mm bg ae ES ne one Jo at Sasiiee F a — Pit . Why Paes sy APRA 5 ee coy ~ ¥ fe = Dov ‘3 5 N r. ° - OT tee A . eRe sy ts pe fas = ~ * : t f , : . . "a ye eee he ts fe —— fie aS 7 Se rea - sia i; ; 2 3 ‘A “Te Be ke ea ~ > ‘ =a ro : E> a ar Peat ee uty se Pap wate AP ay COLLECTED BY THE LATE ‘Mrs. A. G. HUNT WASHINGTON, D. C. / “AND A NUMBER OF IMPORTANT WORKS IN OIL BELONGING TO THE ESTATE OF THE LATE WARD BIERSTADT ie" ~NEW YORK American Art Galleries Madison Square South New York es oe oe oe ate Hoek e) 71 ‘ saul e held ra Biers a the for Bee night. Interest : “place in the history of enting a tradition which gue, but which can never be very slowly formed. Paint- in the 50’s considered that a ose which. have ruled for the last irty years. | The influence of the 7 movement was undreamed of in the city. The teaching of Diisseldorf Hudson River group was all along style and yet practise a kind of d of no grandeur whatever. This stadt did, producing pictures of but painting them with a strangely ade of his work if he had brought ne of style to the treatment of mething of their beauty and im- cy oaee But in the ‘same instant you see also that it lacks true charm , that in color and in drawing hort a ve breadth and elasticity fats country was destined to be carried on her hands. To recognize this fact is not to stimate the interest of this very early plo- ; work. It was useful work in its day. have changed. All can raise the flower now, t and established. dent. When Albert Bierstadt ‘Diisseldorf our ideals of land- should be above all things the por- en scene, and they were content, if re with technical methods in- curi-. had still to make {tself felt, The close analysis. An artist might cul- interesting to specilate on what strove to reach a high standard long before our conception of landscape painting had been worked SSS is an extremely miscella-) colléction — ‘em ne Hunt neous affair. scapes, notably small examples of the late A. H. It contains several pleasing land-| | i Wyant and the late John Frederick Kensett, but the average throughout is not precisely exhilarat- The best opportunities for the collector are. ing. offered in the department of prints, wherein there | “may be found a number of good pieces by Bar- tolozzi, Axel Haig, BR. W. Macbeth, Whistler and ort on G on FREE VIEW FROM FRIDAY, JANUARY 177h "UNTIL WEDNESDAY, JANUARY 22x INCLUSIVE, FROM 9.00 A. M. UNTIL 6.00 P. M. ART PROPERTY ie COLLECTED BY THE LATE Mrs. A. G. HUNT AND IMPORTANT WORKS IN OIL BELONGING TO THE ESTATE OF THE LATE EDWARD BIERSTADT UNRESTRICTED PUBLIC SALE WEDNESDAY AND THURSDAY EVENINGS JANUARY 22ND AND 23RD BEGINNING PROMPTLY AT 8 O'CLOCK . AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK CATALOGUE OF VALUABLE OIL PAINTINGS WATER COLORS, ETCHINGS, ENGRAVINGS COLOR PRINTS AND DRAWINGS COLLECTED BY THE LATE Mrs. A. G. HUNT AND A NUMBER OF IMPORTANT WORKS IN OIL BELONGING TO THE ESTATE OF THE LATE EDWARD BIERSTADT NEW YORK TO BE SOLD AT UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES ON THE EVENINGS HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK : 1908 . Press of J. J. Little & Ceutt Astor Place, New York — ees oe eee APN. SRT CONDITIONS OF SALE 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 im- mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, unless otherwise specified by the Auctioneer or Managers previous to or at the time of 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 themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale (unless otherwise specified as above) shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale 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 re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriers and packers, they will not hold them- selves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Manacers. THOMAS E. KIRBY, Avcrioneer. CATALOGUE FIRST EVENING’S SALE WEDNESDAY, JANUARY 22p, 1908 AT THE AMERICAN ART GALLERIES BEGINNING AT 8 O'CLOCK DRAWINGS AND WATER COLORS No. 1 rg ig UNKNOWN LANDSCAPE Se Ir ae Water Color . Breswwe a small pond grow two large trees, which form the principal feature of the composition. Beyond lies a meadow, which stretches to a clump of other trees in the background, and in the middle distance a shepherd is hurry- ing his flock home in order to escape the storm which is rising on the horizon. Height, 51% inches; width, 4 inches. No. 2 UNKNOWN VENUS AND CUPIDS Red Chalk Drawing BENEATH a spreading tree the goddess lies, supporting her- self on her left elbow, while with her right hand she tosses into the air two apples, to be scrambled for by a number of small cupids. Height, 5 inches; length, 61%, inches. No. 3 UNKNOWN LOVE IMPRISONED Sepia Wash Two women and a man in class.» costume sit and stand round an enclosure formed of sharp-pointed arrows bound together. Within the enclosure are two cupids, one of whom raises his hands in an attitude of supplication, while the other is seated on the ground, the picture of despair. Height, 5 inches; length, TY, inches. No. 4 HERMAN FREDERIK KAREL TEN KATE DUTCH: 1822—1891 INTERIOR OF A TAVERN LS a }. oe Water Color ‘ Tue scene depicted is the interior of an old-fashioned inn, with tiled floor, plaster walls and wide stone fireplace. A swaggering man-at-arms in breastplate and jackboots is seated by a rough oaken table on which is a huge mug of beer, while the serving maid in a blue bodice and up- turned skirt is neglecting her work to talk to him. The sunlight streaming through the casement falls upon two other men seated in a corner, who, to judge from their _ expressions, are viewing the little scene with feelings of jealousy and annoyance. Signed on the right, Herman TEN Kare, ’88. Height, 7 inches; length, 91 inches. No. 5 L. LANGLOIS SETTERS Bee oe “0 Water Color ae , Two setters have winded some game in a clump of under- brush, and are waiting with tails stiff and every sense alert for it to rise. The view extends under a sky covered with fleecy clouds, across a bare moor to a range of hills show- ing blue in the far distance. Signed on the right, L. Lanciois apres OC DE PENNE. Height, 131% inches; length, 1914, inches. No. 6 DAVID ROBERTS, R.A. ce SCOTCH: 1796—1864 INTERIOR OF A TEMPLE Ve od s? Sepia Wash From a pool in the foreground the picture shows 4 /vista through the colonnaded hall of a rock-hewn temple in India to the open air. The walls are lined with statues of Bud- dhist deities, and grotesque lions and elephants watch over the sacred pool. Height, 1314 inches; length, 22 inches. No. 7 ELIAS P. VAN BOMMEL wor eal 7 Loe. Ty Hoe SKATING ON THE OUTSKIRTS OF AMSTERDAM THE figures of several skaters are seen disporting them- selves on the frozen waters of a canal which surrounds a large windmill. A large barge is frozen in at her moorings close by. On the right are the houses and buildings of - Amsterdam, prominent among them being a large church. On the left is seen another large mill, and a third is in the distance. Signed on the left, E. P van BomMeEt. Height, 101% inches; length, 16 inches, Exhibited at the Royal Academy in Amsterdam, March, 1881. No. 8 C. P. GRUPPE a CANADIAN : oe SO Contemporary HOMEWARD BOUND Vee: V ) gel Water Color BesipE a broad dyke, a deep-rutted country road runs through rank meadows to a large and populous village, whose red-tiled roofs and picturesque windmills stretch across the background of the picture. In the failing light of evening a peasant in blue tunic and heavy sabots trudges home with his scythe over his shoulders, which are bent with toil and weariness. A thick bank of clouds is rising on the horizon and spreads gradually over the whole sky. Signed on the right, Grurre. Height, 15 inches; length, 224, inches. No. 9 E. NAULLCHUT A PEACEFUL EVENING / - Sd Water Color Besine a shallow mere a peasant is mooring his boat, stand- ing up to his knees in the marshy sedge. Flat, luxuriant meadows typical of the fen country stretch away to the horizon, where they meet a range of low wooded hills. A large windmill is a prominent feature of the middle distance. Signed on the left. Height, 121%, inches; length, 241% inches. No. 10 L. LANGLOIS Be ada Nn end ma, Water Color | a nd hee Two fine Irish setters are searching among the reeds/on the bank of a river for a bird which has been shot and has. fallen dead or wounded near the water. The view extends across the river to pleasantly wooded meadows and the out- lines of distant hills. : Signed on the left, L. Lanetors. Height, 13 inches; length, 241 inches. No. 11 G. SIMONI ITALIAN Contemporary } AN ARAB ale OL eae fot Whe Ras Water Color Berore a whitewashed wall, in the full light of an African sun, stands a barefooted Arab. He wears a white burnouse over a lighter garment of linen. His head is enveloped in a white cloth, over which is worn a broad-brimmed high- crowned hat of plaited grass, which is decorated in various colors. A gun with a characteristic stock and long barrel is slung on his back, and his left hand grasps the hilt of a heavy, curved sword. Signed on the right, G. Simont, Roma, ’86. Height, 211, inches; width, 141% inches. No. 12 RAOUL M. DE LONGPRE FILS — ; oe e? FRENCH Contemporary FLOWERS ef, 4 to On a stone balustrade is a great bunch of flowers, purple lilacs and yellow tea-roses. The lilacs are full blown and have lost some of their blooms, which lie scattered on the stones. Signed on the right, Raout M. pe Lonepre Fits. Height, 211%, inches; length, 29 inches. No. 13 MARIOTT THE DRINKING PLACE Cr tee ia ee , ve : a Water Color On the marshy bank of a broad shallow river in India three huge buffaloes stand, enjoying their evening drink. Some noise has evidently disturbed them, for they stand with heads uplifted gazing across the water at the farther bank, which stretches from the middle distance to the horizon. The vegetation is coarse and stunted, an occa- sional tree accentuating its monotony. The picture is strongly lit by a warm sunset glow which is reflected from the placid water. f Signed on the left, Mariorr, Roma, 88. Height, 2514 inches; length, 32 inches. ne OIL PAINTINGS No. 14 JQ. UNKNOWN THE STORM oe Vn vA Tue scene shows a desolate moorland, on which stand a deserted castle and the gnarled limbs of a dead tree. Be- side a rocky stream in the foreground a shepherd is urging his flock homeward to get shelter from a storm which is rapidly darkening the sky. Height, 31, inches; length, 5 inches. No. 15 ANTONIO PASCUTTI ITALIAN | oD, " J? Contemporary a 4 seks AN INTERESTING BOOK ; ; BesiwE a round table, on which are arranged a couple of books and writing materials, stands a young lady, her eyes cast down and her attention absorbed in a book which she is reading. She wears a red dress with a lace fichu, and on her arm hangs a brilliantly colored Italian shawl. Signed on the left, A. Pascurri, 1873. Height, 6 inches; width, 434, inches. HUGO BRELING GERMAN -o? . o 4 Contemporary SCOUTS Two men-at-arms, in ear taking a surreptitious of them is mounted on a gray choroee and holds panion’s steed by the bridle. The latter has discar broad-brimmed hat and is climbing a nearby tree to. a better view. The trees. and bushes are almost bar approach of winter. Signed on the left, H. BRELING. No. 17 THEODORE SCHMIDT GERMAN | ors ontemporar le 4 2 On aad (tus ery .. CHILDHOOD PLEASURES A smatu child, with her curly hair confined beneath a red cap, is kneeling on a bundle in a hand truck. Her sister, a year or two older, is seated on an upturned basket facing _ her, and with a spoon is giving her a taste of some dainty contained in an earthen jar on her knee. Two geese are hastily approaching to get their share of the feast. Signed on the upper right, THEopoRE ScHMIDT. Height, 8 inches; width, 6 inches. No. 18 VINCENT DE VOS Soe BELGIAN TRAINED DOGS RESTIN A croup of three canine performers, a poodle, a black-and- tan and a nondescript mongrel, are taking their ease after the performance. A large horn, clumsy dice cubes and some stands, which evidently form part of their stock in trade, lie scattered about among the straw, while the ex- pectant look in the dogs’ eyes indicate that the large bowl in the background should soon be filled with the reward of their exertions. Signed on back: JE CERTIFIE AVOIR PEINT LE TABLEAU CI CONTRE INTITULE “LES CHIENS SAVANTS EN REPOS.”—Covurtral, 26/6/74, VT DE Vos. Height, 6 inches; length, 9 inches. No. 19 6 oo UNKNOWN aor OG Ts YY, COOK AND MAID A wuire-coatep chef, with a long white cap on his head, has been cleaning a pair of speckled trout, which lie on the board before him, in company with a fine duck. He stops a moment to chuck the chin of a servant maid. Height, 71/4, inches; width, 6 inches. No. 20 . G: G. CHARDIN ro LO FRENCH LANDSCAPE ; WA pl) 4 A Narrow stream runs between tree-grown banks to joi a larger stream in the middle distance, upon the bosom of which floats a flat-bottomed boat. The view extends beyond the water over a sunny meadow to a quiet village nestling among great trees. The warm summer sky is covered with fleecy cirri reddened by the glow of approach- ing sunset. Signed on the left, G. G. Cuarpin. | Height, 61% inches; length, 91/, inches. No. 21 if oo UNKNOWN A PASSING SHOWER Leys SA - BVUAC EL. Tue keep of a ruined castle stands beside the still waters of a small lake. A sharp squall of rain is sweeping over the landscape, shrouding the distant hills in mist. Height, 7 inches; length, 9 inches. No. 22 IRI ie oa se, STUDIES OF HEAD Consisting of four studies of the head of an old man“of — patriarchal appearance with gray hair and long, flowing beard. Each panel: Height, 934 inches; width, 7 inches. No. 23 ¢ SOPHIE HOUSSANT RETURNING HOME ve oe. ce Painted on cit Hie i ALONG a country road beside a quiet stream a peagant is leading his donkey, accompanied by a goat, cow and\sheep. Other figures, standing and seated, appear in the distance. A fine tree on a grassy slope is seen to the left, while in the background a large gaunt-looking building stands be- neath a rugged craggy mountain. The whole scene is lit with the warm light of approaching sunset. Signed on the right, SopHie Hovssanr. | Height, 7 inches; length, 94% inches. No. 24 THEODORE STRASBERGER pee? GERMAN iss FRENCH ARTILLERY a MA - A team of four heavy horses is pulling a field-piecd, /the limber of which can just be seen on the left of the picture, over a rough field. The artillerymen wear the blue tunics and tall shakoes typical of the French army towards the middle of the nineteenth century. Height, 7 inches; length, 101% inches. No. 25 Bee VLAN TT. NA. fo 3 ¢? AMERICAN: 1836—1892 Wy Dian Le BABE IN THE IVY Tue picture of a fair-haired infant asleep in a bower formed of a dense mass of ivy. She is clad in a white dress with short sleeves, and is surrounded with a species of nimbus, apparently proceeding from her golden hair. Signed on the right, A. H. Wyant, ’70. Height, 10 inches; width, 8 inches. No. 26 FRENCH: 1829—1900 oe SUNSHINE Ty. fe f WV grvle Tue picture shows a clump of trees, for the most part silver birch, surmounting a rounded grassy knoll, up which a young peasant woman in white chemise and blue skirt is carrying a bundle. Beyond the shoulder of the hill the landscape stretches, blue in the distance, till it meets the horizon, The sky is covered with light cloud strata, through which patches of blue appear near the zenith. fee /o PAUL DESIRE TROUILLEBERT 3 r Signed on the right, 'TROUILLEBERT. Height, 8% inches; length, 10% inches. No, 37 WOUTERNS VERSCHUUR ne DUTCH: 1821—1874 APPROACHING one K)) é CR BesiveE a sluggish stream, spanned in the distance /by a wooden bridge, stand a group of horses with rough manes and tails, accompanied by a solitary goat. With heads hang- ing down, they stand facing a sharp storm of rain and wind, which has covered the sky with heavy clouds and blotted out the landscape under a blanket of driving mist. Signed on the right, W. VerscHuvr. Height, 8% inches; length, 1114 inches. No. 28 Aerie aW YAN T, > N.A: ag or.” ¢ AMERICAN: ae, A Lees SANDY BEACH Drawn just above high-water mark on a sandy beach which shelves sharply to the water lie a fishing boat, with its sails raised to dry in the breeze, and a little dinghy. Just be- yond a man lies at his ease on the sand, and farther still are two more boats moored to a stake. The sea is calm and peaceful, showing the silvery reflection of a sun hidden behind a thin luminous mass of clouds. Signed on the right, A. H. Wyant, 1873. Height, 6 inches; length, 14 inches. No. 29 Ue, UNKNOWN LS | ITALIAN LANDSCAPE t, i) 4 Corte A pPLacip river winds between deep wooded banks and dis- appears round a bend in the middle distance. On a sandy road which runs close by are groups of picturesque peasants chatting or proceeding homeward. The keep of an ancient castle is a prominent feature of the landscape, which shows a pleasantly wooded plain stretching to the horizon, wherr a lofty range of mountains stands in bold outline against the warm glow of the setting sun. Height, 91% inches; length, 131% inches, No. 30 RICHARD NORRIS BROOKE a “ay bo AMERICAN) 1847 __ CEs: } a rn Lee , A DEEP-RUTTED country road rfins from the foreground of | the picture till it disappears round a bend in the middle . distance. On its right some red-walled cottages with thatched roofs stand behind a hedge, while on the left more houses are seen beyond a pasture and a field of young corn. A fine elm stands in bold relief against a sky which is cov- ered with heavy clouds. Signed on the left, R. N. B. Height, 91% inches; length, 13% inches. No. 31 an BOY PLAYING ON A JEWS-HARP Tue half-length picture of a boy with fair hair, who is busily engaged in twanging a jews-harp, which he holds in his mouth with his left hand. He wears a three-cornered hat and a linen shirt, over which is a long green coat with large brass buttons. Height, 10 inches; width, 8% inches. No. 32 GIULIO ROMANO ere q- ro EARLY ITALIAN a Kf) a, Up MADONNA AND CHILD ae A hs : Tue Virgin is shown full face, the head leaning slightly to the right and eyes cast down. Her hair, which is un- bound and falls over her shoulders, is covered by a film of lace. Round her shoulders she wears a mantle of red cloth over a tight-fitting dress of dark green. The Child is seated in her arms, his face turned towards the spectator, while he raises one hand to the cross which hangs round his mother’s neck. Height, 11 inches; width, 9 inches, No. 33 | gs N. SIEGERT ig oe GERMAN A WELCOME DRINK f CL - By the oak door of an ancient monastery stands a y monk, clad in the black and white robes of his order’ and holding in his hand an earthenware pitcher. He gazes with a benign expression on a little barefooted peasant girl and her brother, who have been out collecting firewood and have stopped at the monastery door for a drink of milk, which the little girl is eagerly enjoying, while the boy munches at a crust of bread, which constitutes the remainder of the meal. Signed on the right, N. Srecerr. Height, 12 inches; width, 91% inches. No. 34 | A. C. HOWLAND, N.A. pa AMERICAN: 1838 THE TROUT BROOK AY iY, pb hfe). A youne country lad is seated, fishing, on an old rail fence spanning a swift stream, which at this point makes a sharp bend and forms a deepish pool above some rocks. Behind stand two fair-sized trees, on the outskirts of a dark wood, bordering on a smiling meadow across which a field path leads to some buildings in the distance. The scene is strongly lit from a cloudy sky. Signed on the lefi, A. C. Howranp. Height, 12 inches; width, 10 inches. No. 35 KARL PIERRE DAUBIGNY Ja FRENCH: 1846—1886 Y WASH DAY (p ee a Dek A LarGE wherry has drawn up to the bank of a sheltered stretch of water, and is being moored by a man in a flat- bottomed boat. In the foreground kneel two figures busily engaged in washing clothes in the stream. From the water's edge stretches a green pasture, in which are two large trees, and in the background a long range of low wooded hills stretches across the picture. The sky is covered with a heavy bank of clouds, which appears to presage rain. Signed on the left, Kart Davusicny. Height, 814 inches; length, 17 inches. No. 36 ALS ce A. a0) 4 (p BABES IN THE WOOD A LITTLE girl some three or four years old, in a red Gap, lilac pinafore and stout-soled shoes, is seated on the ground in the shade of a dense thicket, crying lustily, with her fingers in her eyes. Her little brother, a year or so older, is trying tc comfort her, the while he looks apprehensively around as if he himself were somewhat scared by their plight. Height, 1014 inches; length, 131, inches. No. 37 J. H. L. DE HAAS obo ar DUTCH: 1830 cows Ay Oe p In the near foreground, in full sunlight, stand two cows, one gazing straight at the spectator, the other with lowered head cropping the sparse vegetation which is afforded by the sand dunes upon which they are pastured. In the dis- tance is a third cow, and their guardian, a woman, stands leaning on her staff, while she gazes at a white sail far out at sea. A few light strata of clouds float in the blue summer sky. Signed on the left, pe Haas. Height, 141, inches; width, 101% inches. No. 38 G. DA POZZA ITALIAN Cw. A BuxoM young woman, who has been displaying her stock of earthenware in the shadow of a dark archway, is lean- oo." A LOVE SCENE ing against the wall listening coyly to the advances made by her lover, who stands close beside her, his arm round her shoulders. She wears the ordinary dress of the better class of Italian peasants, while he cuts a fine figure with a white linen shirt open at the neck, green velvet waistcoat, red sash, knee breeches and broad-brimmed hat. Signed on the left, G. pa Pozza. Height, 151, inches; width, 11 inches. No. 39 JAMES D. SMILLIE, b G- AMERICAN: 1833— in re Tce EVENING AMONG THE HIGH SIERRAS // THE scene depicted is a snow-fed stream leaping down a gorge in the mountains, over ledges and down precipices. In the distance the last level rays of the sunset cast a ruddy glow on the higher peaks, while dark shadows lie on the snow-clad ravines and valleys below. Signed on the lower right, J. SM1Lue. Height, 15 inches; width, 12 inches. 39 A No. 40 CAMILLE MAGNUS FRENCH LES - nf Con ayes aA Santi THE FOREST: onnoee On either side of a small clearing in the forest grow great beech trees, their thick branches almost concealing the sky. In the foreground is a small pool, its waters reflecting the blue of the heavens, and on the path which leads through the clearing an old peasant woman stands. ‘The sunlight falls in broad splashes on the trunks of the nearby trees and strongly illumines the foliage of those in the back- ground, accentuating the mysterious depths of the darkness beyond. Signed on the left, Camirte Macnvs. Height, 12 inches; length, 16 inches. No. 41 E. CHAIGNEAU a a7 eed FRENCH es | Vays oe pre ferent BY THE WAY ( A BLUE-sMocKeED shepherd and his dog have been driving his flock beside a field of young corn, and he has stopped to speak with a young woman driving a donkey cart. The sheep, in a compact bunch, are busy feeding, while the dog sits on his haunches watching them closely. In the corn- field can be seen the scarlet heads of a few poppies in strong relief against the tender green. On the left a furze- covered common extends to a few trees on the sky line, while on the right are seen the cottages and school-house of a pleasant village. The sky is a deep blue, with a few dense cumuli floating above the distant horizon. Signed on the left, KE. CuaicNEau Height, 11 inches; length, 1714 inches. No. 42 : An HO WY ANDES EN ag yo 77-0 ae AMERICAN; 1836—1892 : ) f A MOUNTAIN LAK rn ry 9 y Over a rough boulder-strewn patch of ground, between two clumps of trees, is seen the mirror-like surface of a small lake, reflecting in its depths both the blue of the sky and the verdure-clad slopes of the mountain beyond, which can be only dimly seen through a thin film of mist, and which melts away into a mysterious distance as it reaches the clouds. Signed on the left, A. H. Wranr. Height, 161%, inches; width, 131% inches. No. 43 JOHN FREDERICK KENSETT, N.A. AMERICAN: 1818—1872 A STILL POOL Tre An ff A sWIFT-RUNNING stream, spanned in the distance by a rustic bridge, descends a ledge of rock and suddehly widens into a deep, quiet pool, giving a mirror-like effect in the deep shade of the thick growth of trees which surround it, and which almost obscure the sky save for a patch of blue near the zenith. Height, 16 inches; width, 14 inches. No. 44 GEORGE BURELL WILLCOCK Jo. oe ENGLISH: 1811—18 THE WOODLAND dl A) Y, Crh lfc Me In a thick clump of ancient trees can be seen a red-roofed, white-walled cottage, enclosed by a fence of split oak palings. In the dust of the road outside are playing some children and a dog, and half way up a steep hill a man is resting his horse, which crops the herbage by the roadside. Between the trees is a glimpse of fields and cottages, with the road winding away in the distance. The picture is strongly lighted from a sky which is covered with a thin stratum of cloud. Height, 13 inches; length, 17 inches. No. 45 WORDSWORTH A. THOMPSON, N.A. AMERICAN: 1840—1896 THE VILLAGE OF EAST HAMPTON, i ale (tir ISLANG, THE scene depicts a typi ong Island landscape, green and smiling under a summer sun. In the foreground an elderly farmer, who is bringing his flour from the mill on a barrow, stops to chat with a young woman who is carry- ing her baby on her arm. A small urchin and a little girl are interested listeners. ‘The wind-mill itself is a promi- nent object of the composition, and stands on the edge of a little plateau overlooking the surrounding: country. To the right the view extends over a field in which several head of cattle are browsing, to some buildings and a wide stretch of landscape reaching to the horizon. The sky, in which float masses of white cloud, is a bright summer blue. Signed on the left, WorpswortaH Tompson, 774. Height, 131, inches; length, 18 inches. No. 46 GEORGE C. LAMBDIN ie ea AMERICAN: 1830— Vays ; Lh’ A LILY POND IN NEW JERSEY _A Few broad-leaved lily plants float on the water, their white blossoms forming a strong contrast to the background formed by the dark, still depths of the pond and the rushes round its edge. Signed on the right, Gro. C. Lamspin. Height, 19 inches; width, 151/, inches. No. 47 AVYTER PETER PAUL RUBENS Jt DESCENT FROM THE CROSS Oe: V Tue shoulders of the Saviour are supported by an elderly man, presumably Joseph of Arimathea, while a younger man holds the legs. A woman kneels in the foreground, and beyond stand other wailing women, while a young man lights the scene with a huge candle. The background shows a dark mass of rock and a tree silhouetted against a dark blue sky. Height, 20 inches; width, 13 inches. No. 48 E. WOOD PERRY, N.A. B 0: se AMERICAN: 1831— ANNE HATHAWAY de re. & (rf A 7 THE picture shows the interior of the living room of/An 4 Hathaway’s cottage at Stratford-on-Avon, with the oak settle before the wide fireplace, the quaint andirons and the jack for cooking meat, the candlesticks and other domestic utensils on the lofty mantel-piece, the tiled floor and the low, dark ceiling. Anne is standing by the table in an attitude of anxious expectancy, as if she heard the Bard’s footstep on the threshold. She is clad in a crimson dress with puffed sleeves, over which is a dark apron. On her head she wears a close-fitting cap, and her dark hair — hangs in a long plait down her back. Height, 15 inches; length, 21 inches. | No. 49 FRANCES HUNT THROOP AMERICAN oy id P) Contemporary FLOWERS 7 ne On a table covered with a deep yellow cloth lies a gredt mass of orange and yellow chrysanthemums, while some a standing in a glass bowl close by. Strong light from the upper left makes vivid contrasts of light and shade. The background is a graded tone of yellow. Signed on the upper right, Frances Hunt Turoop. Height, 17 inches; length, 21 inches. No. 50 Peo RAL CCA ae yO ITALIAN Otte ie he A GAME OF CARDS SeaTepD at a table in what is evidently a wine vault, two old cronies are busily engaged in playing cards. One of them is a visitor, for his hat lies on a stool close by, while the elder of the two, with a grizzled chin and scarlet cap, is apparently the guardian of the great casks, which are dimly seen through a wide archway. A straw-covered flask and glass of wine stand on the table, while other bottles are hung in the archway or stand on shelves round the walls. Height, 1914, inches; length, 231%, inches. No. 51 RICHARD NORRIS BROOKE ot cy AMERICAN: 1847 3 HOMEWARD pa 4 p 3 Pastel es A BLUE-sMOCKED shepherd stands, his crook under his arm, watching his flock of sheep slowly wend their way into the shed which is to shelter them during the night. A stack of straw half demolished stands close by, its covering raised — on five sturdy pillars. A brilliant sunset casts a warm glow over the scene, accentuating the gloom of a thick clump of trees to the right of the picture. Signed on the lower left, R. N. Brooxe, Height, 22 inches; length, 28 inches. No. 52 LEG ‘ UNKNOWN Y A LONELY cone C tA VAG THE scene depicts a solitary stone-walled, straw-thatched a cottage on the banks of a smooth-flowing river. A flock of goats are feeding on the sparse vegetation which grows be- tween the masses of rock which cover the ground. Beyond the river the ground rises into forbidding-looking moun- tains stretching as far as the eye can reach. Height, 18 inches; length, 31 inches. No. 53 SIR PETER LELY JAS "" encrisu: 16171680 VY Uf YP ccth a THE DUCHESS OF CLEVELAND Tue head and shoulders of the famous beauty, who is depicted in a dress of brown silk cut low and strapped over the shoulders with pear] clasps, beneath which is worn a white chemisette. Around her neck is a string of large pearls, and in her ears are pear! drops, while her dark hair, which is brushed off the forehead and forms large masses on the back of her head, is also interwoven with ropes of pearls. The figure is strongly lighted from the upper right, the background being a graded tone of brown lightening behind the face. Height, 29 inches; width, 23 inches. No. 54 SIR THOMAS LAWRENCE, R.A. if Ua os ies ENGLISH: 1769—1830 i q PORTRAIT OF MRS. sip soy§) 4. thee | o LU ot A HALF-LENGTH portrait of the famous actress, shown in full face, the eyes looking straight at the spectator. She is simply clad in a plain white dress, open at the neck to dis- . close a gold chain, and confined beneath the bust by a girdle of light blue ribbon. Over her shoulders she wears a cloak of black turned back and lined with pink silk. Her hair is bound in several folds of tulle, between which stray ringlets peep out, and a band of the same material passes beneath her chin. Replica of the portrait in the National Gallery, London. Height, 29 inches; width, 24 inches. No. 55 UNKNOWN : : THE VINTAGE o7 IO a JO Decorativ anel YounaG Bacchus is mounted on a lioness, which two of his — companions are leading by garlands of vine leaves. He is raising aloft a cup of wine, spilling the contents as he does so. Two other satellites are busily engaged, one in pluck- ing grapes, the other in carrying them in a basket to the ; wine vats. Height, 12 inches; length, 42 inches. No. 56 UNKNOWN HUSBANDRY CO iS lhe cep £6 Pendant to the Preceding On 4 sunny plain a group of cupid-like figures are busily employed in the pursuit of husbandry. One is ploughing with a team of oxen, another sowing, while two more reap the crop and gather it into sheaves. Height, 12 inches; length, 42 inches. No. 57 H. GIRARD FRENCH J, i, 4 Le aed a: do . AUTUMN SUNSET A swampy piece of ground, the pools of which glow red in the rays of the setting sun, occupies the foreground and stretches as far as a tangled mass of underbrush, near which stands an old woman in a blue dress and white cap. Be- yond lies another field, bounded by a hedge, and farther yet are the buildings and church spire of a small village, which lies at the foot of a low bare hill which slopes gently up- ward on the left. The trees are almost denuded of leaves and their bare branches stand out boldly against a sky in which the glow of the sunset still lingers. Signed on the right, H. Girarp, ’87. Height, 25 inches; length, 36 inches. The following described painting by the late FREDERIC E. CHURCH, N.A. is to be sold without restriction by order of Messrs. Coudert Brothers, Attorneys. No. 58 FREDERIC E. CHURCH, N.A. >? IT: rd AMERICAN; Spy rade FALLS OF TORQUEMADA, MEXICO THE picture represents a wall of rock facing the spec- tator, almost semicircular in shape, the sides descending sheer and straight to a tumbled mass of rock at the bottom. Through a deep cleft in the centre of this rock-wall pours a stream of water which leaps in a cataract down the face of the cliff, and pursues its way at the bottom as a tor- rent, foaming among the rocks which obstruct its passage. The cloud of mist and spume raised by its abrupt descent floats across the gorge and slowly ascends to the upper air, partly concealing the luxuriant vegetation which clothes the summits of the cliffs. Among the rocks in the fore- ground grow a number of trees, and on the left a mass of ferns and scarlet flowers, and a gay-colored parrot lends a semi-tropical note to the scene. Signed on rock to left, F. E. Cuurcn, 1854. Height, 59¥, inches; width, 48 inches. NOTICE The following described eighteen pictures by the late ALBERT BIERSTADT, N-A. are to be sold without restriction by order of the executrices of the late Edward Bierstadt. Apert Biersrapr was born at Solingen, near Diisseldorf, Ger- many, January 7, 1830;.was brought by his parents, in 1832, to New Bedford, Mass., where he received his education in the public schools. In his youth he developed a marked taste for art, and was influenced in his choice of the profession by the ex- ample and success of his cousin Hasenclever, the German artist. In 1853 he went to Diisseldorf, where he studied three years under Lessing, and profited by criticisms of Leutze and Achenbach. This was followed by a year of study in Italy. Returning to the United States in 1857, he made tours in the West and in the Rocky Mountains, where he gathered material for a long series of paintings of American scenery, thus becom- ing the pioneer in this direction. In subsequent visits to Europe he collected material for Alpine and Italian subjects. He was elected to the National Academy in 1860. In 1867 he was commissioned by Congress to paint two pictures, “The Dis- covery of the Hudson by Hendrik Hudson” and “ The Settlement of California.” He received medals in Austria, Germany, Bavaria and Belgium. He was decorated in 1867 by the French Emperor with the Cross of the Legion of Honor; in 1869 and 1872 by the Czar of Russia with two degrees of the Order of St. Stanislaus, and in 1886 the Imperial Order of the Medjidi was conferred on him by the Sul- tan of Turkey. He died in New York, February 16, 1902. His masterpiece, “The Rocky Mountains,” also known as “ Lander’s Peak,” was finished in 1863, and was the result of a visit to the West with General Lander on a Government exploring expedition. It was first shown to the public at the Great Fair of the Sani- tary Commission in the city of New York in 1863. Subsequently it was exhibited in Boston, Washington and other cities in the East. It was purchased by James McHenry, and was taken by him to London in 1865, where it remained in his collec- tion until his death. In 1898 it was brought back to this country, and is now in the possession of the Metropolitan Museum of Art, New York City. The picture was engraved by James D. Smillie. Other well-known pictures by Mr. Bierstadt are: “A View on the Kern River, California”; ‘“ Sunset—Sierra Nevada Moun- tains,” both in the Gallery of the Hermitage in St. Petersburg; “The Old Faithful” (the Geyser in the Yellowstone Park), in the palace of the Sultan on the Bosporus; “The Great Trees of California,’ in the Imperial Palace at Berlin; “A Mountain Lake,” in the Corcoran Gallery, Washington; “ Laramie Peak,” in the Academy of Fine Arts, Buffalo; “ Mount Whitney,” Min- neapolis Museum; “ Domes of the Yosemite,” in the State Gallery of Vermont. No. 59 200 7 VIEW ON PASSAIC rived dog ety THE scene shows a still day in early autumn. The broad stream has not a ripple on its glassy surface, save where in the foreground a boat with three occupants is being rowed towards the bank, and in its still depths is mirrored the brilliant foliage of the trees which clothe either bank. The river stretches from the left foreground to the far distance, where it vanishes among the trees. The sky is a hazy blue, in which float a number of light clouds. Signed on the right, ABiersvanr. Height, 14 inches; length, 19 inches. pee” No. BO a. : INTERIOR OF A LIBRARY VA aA. In a straight-backed arm-chair near a window is seated a middle-aged lady in a plain blue gown, a book upon her knees, but her gaze directed towards the far end of the room. In another arm-chair sits a small boy deep in a large book. On the parquet floor is a fine rug; the win- dow and alcove are hung with rich curtains, while a hang- ing lamp and a glimpse of a piece of statuary indicate the taste of the owner. Through the window can be seen a mass of brilliant flowers against a green background, all in a blaze of sunlight. Signed on the left, ABrerstrapr. Height, 19 inches; width, 14 inches. No. 61 Vag A.C SUNSET ON JUNGFRAU ; THe view extends over a grassy meadow in whi¢h are a man and some children working and playing. eat trees grow on either side, their branches meeting at the top to form a natural frame, through which can be seen a vista of meadow land and tree-clad foothills, and beyond them the majestic bulk of Jungfrau. The light has already left the lower slopes, which gradually assume a cold purple | tint, but the last rays still fall upon the topmost peaks, | suffusing them with a warm, ruddy glow in sharp contrast | with the lower snow fields and the darkness of the valleys. | Signed on the right, ABrersranr. Height, 18 inches; length, 27 inches. Jd py No. 62 “MONT BLANC: sunrise {0 Y Cu From a grassy meadow in the deep shadow of three o four fine trees the view extends across the lake, on the bosom of whose waters a few sail are already astir, to the well-wooded banks beyond. In the distance, dominating everything, is the mass of Mont Blanc, lofty and majestic, the level rays of the early sun upon its snow-clad sides making contrasts of rosy pink and deep patches of shadow. The sky is almost cloudless, save for a few light cirri, and the horizon is aglow with the sun, which is as yet hidden by the bulk of the mountain. Signed on the left, ABrersrapr. Height, 181% inches; length, 2714, inches. No. 63 ohtt MONCH AND JUNGFRA Tue needle-like peak of Ménch soars above the dense cloud which enshrouds its lower portifn, and stands boldly out against the blue sky. To the right, the more massive bulk of Jungfrau looms darkly through the mist, which, reveal- ing one huge buttress, conceals the rest from view in an impenetrable cloud. In the foreground on the right a small patch of green and a few trees indicate the site from which LG, the picture was painted. Signed on the right, ABrersTapr. Height, 2114, inches; length, 281% inches. No. 64 QT” BEAL DISTANT VIEW OF MONCH, BERNESE ALPS Tue foreground of the picture shows a grassy hillside sloping sharply upwards to the right. Great boulders lie here and there, notably an enormous rock on the extreme left, and trees, chiefly pines, grow in luxuriant profusion. In the background, rising above a dense cloud which shrouds its lower slopes, is the lofty peak of Monch, cold _and blue against the summer blue of the sky. Pea / uf #7 Stipple engraving, printed in colors. Circular. 95—Cuitp AWAKENING Her PLAYMATE > 4 Pape ia gv Stipple engraving, printed in colors. Oval. 96— Maria Cosway Kae VE-Lhane ee yo After the painting by herself. Stipple engraving, f printed in colors. 97—TureEe CHILDREN AND A Go Frgrck. Ut From a design by seni 1.° Stipple engraving, at od: printed in red. Siightly repaired at the top of the print. BEAUVARLET, JACQUES FIRMIN Born at Abbeville in 1731. Died in Paris, 1797. A pupil, in engraving, of Charles Dupuis and Laurent Cars. een eke ae Tite. Me After the painting by Boucher. Line engravin i rt BRADLEY, BASIL 99— May-tTimMe: ON THE Tames 1) a: Ole yi ne Photogravure. Signed artist’s Yann on India paper. CHAUVEL, THEOPHILE “ Personne n’a gravé mieux que lui Daubigny, Jules Dupré, Théodore Rousseau. Les planches d’aprés ces maitres sont d’un rendu saisissant.”—Beraldi. 100 — So.iTupDE Tye Di df. Detrtein, No. 94. . Arl/A_ 1 AT a / g After the painting by Daubigny. Lettered impres- sion on Holland paper. In the opinion of many con- noisseurs this is the most beautiful of reproductive landscape etchings. CLEMENT, A. L. 101—Tom JoNEs AND SoPHIA, AFTER ee per) YA. pan 4 go After Downman. Aquatint in co COUCHE, FRANCOIS LOUIS Born in Paris in 1782. Died in 1849. 102—Pavut Porrer Lo, (? Kp deed cee g6 Soft ground etching, after Boguel./ COOPER, ROBERT 103— Love WovunveEp (p a4 Clas After Shelley. Stipple engraving. lored. COX, WALTER 104— Tue Last oF THE Catcu = tine thie /), 42 After the painting by R. H. Carter“/Remarque proof on Japan paper. Signed by both \painter and etcher. DANZEL, JACQUES CLAUDE Born at Abbeville in 1735. Died in 1809. A pupil of Beauvarlet. 105— Lr GAtrav ves Rois Abe Pie YO After the painting by Gilles Vantilborgh. Tine en- graving, colored. V3 7 a: Rrtrt- 9 9 ey. 7 DE BUCOURT, PHILIBERT LOUIS Born in Paris in 1755. Died in 1832. A pupil of fe Vax /b Meme 106— Le MeEeNvetT vDE LA MarI&re i 2? Painted and engraved by de Bucourt. Printed in colors. 107— La Noce av Cnineav (a0 Ate . Painted and engraved by de Bucourt. Printed in . pat colors. DELATRE, JEAN MARIE Born at Abbeville in 1746. Died in 1845. In 1770 he came to England and worked under Bartolozzi. His best plates are after Angelica Kauffman, Wheat- ley and Hamilton. 108—Cuitpren Frxpine Carcnenseete After W. Hamilton. Stipple engrayjng, Trtvond in on ot red. DELLA BELLA, STEFANO Born in Florence, 1610. Died, 1664. “No artist has handled the point with more facility and finesse than Della Bella. His execution is admirable, and his touch spirited and picturesque.”—Bryan’s “ Dictionary of Painters and Engravers.” 109— Tuer Fruieut Into aoe WITH THE HEADS OF Yeo ANGELS With full margins. From a collection unidentifiéd by Fagan. DURER, ALBERT The greatest artist Germany has produced. 110— Maponna anp CuHILp SEATED, WITH T JOSEPH, AND Two Ancets Hotpine a Crow KH CG? 42 Woodcut. Diirer’s monogram is in the middle at the / bottom of the print. DUTHE df dihie AUFRAGE 111—Uwn Jeune MATELOT RACONTANT SON v. yo dtter W. R. Bigg. Stipple engraving, printed in : colors. EDELINCK, GERARD * Born at Antwerp in 1640, he became French by adoption, occupying apartments in the Gobelins, and enjoying a pen- sion from Louis XIV. Longhi says that he is the engraver whose works, not only according to his own judgment, but that of the most intelligent, deserve the first place among exemplars, and he attributes to him all perfections in the highest degree; design, chiar’oscuro, aérial perspective, local tints, softness, lightness, variety—in short, everything which can enter into the most exact representation of the true and beautiful without the aid of color. Others may have sur- passed him in particular things, but, according to the Italian teacher, he remains by common consent ‘the prince of engraving. ”—Charles Sumner, “Best Portraits in En- graving.” 112— Mansart, JuLtes Harnovin Rogert-DumEsnNit, No. 267. ia ot cA Superintendent of Buildings to Louis XIV. After the painting by Hyacinthe Rigaud. This is usually accounted one of the masterpieces of the engraver. FACIUS, GEORG SIGMUND Born at Ratisbon in 1750. Died if'\] vf Ale 113—Inpusrry, ATTENDED BY PATIENC ASSISTED BY PERSEVERANCE, Is CROWNED BY Honor anv RE- A woe WARDED BY PLENTY After the painting by Angelica Kauffman. Stipple engraving, printed in red. GREUX, (G. 114— Lr Gus | { a4 After the painting by Corot. Lettered impressi on Whatman paper. (Crease through lower portion of print.) iu ry fof A - - Pra HAIG, AXKL H. ) The greatest living etcher of architeotes subjects. | ye 115—Scutoss ZWINGENBURG ON THE sect Mn Y : ArmstTrONG, No. 53. Ahi / vy. Signed artist’s proof on Whatman paper. 250 im- pressions only. 116—Carro: ARAB Srooesny t,t ey ee as Armstrone, No. 79. Signed artist’s proof on Whatman paper. 250 im- pressions only. 117— Luseck: Tue Bay oer oy Armstrone, No. 80. Gr. ge Pye roost Sey. 0 Signed artist’s So on Whatman paper. 125 im- pressions only. ; — — 118—Catrro ly Wd ArmstTrRonG, No. 82. / a a" Signed artist’s proof on Whatman paper. 119—In THE ARAB Quarter, Cairo 7} et, ae (rm - so ArmstTrONG, No. 88. o / Signed artist’s proof on Whatman paper. 275 proofs only. P pet | : 120— Amiens CATHEDRAL: INTERIOR | ’ a ARMsTRONG, No. 98 o- Signed artist’s proof on Whatman paper. ! “To me such an old world place as this cathedral of Amiens is an inexhaustible source of study, reflection and pleasure. Advancing in years and experience, and having ; visited Amiens subsequently many times, the first impres- BD sion has; even deepened, and the interior of this cathedral still is to me all that is most pure and beautiful in, Gothic form.”—Avzel Haig. 121— Patencia: Tue ALTar OF THE VISITATION Armstrone, No. 117. Vyas Vip Wy id ah Signed artist’s proof on Japan paper. “The Altar of the Visitation is on the south side of the coro of the Cathedral of Palencia, the old Roman town of Pallantia, in Northern Spain. The paintings mentioned represent St. John the Baptist, St. Andrew, St. Lawrence and St. Stephen flanking the central picture of the Visi- tation.” HOGARTH, WILLIAM (AFTER) 122—-Tur Inpustrriovus APPRENTICE PERFORMING ,THE Duty or a CurIsTIAN Vine. Peay Line engraving. ye HUMOROUS 123—‘‘ SHoutp AuLtp AcCQUALNTANCE Mes : ; a hk 4? Lithograph. Colored. rng - : AVL _ q ‘ A THaw (Y - & Kenead ao Aquatints printed in colors. Two pieces in #ne frame, one lot. 125— Meratuic Tractors VA Lae qi VV OS a | ve aa In colors. JAZET, JEAN PIERRE MARIE Born in Paris in 1788. Died in 1871. Nephew and pupil of De Bucourt. 126—Francis THE First His Sisttr aay aie OF NAVARRE TA ‘ Mev TA ang Aquatint. After the painting hy Bonington. JUKES, FRANCIS Born in 1746. Died in 1812. 127—Agpey Crusis, NEAR Lion ey Aquatint in colors. After the painting by Walunisley. 128— Bata Poou on THE RIVER vhf Lue. J ne To Aquatint in colors. After the painting by Walmsl KING, JAMES S. 129— Wartcuine AND WaitTING pn ne ‘ee After the painting by C. R. G incr tee proof 2. o- $2 onvellum. Signed by painter 4nd nes There were printed 150 proofs in this state. KNIGHT, CHARLES 130— Lieut as Love | Stipple engraving, printed in red. Margin washed 108 “9 with India ink. KNIGHT, JOSEPH 131—Own tHE Downs: EveNING Ge Vyne MwA ip row?) Original mezzotint. Signed artist’s proof on What- man paper. LANDSEER, THOMAS Born in London in 1795. Died in 1880. His engrav- ings are for the most part from the works of his brother Edwin, and the pictures of the latter owe much of their popularity to the sympathetic rendering of this engraver 132—To Ho’, To Ho’ Vann 4 es a go After the painting by Sir Edwin Landseer. Mixed engraving. Lettered impression. 133—Tue Deer Pass t\ te After the painting by Sir Edwin Landseer. Mixed — ,g engraving. Lettered impression. ”, LE COUTEUX, LIONEL A pupil of Waltner. 134— A Norman MILKMAID After the painting by(J. F. Millet. Me Users Wy. ane ems, on vellum. LE GRAND, AUGUSTIN 135— Love HEALED Stipple engraving. Colored. 136— CHANGEMENT DE Lait DE PAUL ET VIRGINIE =——- 3 Lo 0 After the painting by Lambert. nae epgoyaving, printed in colors. i LE GRAND, H. ra 1387—Pavut, ComTEe DE StRAGgNpEy _- fy, HO). e aN ioe Line engraving. After the painting by Greuze. 138—Prtite NANNETTE — n ees. yp Oh .20 Line engraving. After the painting by Greuze. 139—La JEUNE PENSIONNAI ay { v¢ Stipple engraving from his én design. Printed in colors. 140— Le CuHaAaPrAU DE LA MARIEE ws Cabos af So Stipple engraving from his owv design. Printed in colors. LIGER L’Ers ees. B: Huet. al. 141 - L’Hiver yo\ After J. B. Huet. Engraved by Duruisseau. ¢ A pair. In colors. Two pieces. One lot. LUCIEN, JEAN BAPTISTE Born in Paris in 1748. Died in 1806. 142—Cnitp’s Heap SP ynpe , Work After a drawing by Greuze. Stipple ghgraving, C, be 3 : ‘ printed in red. It has been torn. MACBETH, ROBERT W. 143— Tuer Piep Pieper or Hamepin: T BEGUILING OF THE CHILDREN : . § Uf 7° After the painting by G. J. Pinw Lettered im- pression on Whatman paper. 144— Tue Piep Pieper or Hamevin: THe BEGUILING OF LZ , THE Rats #3 e Bie After the painting by G. J. Pinwell. Lettered im- pression on Whatman paper. MANDEL, EDUARD The last of the great line engrave | rs. 145— Marer Dotorosa ees yp 02.47 Tine engraving, after the painting by Carlo Dolce. 146— bie 147— ye 148 7" 149 oF 150— Kes 151— Tue FarMer’s STABLE DQ « — WasHINGTON AND Ppp, FH ) After the painting b enry AY ‘Sue d may pre eA Vav.24 /b te MARIAGE, | LOUIS me Le Premier NAVIGATEUR ARRETE a PIS. DE LA HaAvaNE After the painting by Charpeatea P pdarae engrav- ing, printed in colors. y L SS Le PREMIER ae DANS SA BARQUE After the painting by Charpentier. Stipple engrav- ing, printed in colors. McRAE, JOHN 7 impression. MICHEL, JEAN BAPTISTE Born in Paris, 1738. Died in 1804. After the painting by William Hamilton. Stipple engraving, printed in red. MORLAND, GEORGE (AFTER) EvENING; or, THE sane RarpRN In colors. yi : tv ht. ah Up te “To 152—Mornine; or, THe Hicerers PREPARING FO oo en Pm. A Prvvrar_ In colors. 153—Tue Farm Yarp I ty h 1 In colors. 154— Tue Vittacers’ Repast Sn (/3 Prada ye ¢¢ In colors. 155— Tue Anxious Famiry Dyna. vai ry) ¥ 7@ Jn colors. NAPOLEONIANA yy 156—NapoLreon’s AscENT AND DESCENT VM. . BRIDGE oF LIFE 3. 4¢ Line engraving. In colors. 157—Napo.teon at RaAtisBon KY (9. Pit hee ie ikd Lithograph. Colored. 158—Tue Kine or BrospinenaG AND GULLIVER (Napo- o. % LEON AND Kina GrorGe) m4 ” " Colored. PELLI, MARCUS 159—Sr. Francis pE Paun ( y - ed After the painting by J. B. Piazetta. POLITICAL CARICATURE 160— Moruer Carery’s CHICKE Be q In colors. MG (7. ide 4 St 4 RYALL, HENRY THOMAS 161—CuancinG PasturRE C9. (/3 SF itdopee ; After the painting by Rosa Bonheur. Lettered im- - / 2 as pression. SADELER, JAN Born at Brussels in 1550. Died in 1600. “ His plates are executed with the graver only, in a neat, clear style.” > 162— Wiweus A). Ri Fruedonan | UL. After Theodore Bernard. Line engraving. SAENREDAM, JOANNES Born at Zaandam in 1565. Died in 1607. Pupil of Hendrik Goltzius and Jakob de Gheyn. 163—ANNUNCIATION TO THE sunk) (9: ¥ » Og. After the painting by Bloemart (1599). SCHIAVONETTI, LUIGI Born at Bassano, 1765. Died in 1810. A fellow- worker with Bartolozzi. 164— Mrs. Cosway (Vr After the painting by Richard Cosway. Stipple en- me . graving. Colored. SCHLECHT, CHARLES 165— ALonE ie. ender After the painting by Percy Mov4n. Proof on India y, rd paper. Signed by painter and efgraver. eee YE Wi neg,,cb 166—Tue Sartor Boy’s Return Fr VoYAGE Od re After the painting by W. R. Bigg. Stipple engrav- ing, printed in colors. Full margin; margin somewhat foxed. SHARE, H. PRUETT 167—Homewarp Bovunp Te Aho | 4 ev After the painting by M. J. Byrns. ReAtone proof ; on Japan paper. Signed by painter and etcher. There were printed 100 proofs only in this state. SIMON, J. P. ? 168—Nr w’UN ni L’AuTRE ie eG 6 Lone ; 7 Stipple engraving, after the painting by Mlle. Jenny : Disora. Lettered impression. oO “hs : Stipple engraving by Delegorgue, after the painting fe sv by Mile. Jenny Disora. (Companion to the preced- ing.) Lettered impression. 69—‘‘ An! C’EN EsT FAIT. JE ME MARIE. TEMPESTA, ANTONIO A Hawkine Party Line engraving. ws GOs, G Country SCENE, witH PEAsaNtTs DRINKING. ov | Line engraving. a Two pieces. One lot. 170 VARIOUS Engravings by various artists. — 171—L’Hevrevse Famityie Tw W Ae “a ‘ ORES . Colored mezzotint. 172— Lr Repas p’AmMouR £, 4 we ! ae oe Stipple engraving. Colored. 173 (O°. ie TRAVELLER’S DEPARTURE Tue TRAVELLER’s RETURN AN (3- Y Line engravings, printed in color. A pair. Two pieces. One lot. 174—Girt with a Kitten /}Vian 7h earac) us AE Gs Colored print. 175— CuitprEN witu KiITTENs NY) (3: we / q », ra Colored print, after Lassalle. fs a4 ig colors. 177— Man SrEatTED AND SEEN FROM BEHIND v4 We Tl as, _‘? After Boucher. Somewhat creased. 178—VeEeNus wits Cupip aNp Doves ) i 147) Le if 176— Tue CoNTENTED Warerman(/ ro (3 TOL Sc Reeeeeeeeneeemiemmenenneneeeeeee Line engraving. LE oo 179— Tue LertTer Colored photograph. After Meissonier. 180— Tue Haymaxer’s CuILp oe | of °%% Stipple engraving. In colors. 4 | | 181— Mize. pe La Va.uirre Presented zo Lovis Vv. i) cx / yw tipple. In colors. ane: Ln. oo /. Nruwiep oN RHINE f 182 id g ve ( HemEeLeere Vy Line engravings. Colored. Two pieces. One lot. 183— Portrair oF AN OFFICER ha Fi he 3. o7% Aquatint. In colors. Tue Horty Famity witu St. JoHn Painting on ivory. Wy 184 Ben Nevis A) (at Py VY . WoopLaNp SCENE og ap 5 ea = to a a Se eee a ee ErcHinG IN MANNER oF REMBRANDT. Head of a man. Four pieces. One lot. ee 4 Oiled Py nk jo Meh nar] BP Cie aim Moelle nl VEDOVATO, ae 185— Tue Doe’s First Sicut or el After J. Russell. Stipple engraving. Colored. 3. J WARD, WILLIAM Born in London in 1766. Died 1826. Brother of James Ward. Brother-in-law of George Morland. A pupil of John Raphael Smith. 186— SaiLors IN CONVERSATION oA A C fm 9 After George Morland. Mezzotint engraving. Col- co ie “e ored. Published October 25, 1802. WHISTLER, JAMES A. McNEILL 187 — RoTHERHITHE anyy AD rh hate ra Wepmore, No. 60. One of the Thames Set. The plate is destroyed. “This plate is one of the strongest and most vigorous of the series.”,—-T. R. Way, “The Art of J. McNeill Whee p. 69. ORIGINAL DRAWINGS DE MATTEIS, ULISSE 188— CuristT, THE PLEADER Th oe Crayon drawing. Signed in full, and dated Florence, Via 1883. 189— Tue ANGEL or PEACE Thy, We Ja Crayon drawing. Signed in full, and dated Florence, 1883. a? DUSART, CORNELIS Born at Haarlem in 1660. Died 1704. , 4 é bP ZY Ne fi X Rak a AS x Os ato REL eee $ y Fe hep ax gee f > n AMA Ob Ke ok iy ee ae ae as Z # ‘ STG EN a Mode ; ee el eae Okie pe hg es ON . hy) ; of te Nao in CON EE gs tre Re a A ng : See (et) Moa le S : C Z ae . % % 4 ay ee o. Sue ache aN FR Teel Os EARCH INSTITUTE ~ ig ii UNL 3 3125 01 A ee { RA Me? ae) eR) Bee, (Eide Uae! uf hy ¢ aL Wl yed ft ( t } OF 7%} ‘ t ( per my 1 ¢ Vital ne 1 ' A : en. fipeed ' p 4 ae Fae Hy Wp ae sah ' C I ‘ / yarey ‘ Tid Ge PME t 4 ut 4 1 p f ‘ eT ‘ Deuce ’ aa C ‘ {ayy , ' ’ Pica ECL ee at ‘ ! ‘ Wop oe ty We , Testa 8g vt Paral CO § 1 i ‘ ogi . fi me , i ' seit ve t ri i on i RAS i Ta ena aH ATEN Lae Vee ine) nee ae " Sees : F . : ; tea CRUE als My ete ' H yaa dit poy i 1 ees