; the carved stone mantel with its handsome metal orna- ments and the general surroundings bespeak almost royal habitation, and the figure carries this out. Ona table with a green cloth are some books, and at one side is a smoking tabouret with pearl inlays. All is painted with minute finish. Signed at right. H. 20, W. 154. aT me SyPiNHEIL, A LA FENETRE. _ For astonishing representation of detail, this painter is surpassed by few of his confréres. This 63 e ¥ j brat We ae Fn Oa gir Top Phe Pon an BF a Coss. & 9 wo CATALOGUE picture is quite characteristic, depicting a cavalier clad in red, with silken hose and broad hat. A sword is suspended by great leather straps, and there are ample white cuffs and collar. The man is half kneeling on a chair and looks out of an open casement window, through which is seen some foliage. The red clothes catch the sunlight and reflect against the pink wall of the room. Signed at left. Hi. 13, W. 84. 32 RUBENS, SANTORG@S CANAL SAN MARINO, VENICE. This astonishingly facile painter gives us a glimpse of a street in the quaint city by the Adriatic, the hand- some palaces lining the Canal, offering great variety of picturesque architecture. A modern steamer is moored to a distant wharf; some gaily-colored sails are spread on fishing boats, that drift lazily, while sombre gon- dolas, filled with women in brilliant dresses, serve as Venetian cabs. In short, a bright, gay scene of Venice, as most travelers see it, and faithfully recorded. Signed at right. H. 124, W. 16. 32 R. ERNST THE MISER. An old Turk, in tattered yellow gown, has been surprised in the counting of his money. He sits be- fore a tabouret on which is the gold. Beside him is an open strong-box; behind, a frightful looking negro stretches forth a long black bony hand to seize the 64 CATALOGUE treasure. ‘There is a rug on the floor; the room, orig- é 4 0 __inally tiled in blue, is dilapidated, and through an open | door streams some sunlight. The miser, in his long patriarchal beard, is horror stricken. A dramatic ' work, skillfully executed. Signed at right. H. 284, W. 223. 34 L. PERRAULT. 8, Oo THE WEARY GLEANER. Vv Tired out with work, a young peasant girl has thrown herself down on the earth, and, making a pillow Wee of a sheaf of grain, into which she has placed her sickle, df } f-4¥r9) has gone to sleep. Her feet and arms are bare and her hE Me rs red petticoat contrasts with a black waist. A basket of apples is on the ground, and behind is the shadow of deep foliage. The picture is rendered in great de- tail, with much technical skill. Signed at left. H. 374, W. Ot. 35 . \ \ at ‘ } \ 4 : AY Piles DUPRE: oro 2 A RIVERSIDE. Pitney ¢ A characteristic composition with large tree to ir el? earl) the left outlined against a tender sky of white clouds, varied with a glimpse of blue. The tender distance, the deep shadows in the stream and the envelopment of _ light and air, are in the best manner of this distin- guished French landscapist. Signed at left. }o, eh. bo EDEL NVnO: Avs % 324 CATALOGUE } s' LEAN 36 | ROB TE . ROSES. A great mass of cut flowers, principally pink and white roses, just thrown down carelessly on a stone, are lifelike in their remarkable finish. The brilliancy of the color, the faithfulness of drawing and the sparkle and light are admirably expressed. } MARTIN RICO. VENICE. There is seen to the right a bridge over the Canal, with many passers, showing the life of the gay city. Equal activity is seen on the water to the leit, the Canal being crowded with craft of all kinds and colors. The sky line of the city at this point is highly interesting, being broken by the campanile and various domes. In a gondola, at the right, is a mother and family, and the: quiet water reflects the sparkling tints of sails, architecture and craft. | Signed at right. ¢ 2067 He Te ea, 43 : RIDGWAY ) KNIGEIE - REST BY THE WAYSIDE. An attractive French peasant girl returning from market has stopped a moment to rest, leaving her 68 ‘NOIAVHONOW NVI ‘MIOS AI ‘LUNOONOUIT VY ANOVS VI aad v9 ‘ON » ~ ae e «/ CATALOGUE basket by the road. She stands, arms akimbo and her face has a thoughtful expression. Behind here is seen the river, with misty blue hills, and to her left there is a bush in full bloom. There is a delicate sky, and the tender greens proclaim the early season of the year. Signed at left. J§Y2- H. 22, W. 18}. “usr. ‘a rn A rf GEORGE INNESS. Wy. Gaderbes SUNSET ON THE BEACH. ae It is interesting to observe the facility with which i this painter attacked all subjects and secured satisfac- tory results. Here the motive is only sky, seaanda * stretch of shore. A lurid burst of sun, gold and yellow as it sinks, illuminates all with a brilliant yellow light. There is little detail, the effect being by suggestion, yet all is wonderfully complete in expression, and the brush-work is masterly. Signed at right. TL. 20, WV2/30, it) 7} s & é - + gf 5 ¢ s ty x “y = 45 E. BERNE-BELLECOUR. ye THE SENTINEL. we With surprising detail this military painter renders here a familiar scene of a French cavalryman standing by his horse’s head. The blue tunic, red trousers and _ trappings of the soldier are expressed with great minuteness, down to the last button and strap, and the animal is no less faithfully depicted. The place is a rugged mountain pass, with great boulders and distant hills, while an evening sky lights up the group. Signed at right. H. 184, W. 134. 69 CATALOGUE TG NG | my EBEMILIO ; SANCHEZ PERRIDR a THE RIVER AT ST. OQUEN, Few of the modern landscape painters get more thoughtful detail than this gifted Franco-Spaniard, and — his pictures have a deserved popularity. Unusually brilliant greens are rendered here in the tree forms that come up from the river, and the anatomy and con- struction of the growth are indicated with consummate knowledge. Glimpses of red-roofed houses are seen through the foliage, and along the bank are moored boats with fishermen. A clear blue sky is only broken by some fleecy clouds at the horizon. Signed at left. 3 H. 154, W. 12$. 47 ty ALPHONSE DE NEUVILLE. CHASSEUR D’AFRIQUE. The glorious swagger of this Ethiopian Zouave, as this master painter presents him, is superb. Loaded down with arms and equipment, wearing a blue tunic, great baggy trousers, once white, and a red fez on his head, he leans against the wall and blows a cloud of smoke. One hand rests lovingly on his sword-bayo- net, the other holds the barrel of his gun. The fine dash of the distinguished French military painter’s brush is seen throughout. c sana ae : 2S - 8 Signed at Tight owe vat x” «OH. 10, W. 73. AS |. LOUIS: BRUCK-LAJOS: THE POOR HELPING THE POOR. The touch of nature is given here in the serious story of the beggar children appealing for charity to 7O . ETERLE. MARIE DI CATTLE DRINKING No. 58. CATALOGUE the almost equally unfortunate peasants who are grouped about a table in a poor cottage where the whole family live in one room. By the door these beggars in rags make a pathetic picture, and one poor child eyes with longings the pot au fer simmering on the fire. About are quaint pieces of china, furniture and the entourage of hard living in the daily struggle for bare necessities. Signed at right. Pe ase WV 57. 935o. acme -/ 2, 4/4 Fa. 49 PRANS VON*+ LENBACH. MARIETTA (PASTEL). It is entertaining to eg in this drawing the method of procedure of the great German painter. The subject is a little girl’ aning on her arms. The work is sketchy; but each,stroke is full‘of meaning, and the faint suggestion of color is attractive. Signed at right. |e beeen Ww. 19}. a! Z : : ae, t) 8 O ve Bi y Fyn A Ga | * e Se f Mauss a PutOotmrh A SCHENCK. SHEEP IN STORM. The terrific storm of snow on the mountainside almost hiding the lines of landscapes, sheep huddled together, the shepherdess and her faithful dog—these have furnished this artist themes for his life work. In this canvas all these elements ate present and portrayed with great skill. The animals are painted no less ably than they are drawn, and each position shows astonish- 71 Vv r pe oie) fi Ke ov j 4 ‘ ‘sae PATE sd : ¥ \ y J ‘, "er Wy) Sing fe Pig 7 ie fi? & s> os € € CATALOGUE ing knowledge of the habits and peculiarities of the brutes. Signed at left. H. 283, W. 38. : , ; Lon | ae hk s 5 I “®) < % bo . aad eo." ‘ ‘ HENRI HARPIGNIES. v : AUX BORDS DE LOING. T) | A brilliant example of the landscape art of a dis- f\ tinguished French master, showing an intimate stretch AY le of country through which runs a stream reflecting a hd L mid-summer sky. A little hamlet is seen in the middle i distance and by the water side some children are fish- ing. The time seems near midday, for the shadows are powerful and the diversified aspect of the land is wonderfully well expressed. . Signed at left. AAMSEED 3 pri: W. SO 97 $M. S86 Kaos ian rae / sets A. STEINHEIL. A CRITIC. In a quiet, artistic studio, the work-room of a Dutch painter, a patron sits in a great easy-chair. He il is before the easel, talking of the canvas thereon. The EG) artist, palette in hand and leaning one hand on the back ee eB of the chair, listens. A picture, framed in black, hangs i Pai on the wall, and a cabinet, with much elaboration of i metal ornament, is to the left. The disposition of light i) and shade is admirable, while all the detail is complete in realization. JK. di Signed at left. aes" HH. 18, W. 148. 72 ‘WAIZ XIIAA "AOINAA “TIVNVO GNVUD ‘Lo "ON CATALOGUE erg ke eee EUGENE ISABEY. CALAIS HARBOR. A quite remarkable piece of marine painting within a small compass is shown here, and this modest panel displays the action of an angry sea, dramatic sky and huddled groups of fisher people, with masterly force. A packet-boat is making her way into port, is tossed by channel waves. Interested spectators gather about on the pier to the left. The color is rich and mellow and the brush work wonderfully free. Signed at left. Toa W als. ee 34 AUGUST HAGBORG. THE QUARREL. Seated on an old sawhorse in front of a fisherman’s cabin are a fisher maid and youth. She is knitting, with bended head, and he, with arms folded, regards her stolidly. On the ground lies a rose, evidently thrown there in anger. It is the old story; the course of true love has been interrupted. To the left is the sea, with an old boat. The scene is faithfully depicted, with clever technique. Signed at left. F320 VV RG, i, PaeeNCOls AUGUSTE BONHEUR. CATTLE IN THE FOREST OF FONTAINEBLEAU, The original picture from which was made the enormous canvas, “ Woodland and Cattle,’ at the 73 bf f? J f 335 ie go f 2 * th aie, ‘a 4 . ty 4 ae CATALOGUE Metropolitan Museum of Art, coming from the A. T. Stewart collection. Here is a great herd of cattle in a woodland. Some are in brilliant sunshine, others in cool shadow, with glints of light making attractive notes. There is superb animal drawing here with masterly observation, and the landscape part of the picture is no less attractive, all being composed with agreeable pictorial invention. ) : a. a Signed at left. , Ay JOHAN BARTHOLD JONGKIND. ON THE CORNICHE ROAD. The dazzling sunshine of the midi is expressed admirably in this pitilessly white road that stretches far off by the side of a canal. A team is coming toward the spectator and is dragging a boat. A line of trees simmer in the sunlight, while to the right some houses and a long wall catch the light. The scene is picturesque, and—hot. Signed at right. FL 23)" Wage. 57 CHARLES MEISSONIER. THE MUSKETEER. Much after the fashion of his father, the younger man has depicted in this panel a sturdy young soldier pacing the ramparts of an old battlement. ‘He is pic- turesque, clad in a yellow tunic, with leather trousers and red stockings. Over his shoulders is an old- fashioned musket, and far beyond, the towers and roofs of an ancient city may be seen. Against the wall, to 74 ‘AANVIN NOLNV ‘ITAM AHL LV WILLVO 89 (ON CATALOGUE 4 me ., the left, two soldiers are chatting. The work is marked ‘ by careful interesting detail. Signed at left. H. 13, W. 9$. 58 MARIE DIETERLE. ¥ CATTLE DRINKING. In the corner of a French farm yard, by the side # / i) ? % of a stream, some cattle are drinking, a white cow LN | ben being in the immediate foreground. To the left, under some trees, is a thatched-roof barn, and a peasant woman may be distinguished at some occupation. The animals are wonderfully painted and drawn, and the color scheme is bright throughout. Signed at left. y, 203, W. 174. fag gree 2) A pik gall WORMS. v IN THE COURTYARD. A typical Spanish scene in the court-yard of an CE ge ONE inn. A maid in pretty colors is lighting the cigar ofa sey x os huntsman, who, with his comrade, is armed and about gif to leave. Another gallant arriving is sprawling on a box, while a muleteer in the background, seated on his animal, is an interested listener of the small talk. The architectural setting, so typically Spanish, is interest- ing, and the painting skillful in every respect, the pic- turesqueness of costume offering many opportunities to the painter. Signed at right. EL. 19, Wu 24, 75 CATALOGUE | \ A i Ve | CHARLES. JACQUE. FLOCK OF SHEEP, MOONLIGHT. ay If the night time is an unusual effect with this oo painter, Jacque has given, nevertheless, wonderful Se a i quality to his flock of sheep under the cool tones of Wi moonlight. There are many of them, and the shep- ° herd, in his cloak and with his dog, leads them along. A hay-rick is to the right and two trees are silhouetted _ against the sky. The landscape gradually drops to the left and stretches away in a valley. A tender sky, wonderfully expressive of the color of the hour, is well serie) and ue in line and mass. OL " sw, EDOUARD, DETAIBLE. © Ah ae DURING THE MANOEUVRES. } The artist, Detaille, par excellence, the historian I of modern French army life, gives here in his inimita- ble way a frequent scene in the autumn field drills. A im company of soldiers of the line in their blue and red Ais are grouped behind a windmill; their officers, with glasses and map, endeavor to discern the far-away ‘ troops.. One officer stands on the steps of the mill, another is prone on the ground, and all fairly reek of military life, for the painter has caught the sentiment, the character and the flavor with unerring precision, the technique being positively the last word in dex- terity. Signed i left. bee ie yagee 144, W. 18. g@ Ab iS eye. er SAV IOI d , “"TANNVHO AHL NI 529, ON CATALOGUE | | Signed at right.. AS2/ 1H. 22, W. L7. FELIX ZIEM. GRAND CANAL, VENICE. Il ye The brilliant color effects of Venice e been given with rare skill and artistic feeling in this impor- tant example. In the centre is the Ducal Palace, and the Campanile rises up against a warm afternoon sky, the buildings taking ona pink glow. fi be Poa Z if #4 é "y & >» 4 te! 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