aed ne) i = = ore: ~~ ere SP Rpei fi bats At B 7 fed? Oe ty cL. LIBRARY KNOEDLER & CO. NEW YORK EXHISITIONS. — ict SALES AND WIXHIBITIONS. | ART SALES AND EXHISITIOM » — —~- rR Oooo" ah g THE FIFTH AVENUE ART GALLERIE, / ‘ oe % _, 366, 368 Fifth Al enue, near 34th Street, } err ha . JAMES P. SILO, Auctioneer. ON FREE VIEW : O-NORR OW, MONDAY, TUESDAY, Day and Evening, WEDNESDAY till time of sale, tm vety remarkable collection of ul |: | \ To be offered at _aaneieapielly nub 5 WEDNESDAY, MARCH 7 ery Example Is per ayit an Une pivocal | Guara i English School. French School, SIP. JOSHUA REYNOLDS NATTIER A On ae SIR HENRY RAEBURN TOURNIERES P, \IWOUVERMANS SIR THOMAS LAWRENCE gh a rates ANTONIO MORO SIR WILLIAM BEECHEY LANCRET WIJINANTS SIR GODFREY KNELLER CHARDIN VAN GOYEN SIR PETER LELY SANTERRE N.| MAES JOHN CONSTABLE VALENTIN ViCTOORS GEORGE MORLAND PATER A. |/VAN DE VELDE WILLIAM HOGARTH MiGNARD VAN SLINGELANDT . JOHN HOPPNER LECLERC PERKHEYDEN JOHN OPIE, etc., etc. ete., ete. J. BUSTERMANS, etc., etc, Catalogues de ake. with thirty-six photograyure illustrations. Pri Full descriptive catalogues, with phot¢ ravure frontispiece, 25 THE FIFTH AVENUE) ART GALLERIES | Fifth Avenue, near 34th Street. He “Old Masters” COLLECTION OF THE EHRICH GALLERIES 1906 THE FIFTH AVENUE ART GALLERIES | 366-368 FirrH AVENUE, NEAR 34TH STREET, NEW York Sieve eat LO. tA CTIONRER ITH EVERY PAINTING of this sale the pur- chaser will receive a card containing the following GUARANTEE The genuineness of this painting is guaranteed —that it is an original, not a copy—and that it was painted by the artist (here mentioning name) to whom it is attributed in our Sales Cata- logue of March 21, 1906. Should this be dis- puted by competent expert authority, the paint- ing is returnable to us, at any time within one year from date of sale, at the price paid, plus interest at the rate of five per cent. per annum. THE Enrich GALLERIES by Louis R. Enricu. CATALOGUES DE LUXE, printed on hand-made paper, with thirty-six photogravure illustrations, a limited, numbered edition, PRICE, FIVE DOLLARS. Fut, DEscrIPTIVE CATALOGUE, with photogravure frontispiece, 25 cents. LIST of PAINTINGS of THE EHRICH GALLERIES COLLECTION TO BE SOLD, AT UNRESTRICTED PUBLIC SALE, ON WEDNESDAY EveENING, Marcu 21st, at 8:80 P.M. IN THE GRAND BALL-ROOM OF THE WALDORF-ASTORIA No. of Cata. NAME OF ARTIST TITLE OF PAINTING Amount ogue 1 | H. BELievios Seascape 2 | Wrr11am Hocartu The Poet John Gay 3 | CoRNELIUS JANSSENS Portrait of a Young Lady 4 | BeRNARDO GERONIMO DE LLORENTE The Divine Shepherdess 5 | MarEo CEREzO A Spanish Prelate 6 | GrorcE Dawe Miss Philips, the Actress 7 | SepasTIeEN LecLERC Blind Man’s Buff 8 | G. B. Winicock Landscape 9 | JoHN GLOVER Sunset on the Coast 10 | Jan Van RavesTEYN Portrait of a Dutch Lady No. of logue 26 NAME OF ARTIST JoHN BerRNAY CROME JoHN RILEY PIererR C. VAN SLINGE- LANDT Justus SUSTERMANS JANS WIJNANTS Rogsert TOURNIERES Rosert TOURNIERES Prpro DE Moya Wiitut1amM Dopson Sir Henry RAEBURN GEORGE MorLANnb ‘THOMAS Heaoe Henry STONE Nicotaas Mags Sir Perer LEY JoB BERKHEYDEN TITLE OF PAINTING English River Scene A Lord Chancellor The Music Lesson Vittoria Della Rovere A Landscape Gentleman with a Jewel Box Portrait of a Lady The Flight into Egypt Portrait of a Girl John Philpot Curran The Barnyard Portrait of a Lady Inigo Jones, the Architect Family Group Nell Gwynne Taking Music Lesson Dutch Landscape Amount EOE em Deemer f-seonle NAME OF ARTIST | Srr Wiiu1AmM BEEcHEY Nicuouas LANCRET, School of JEAN BaprisTE SANTERRE Wiiu1am HoaartH ANTONIO CANALETTO JAN VICTOORS JAN VICTOORS PIERRE VALENTIN PrerrRe MicNnarp CamitLtus Hone JOHN CONSTABLE JEAN Marc Natrier Pure WouwERMANS ALLAN RAMSAY Davin Tenters, Am- BROISE BREUGHEL Rospert TOURNIERES TITLE OF PAINTING George IV Féte de Famille Lady with Mask Alexander Pope A Canal in Venice A Dutch Gentleman A Dutch Lady The Card-Players Duchesse de Bourgogne Portrait of a Boy The Lock La Duchesse de Chateauroux At the Inn Horace Walpole Landscape with Castle Francois Mouchard Amount No. of Cata- logue 43 44. 45 46 47 48 49 50 51 52 53 54 55 56 57 NAME OF ARTIST Sir Wiiu1AmM BEercHEry Don Atonzo MiagueL DE 'TTOBAR JEAN Baptiste JOSEPH PATER ANGIOLO ALLORI Bron- ZINO CaRRENO DE Mriranpa RicHarp WILSON JOHN OPI Antonio Moro BoNAVENTURE DE Bar Juan B. M. Det Mazo Sir JosHua REYNOLDS JAN WIJNANTS Sir Perer LEty Wiiu1Am HoGartru GEORGE MoriLAND TITLE OF PAINTING Mrs. Sarah Siddons Christ-Child and St. John ** Le Glouton ”’ An Italian Princess Young Prelate in Red An Italian Landscape Girl at the Well A Gentleman of Ravenna Féte Champétre A Spanish Grandee Elizabeth, Countess of Ber- keley Chateau de Cleves Duke of Monmouth The Artist's Sister Looking at the Pigs Amount 70 71 NAME OF ARTIST Sir GopFREY KNELLER Sir Tuomas LAWRENCE Martetra Rosusti Tin- TORETTO JoHN HoppnrER JAN VAN GOYEN Str Henry RAEBURN JEAN Marc Nartrier Davip TENIERS JOHN CONSTABLE Jacopo Pauma (It Gio- VINE) ADRIAAN VAN DE VELDE GONZALEZ COQUES JEAN B. Smmeon CHARDIN JOHN ZOFFANY TITLE OF PAINTING Amount Portrait of King William III Portrait of a Lady The Duke of Parma Miss Elizabeth Moore Twilight on a Dutch River Professor Donald Stewart La Duchesse de Chateau- roux et La Comtesse de Flavacourt The Prodigal Son Daniel Mendoza Violante Palma The Old Broken Bridge The Somallint Family Portrait of a Lady Captain Money, the Aero- naut Cata- NAME OF ARTIST 72 | Atonzo SANCHEZ COELLO 73 | Leanpro Da Ponte Bas- SANO 74 | D. A. C. Detgapo TITLE OF PAINTING Portrait of a Lady resembling Mary Queen of Scots The Duke of Visconte Spanish Princess Amount - a Meme Cc 1ajl Notes RELATING TO SOME OF THE PAINTINGS OF THE EHRICH GALLERIES to be sold in the Grand Ballroom of the Wal- dorf-Astoria on the evening of March 21, 1906 ing offered at our sale is sold under absolute guarantee of genuineness. If at any time within a year the buyer finds that the genuineness or attribution of any example is disputed by any expert of standing, the purchase price, plus interest at the rate of five per cent., will be refunded. We take unusual care in the selection of our paintings; we solicit, in case of any doubt, the judgment of the greatest world experts, and, in consequence, we are ready to guarantee what we sell. WwW again call attention to the fact that every paint- PEDIGREES Readers of our catalogue will notice that in a number of instances no notes are given as to the pedigree or provenance of the painting. We would explain that very frequently, both in England and on the Continent, paintings are offered at public sale the owners of which refuse to divulge their identity. In the catalogues of Christies’ and of other auction-houses, we find the heading again and again: “ Property of a private gentle- man.” ‘The auctioneer is pledged to secrecy; and consequently the buyer, whether ourselves or the person from whom we have bought, is unable to give the name of the owner. ‘To connoisseurs and real art-lovers the pedigree is a matter of very little importance. The all-important thing is the beauty and quality of the painting itself. - No. 1.—H. BELLEVOIS Examples of Bellevois are rare. A fine example, the exact size of this picture, representing Turkish and Dutch ships, is in the Prado Gallery at Madrid. No. 2.—WILLIAM HOGARTH Hogarth’s name is associated in our mind so closely with his paintings _ of domestic history, such as “A Rake’s Progress,” etc., that we forget that — he executed a large number of portraits. In fact, in 1757, when he was nearly sixty years of age, he announced his determination to devote him- self exclusively to portrait painting. ‘This resolution he maintained for several years. Bryan mentions twenty-three of his portraits which are in English public galleries. In 1884 his portrait of Miss Fenton sold for $4,400. No. 8.—G. B. WILLCOCK The following, which appeared in the London Times in the early part of 1905, should be of interest in relation to our example: “A FORGOTTEN LANDSCAPE-PAINTER “In the present craze for what is called ‘Early English’ Painters, many collectors will be truly grateful to Mr. Algernon Graves, who has brought back into notice a forgotten artist whom Sir Frederick Burton has promptly deemed worthy of a place in the National Gallery. This is the late G. B. Willcock, from whose widow Mr. Graves lately purchased a dozen small landscapes, now to be seen in his gallery in Pall Mall. Will- cock was born about 1820, and died in 1852 of a cold caught in painting on Hampstead Heath. He exhibited twelve pictures in the Royal Academy between 1840 and 1851, but what has become of those pictures is not known. His work‘is so like that of Constable that it is very possible that unscrupulous persons have often removed his signature and sold his pictures as those of the greater master. Still, it is full of individual charac- teristics; is fresh, breezy, and freely treated, and the color scheme is quite Willcock’s own. The picture bought for the National Gallery is an upright landscape of cabinet size representing Chilston Lane near Torquay, and was painted in 1831.” No. 13.—PIETER C. VAN SLINGELANDT As early as 1771 an example, about the size of our picture, sold in Holland for nearly 5,000 francs. In 1871 an example, measuring only 12 x 14 inches, sold in Paris for 6,300 francs. No. 15—JAN WIJNANTS Wijnants has always been a favorite with those who admire the art of Jacob Ruysdael. Wijnants was probably twenty to twenty-five years older than Ruysdael, both men were born at Haarlem, and there can be little doubt but that the former had a great influence on the development of the latter. The paintings of Wijnants have always been held in high esteem. Even in 1777 a Wijnants was sold in Paris for the equivalent of 10,000 francs. No. 20.—SIR HENRY RAEBURN Up to 1884 the highest price received for a Raeburn was that of nearly $5,000 paid in 1877 for the portrait of Lady Raeburn. When the buyer resold it the following year, the picture brought only $3,200. It is within the last twenty years that Raeburn has come to be more adequately appreciated. Last year a lady’s portrait from his hand brought $45,000 at Christies’. No. 21—GEORGE MORLAND Before 1800 the average value of a “ Morland ” was less than a hundred dollars. From 1800 to 1871 no painting of his, with but a single exception, brought as much as $1,200. In these later years his works are sought eagerly by amateurs, and at Christies’ last summer his picture of “The Dancing Dogs” brought $20,000. No. 23.—HENRY STONE Many a portrait which parades itself in galleries to-day as a “Van Dyck” is in reality the product of so-called “Old Stone.” There is little doubt but that Van Dyck made use of him as assistant, and probably very often gave a finishing touch to the assistant’s work. 3 No. 24.—NICOLAAS MAES Those who have studied Dutch art in Holland will remember the extremely beautiful genre pictures by Maes—small interiors with women sewing, spinning flax, etc., etc. His portrait work is equally effective, at times approaching Rembrandt, and again outrivalling Metsu and Netscher. The example of this collection was sold in the public sale of =~ Princess Mathilde (Paris), the daughter of Jerome Bonaparte. No. 25.—SIR PETER LELY This portrait of a historic character by a famous painter ought to 4 e attract art-amateurs. The works of Lely have not yet made the advance proportionate to other English artists, but there is a steady upward move- ment in their values. In the steady absorption of good examples by the British masters, it needs little foresight to foretell that the portraits by Sir Peter Lely will in a few years bring many times their present prices. No. 37.—JOHN CONSTABLE Constable stands in the front rank of the world’s landscape-painters. As has been said of him: “ His true instructor was Nature.” In 1866 one of his canvasses sold in London for $6,800, and ever since that time the range of his prices has been very high. No. 38.—JEAN MARC NATTIER Both examples of Nattier of this collection have been indorsed by two leading French experts (one of them an expert of the Hotel Drouot, — Paris) as unquestionably genuine examples by the master. ‘These expert opinions are at the disposal of parties interested. No. 46.—ANGIOLO ALLORI BRONZINO This painting is accompanied by the following expert opinion given by Mr. Bernhard Berenson, who is by many considered the greatest living expert of Italian art: “T hereby certify that the painting of which this is a photograph, now 4 “(Ad AVAEN ye reall +. Yaa ae y Reka ae Re. + at aS ae iN x a ay ye 5 k es n i i, y AR i ce Sa ee a ea i. ri: a era os in the possession of Mr. Louis R. Ehrich of New York, is in my judgment a genuine example by Angelo Bronzino, and that it is in good condition. “(Signed) © BERNEARD BiReNSON.” No. 41..—DAVID TENIERS AND AMBROISE BREUGHEL It may be a matter of interest to know that David Teniers and Ambroise Breughel were brothers-in-law—as Teniers married the daughter of Jan Breughel, who was also an artist. No. 53.—SIR JOSHUA REYNOLDS Mr. Algernon Graves, who has written the great biography of Reynolds, is considered the best English expert of his work. We have the following letter from his hand in relation to our painting, the Countess of Berkeley: “J have very carefully examined your beautiful portrait of Elizabeth, Countess of Berkeley, and it is in my opinion a perfectly genuine work by Sir Joshua Reynolds painted about 1759. It is probably the one that belonged to the Marchioness of Thomond, and which was sold at her sale in 1821. It is a second picture of the same portrait belonging tothe Marquess of Lansdowne, and quite different in composition to the picture of her engraved by McArdell in 1757. “T remain, “Yours faithfully, “ (Signed) ALGERNON GRAVES.” No. 61.—JOHN: HOPPNER This painting was purchased from Major Moore, a retired English officer. Miss Moore was his grand-aunt. Major Moore is the last sur- vivor of the family. Of this painting the Evening Post wrote as follows: “Hoppner’s portrait of Miss Moore deserves extended notice. This lady-in-waiting is of an ample, almost masculine type simply clothed in _ white, with blue ribbons and a yellow elbow glove. The whites are beauti- ful in quality, the drawing authoritative, the whole expression one of good health and good humor. Miss Moore is a true Jane Austen heroine of the intellectual type. We have rarely seen a finer example by a painter whose mannerisms are usually more prominent than his merits.” 5 ; ~extremeley No. 24.—NICOLAAS MAES _ Those who have studied Dutch art in Hollare’ HOR iaeburn is here s showme vonald Stuart, a famous geologist seated in the mouth of Fingal’s Cave, Staffa, the basaltic columns of that cele- brated spot being unmistakable. In his hand is a long staff with a ‘spud’ of iron at one end, and at his feet are samples of rocks collected during his visit to that natural wonder which Mr. Cope Whitehouse believes the work of prehistoric man. This is a naive and pleasing likeness of a scientist of _ some note in his day by a painter whose merit has found general acknowledg- ment during recent years.” No. 64.—JEAN MARC NATTIER From the New York Times: “Paintings, as well as furniture, porcelains, and tapestries, made in France during the reign of Louis XV, have been long the rage in Europe, after suffering something like an eclipse for a century and a half. Pictures by Watteau, Boucher, Largilliére, and Nattier fetch enormous prices to-day, compared to what they brought twenty years ago. In the pictorial tinted supplement is a reproduction of a Nattier at the Ehrich Galleries which opens a chapter in the life of Louis XV. “It is called ‘ Le Point du Jour et le Silence,’ or ‘ Dawn and Silence,’ and has the distinction of having brought the painter Nattier to the attention of the King and the court—to have made his fortune, in fact. For it repre- sents in the two goddesses reclining on dark-brown rolling clouds, two favor- ites of Louis XV, sisters, who belonged to a family of five women, variously gifted with brains or with beauty, four of whom ruled in succession the moody and pleasure-loving monarch. “In 1740 the Duchess de Mazarin brought to Nattier’s studio two of her nieces, daughters of the Marquis de Nesle, whom she had to protect, owing to the impossible career of their father, a debauched and half crazy noble of old family, who had ruined himself and them by unheard-of extravagance. One was already married. She was the Marquise de la Tournelle, and became later, by the King’s grace, the Duchesse de Chateau- roux. She it is who reclines elegantly to the left, dropping water from a classic beaker and holding over the head of the other goddess a wreath of daisies. The other was Madame de Flavacourt, a younger sister. She represents ‘Silence,’ and has stolen from Cupid, asleep to the right and rear, 6 nossession of Mr. Louis R. Ehrich of New York, is in my judgment AGA vy _ ~1e bv Angelo Bronzino, and that it is in goed) pomseson: favorites, ainely: Madaiic ue 22a. UT ee aint PPO J eetin Rome TNSON. ” year before the latter had died in giving birth to a son. “The brothers De Goncourt state in their historical work on the lady pictured as ‘Dawn,’ that the dead sister, Mme. de Ventimille, was the first person at the court to encourage Louis to assert himself as a man against the tutelage in which he lived under the old cardinal. ““The Unpublished Memoirs on Lives and Members of the Royal Academy’ speaks of this allegory, alluding to it as the masterpiece of Nat- tier. ‘The picture excited so great a stir at the court, ever ready to prophesy concerning the filling of the vacant post of favorite, and naturally inclined to believe in the power of younger and prettier members of the same family to fascinate the King, that the curiosity of the Queen was excited. Having seen the work, she was so much struck by the close resemblance to the two beauties that she gave Nattier a commission to paint the Princess Henriette. So that we have here a painting which may have been the turning-point in the careers of these two sisters, assuring them of the King’s attention, while it is certain that it was the turning-point of Nattier’s own career. “ Nattier’s drawing is superb, and the coloring is charming. The under- garment of ‘Dawn’ (Duchesse de Chateauroux) is embroidered with sprigs of flowers. Dull red and fine dark blue in broad masses are supplied by the outer draperies. But if these colors cannot be told in the reproduction, the peculiar and original management of line can be seen all the better, the par- allel lines of the arms and shoulders of the goddesses moving from the left upward to the right, the parallel lines of the bodies and heads moving from upper left to lower right. This bold repetition of line is accompanied by a general similarity of faces, alike enough for sisters, yet different enough to spell differences in character. The elder acts as protector to the younger, as if she were crowning her at her introduction to the court.” No. 66.—JOHN CONSTABLE From the New Y ork Evening Post: “There is nothing better in the portrait show than Constable’s portrait of his friend, Daniel Mendoza, the pugilist. The fine head is smoothly yet solidly modelled in the paint, everything in the drawing is unaffectedly sim- ple; but the picture, besides conveying a keen impression of physical vitality 7 and of that peculiar alertness which all great bruisers must possess, has an indefinable sense of style. It makes one regret Constable’s rare devotion to this form of painting.” No. 67.—PALMA GIOVINE As to this painting there was some hesitation whether to ascribe it to Palma Vecchio or Palma Giovine. Upon submission to Mr. Bernhard Berenson, he pronounced it the work of Palma Giovine, probably after a design of Palma Vecchio. ‘This opinion has been concurred in by other experts. “Violante Palma” was frequently used as a model by Titian (note the so-called ‘‘ Sacred and Profane Love” of the Borghese collection), and the ancient tradition, now relinquished, held that she was Titian’s mistress. The painting is a rare example, in fine state, of late sixteenth-century Vene- tian art. ipsa a8 Mapa. ist Sa? RES SEVENTV-FOUR PICTURES ~ BRING TOTAL OF $63, 635 a Samuel Untemyer Pays $8,000 for a Jean Mare Naitier, EHRICH SALE AT WALDORF ‘Stanford White, John D. ‘Crimmins, and. Mrs. John E. Parsons Made Pur- chases Through’ an Agent. ae | The seventy-four.** old masters ’”’ from| ithe Ehrich Galle which were accom-| panied each with a dealer’s guarantee of igenuineness and which were considered | fworth a five-dollar edition de luxe cata-_ logue, were sold last evening in the Grand) ‘Ballroom of the Waldorf-Astoria for $63,-, 1635. The attendance was large and the’ paintings were disposed of with dispatch. | {There was applause when Nattier’s ‘“ La) Duchesse de Chateauroux et la Comtesse) ide Wlavacourt’’ was sold to Samuel Un-, ‘termyer for $8,000. Stanford White, Mrs. | John BH. Parsons, 8. T, Perry, J. Kauf- ‘mann, and Marc A. Blumenberg were lsome of the persons who bought through | ‘am agent who said he was ‘’ Mr. O'Reilly.’ | | John D. Crimmins paid $270 for a land- | Scape by G. B. Willcock, the same price | for “The Flights Into Egypt,” Pedro de} ‘Mora, and $1,050 for a portrait of John! Philpot Curran, attributed to Sir Henry) Raeburn. John Opie’s “ Girl at the Well’ | aiso went to Mr. Crimmins and for the) same price. This was one of the few ‘pictures of the evening which started at} $000. ‘‘The Young Prelate in Red,” by} Carrena de Miranda, Mr. Crimmins mid fin for $450. “The Lock, ham ehig Constable, a scene sup-| ‘posed to have been located on the River) Stour in Hngland, brought the second) highest price of the sale, going to an agent for $6,200. This had been in. the| collections ‘of Mr. . Sanderson, Bullers) Wood, Chiselhurst, Hngland, and of Col.) ‘Hillis, Iondon. The two pictures by Jan. |Victoors, a pupil of Rembrandt, which) 'were among the portraits. best liked by) some critics, brought respectively $875 for) A Dutch Gentleman” and $625 for ‘A. \Duteh Lady,” going to L. A. Lanthier. ] Following is a list of buyers, prices,| pictures, and artists to whom they were) ascribed; | H, Bellevios, Seascape; to B. W. Spar- | Roc acs Wane rare: oS BYE Ps Sake “ADE TW eal or sales wide ar $130) William Hogarth, The Poet John Gay; to | BOLVATY BR UG nia Sheree oun eT ele 125) Cornelius Janssens, Portrait of a Young AUREL LG Fe BROKER Ul: Soctiiany ec ota va a 110) (Bernardo Geronimo de Liorente, The Di- | vine Shepherdess; to Edward G. Kautf- | BIIUEUING GN Gs ota GSE: Aee ATO vin od bee aee ld i 145, Mateo Cerezo, A Spanish Prelate; to EH. | O’ Reilly, agent RERTenaseeRedn Rie na ta Gia iaPeiie eae oe « 170) George Dawe, Miss Philips, the Actress: | MReOs Lis Ac Pe E NTO Maia eis sistas Vint 4 elute ahece oie 140 Sebastien Lecierc, Blind Man's Butt: to | Babs SAP EVOL IM Care erO Tbe) alot oss 6 § bie xine bicseid 140) fen B, Willcock, Landscape; to John D. MMSDUBTTITIS: Gye Cae Cae Med Uae aie ane ual 270) John Glover. Sunset on the Goast; to 3! BREIL Se iN he CUn SE RM. a cle yh Lg 225) Jan Van Ravensteyn, Portrait of a Dutch Lady; to Louis Ralston....:.......... 250) John Bernay Crome, English River Scene: | to Ralph Shainwalee...). 2... 250 John. Riley, A Lord Conia to © SUMNER Ora a F(a n kina. oldhg a 9 ARMANI NE hg Als. «0g 200 Pieter C. Van Slingelandt, “the Music Lesson; to E. O'Reilly, agent.......... 275 | Justus Sustermans, Vittoria Della Rove- ¥o;, to Frank H. Keeble.wuis.si..).s.. 920) Jans Wijnants. A RS to J. Neale, ABENG. ee is eee ee wiitbeses: task: 825) Hudson, Port “Balsions oo Rone t a Ad tee Bool of accra ° Seat ae ee J. oe nheim.... ne BERR eee ee wae er rie : Bentiemaa’ to : A. Lanthier Sia pig weet Hoye ay Jan Victoors, A Dutch ‘Lady; to L, A a Lanthier: *..)2 eae FE ER MITC ere Pierre ee 1 the “Card Players; tes ey Mrs, MM. a: x + eras eae h ane Mignard,, Duchesse de B B 0 Duryea Obtains. /-i ea Jean Mare Nattier, La Duchesse Chateauroux; to D. W, Coffin.......... - 8,800 Philip Wouwermans, At the Tan; to Séckar:’ . 0. cee a ar, 500. Allan Raimsay, Horace owe ahi aa O'Reilly, agen nies oe » 400) | scape with Castle; to J. Neal a 700 Robert Tournieres, Francois a teeth: j- tO Frank Hp meeblemien yas bcs. oi Sir William Beechey, Mrs. Sarah sia. >, dons; to Mr. O'Reilly, agent.......0.5 nto Don’ Alonzo Miguel ge Tobar, Christ- peels and St. John; to Duryea, yea & Pot- 3) C3 Rei a PRE Wie ro arene A cde eee Jean Baptiste Joseph Pater, ** Le Glogs i ton’’ ; to Duryea & Potter.. 775 Angiolo Allori Bronzino, An Italian Prine t cess; to Mr. O'Reilly, agent. se Carreno cde Miranda, oe Prelate in | Red; to John Ds Crimmings,........02 450! Richard Wilson, An Italian Landscape; to Louis Ralston -4 lesen “Wi John Opie, Girl at. ihe Wel 7 to Be 8 Crimmins,\\.:. ...i ey ae ae say 1/050! Antonio Moro, A Gentleman of Raven pk: i to Duryea & Potter. i | Bonaventure de Bar, Fete. ‘Champetre; to. Jacob Seeker..... Juan B. M. Del Mazo, A Spanish ‘Gran- 0 dee; to Mr. O'Reilly, agent.. 1,400 Sir Joshua Reynolds, Elizabeth, Countess i of Berkeley; to Duryea & Potter........ 2,850 Jan Wijnants, Chateau de ‘Cleves; to J, James | vs bau oe a ee 0 1,750, Sir Peter Sela? & ‘ot “Monmouth oe y George Morland, Looking at the Pigs; to Mr. O'Reilly: isn) eee BBS ‘Sir Godfrey Kneller, Portrait of King’ William III.; to. Holland Art Galery... 525 Sir Thomas Lawrence, Portrait of a tae! dy; to L. A. Lanthier..... Aigbates airs 38 Marietta Robusti Tintoretto, ‘The Duke of Parma; to Holland Art Gallery... John Hoppner, Miss Blizabeth Moore; to John Wawrence, agentyn) oseuce. ba... ae 1,700) Jan Van Goyen, Twilight on @ Dutch River; to F. A. Chapmamwoen os. ae \é Sir Henry Raeburn, Prof. Donald Stew- | ayt;- toi John: Thommeseingeas 2. en yee 1,450) Jean Mare Nattier, La Duchesse de Cha- teauroux et La Comtesse de Flayacourt; to Samuel Untermiyens, sinew slag 8,000 avid Teniers, The Prodigal Son; to Dur- ‘ yea. & ‘Potter, “a iasenaees scenes cate 1,350 John Constable, Daniel Mendoza; to Mr. j OfRellly |... os 3 See ee 1,550) Jacopo wntrod, (1 Giovine,) Violante Pal- | ma; to John Lawrence, agent,......... 1,900) Adriaan Van de Velde, The Old Broken | Bridge; to Mr. O'Reilly, agent........ 1,350 Gonzalez Coques, The Bociaint Family; te; D: Naylor «.). poem eaedaipanite ca catcer Jean B. Simeon Chardin, Portrait of a Tady; to J. Kautmameiecw esses cis cs 510 John Zoffany, Capt Money, the Aeronaut: Alonzo Sanchez Coello, Portrait of a Lady Resembling Mary Queen of Sgots; to § Mr. O'Rellly, agentniapar, hayes. >. . 26 o- 220) Teandro Da Ponte Bassano, The Duke’ of | Visconti; to Frank H, Keeble.......... | PAA iC: Delgado, Ss A. meee sete IH isles bea « ib ” 189 eee er J Edition de Luxe F THIS EDITION a limited number have been printed on hand-made paper, of which this is No. BE OLD DASGERS Of the SIXTEENTH, SEVENTEENTH And EIGHTEENTH CENTURIES Collection of the EHRICH GALLERIES SALE IN THE GRAND BALL-ROOM OF THE WALDORF-ASTORIA ON THE EVENING OF WEDNESDAY MARCH 21st, 1906 AT EIGHT-FIFTEEN ON PUBLIC VIEW FROM Monday, March 19th, Until Evening of Sale AT THE FIFTH AVENUE GALLERIES FIFTH AVENUE, Near 34th Street, NEW YORK hs: Se ae ay ain tr) feat L A, SPANISH CRAND EE “FT CICATSE Sg) ee A Aes LO Lor —" 16 Giz: A QQ CATALOGUE OF THE EHRICH GALLERIES Collection of VALUABLE PAINTINGS By the MASTERS of the EARLY ENGLISH FRENCH, DUTCH, FLEMISH ITALIAN anv SPANISH SCHOOLS ~ To be sold AT ABSOLUTE PUBLIC SALE WEDNESDAY EVENING March 21st, 1906 Pi hosA LE Wl LL. BE for CTE Deby JAMES P..SILO of THE FIFTH AVENUE GALLERIES 866 FIFTH AVENUE, Near 34th Street, NEW YORK = » Owe hw SORES < + age Ea a Os SH By Hoek 4, mie ty = ae i . ST oe: wie ory ey a . Pp F RE Re, c at Oe Preface HE Paintings of this Collection will be placed on sale absolutely without reserve. The genuineness of every painting is fully and unequivocally guaranteed. With every example the purchaser will receive a card containing the following GUARANTEE The genuineness of this painting is guaranteed—that it is an original, not a copy—and that it was painted by the artist (here mentioning name) to whom it is attributed in our Sales Catalogue of March 21, 1906. Should this be disputed by competent expert authority, the painting is returnable to us, at any time within one year from date of sale, at the price paid, plus interest at the rate of five per cent. per annum. THE EHRICH GALLERIES by Louis R. Ehrich ‘abe ae y beg shay tek Mive ginny Ry eaaeneiend SI yinvss ak = Malaria ay ‘gi? wodniados bsao a Seiaie far sale tH TEAAAUO: a % igi} Fshtavay sa aathataly aaa te > et geht. Teter Baw H thie DHA - Von: . . .! . - Oe re — ‘ ¢ Mita! af JE ied ot i Die a i er’ i wad z ah <3 : $ + o8 a 5“ ¥ ~ A, 1 ni, cette pee ar op Gard se 1) > et PE * . y ; » WAY t ‘ PF Sry 4 ¢% ‘ iw a 7 i > & ' ® Conditions of Sale 1. The highest bidder to be the buyer, and if any dispute arise be- tween 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 down a 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 np again and resold. 3. The lots to be taken away at the buyer’s expense and risk upon the conclusion 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, damaged or destroyed, but they will be left at the sole risk of the purchaser. 4. The lots to be taken away and paid for, whether genuine and authentic or not, with all faults and errors of description, at the buyer’s expense and risk, within Two Days from the sale; Tur Firra Avr- NUE ArT GALLERIES not being responsible for the correct description, genuineness, or authenticity of, or any fault or defect in any lot, and making no warranty whatever. 5. To prevent inaccuracy in delivery and inconvenience in settle- ment of the purchases, no lot 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 or misdelivered, or lost, the undersigned is not to be held liable in any greater amount than the price bid by the purchaser. 7. Upon the 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, if 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. THE FIFTH AVENUE ART GALLERIES are in no way responsible for the charges or manner of delivery of goods purchased at their sales. JAMES P. SILO, Auctioneer. “si aia Hae iia ba aa pasted SDHNE . 4 Re On ine ee Reece, jktotme tS hia ae Shishi’: ‘ Ss eed wl aye a vrgind we Py wang: wa’ = adie 9) Se whale ote ARB ‘stas ott Wn Pash! tea * st bd “tere hte acid wt ef 6 ae tf > & ts al at ha Ms terhtaetr jael bine, & va ies ede * - Ny 4 Var hur = ’ * _ Pegr Temaey Tee eh by & wer Fone nig a * [ & Tick i RES. Me J : 4 ? ¥ aA ala Las o + Oo Dew i ¥ i> = ; y ra eh ees er 5 ee engl « , . , , + + 3 sos ithe my enetek) 2a Pi eat Gh ousen iat “4 bd é : cn UT ee ort oa? J . "af “7 ¥ 4 et : sof I é 1 , dl Artists Represented CATALOGUE ARTIST TITLE NUMBER Bar, BONAVENTURE DE Féte Champétre No. 51 Bassano, Leanpro Da Ponte The Duke of Visconti No. 73 BreEcHEyY, Sir WILLIAM George IV No. 27 Mrs. Sarah Siddons No. 43 BEtxLeEvors, H. Seascape No. 1 BERKHEYDEN, JoB Dutch Landscape No. 26 Bronzino, ANGIOLO ALLORI : An Italian Princess No. 46 CANALETTO, ANTONIO A Canal in Venice No. 31 CrrEzo, Mateo A Spanish Prelate No. 5 CHARDIN, JEAN B. SmmEON Portrait of a Lady No. 70 CoELLo, ALoNzo SANCHEZ Portrait of a Lady resembling Mary Queen of Scots No. 72 CATALOGUE ARTIST TITLE NUMBER CONSTABLE, JOHN ‘ The Lock No. 37 Daniel Mendoza No. 66 CoquEs, GONZALEZ The Somallini Family No. 69 CromME, JoHN BERNAY English River Scene No. 11 Dawe, GEORGE Miss Philips, the Actress No. 6 Detaapo, D. A. C. Spanish Princess No. 74 Dosson, WitL1AM Portrait of a Girl No. 19 ‘ GLOVER, JOHN Sunset on the Coast No. 9 GoyENn, JAN VAN Twilight on a Dutch River No. 62 Hocartu, WILLIAM The Poet John Gay No. 2 Alexander Pope No. 30 . The Artist's Sister No. 56 Hone, CamiILuus Portrait of a Boy ARTIST TITLE Hoppner, JoHN Miss Elizabeth Moore Hupson, THomas Portrait of a Lady JANSSENS, CORNELIUS Portrait of a Young Lady KNELLER, SIR GODFREY Portrait of King William IIT Lancrer, NicHoxtas (ScHOOL OF) Féte de Famille LAWRENCE, Sir THOMAS Portrait of a Lady Lecierc, SEBASTIEN Blind Man’s Buff Lety, Sm Perer Nell Gwynne Taking Music Lesson Duke of Monmouth LLORENTE, BERNARDO GERONIMO DE The Divine Shepherdess Mass, NIcoLaAas Family Group Mazo, Juan B. M. DEL A Spanish Grandee CATALOGUE NUMBER No. 61 No. 58 No. 28 No. 59 No. 25 No. 55 No. 4 No. 24 CATALOGUE ARTIST TITLE NUMBER MIGNARD, PIERRE Duchesse de Bourgogne No. 35 MiranpA, CARRENO DE Young Prelate in Red No. 47 Mortanp, GEORGE The Barnyard No. 21 Looking at the Pigs No. 57 Moro, ANTONIO A Gentleman of Ravenna No. 50 Moya, PEDRO DE The Flight into Egypt No. 18 Nattier, JEAN Marc La Duchesse de Chateauroux No. 38 The Duchesse de Chateauroua and the Com- tesse de Flavacourt No. 64 Orizr, JoHN Girl at the Well No. 49 Patma, Jacopo (In Grovine) Violante Palma No. 67 Pater, JEAN BAprTiste JOSEPH Le Glouton No. 45 RAEBURN, Sir HENRY John Philpot Curran No. 20 Professor Donald Stewart No. 63 ARTIST TITLE Ramsay, ALLAN Horace Walpole RAVESTEYN, JAN VAN Portrait of a Dutch Lady REYNOLDs, Sir JOSHUA Elizabeth, Countess of Berkeley Ritzy, JoHN A Lord Chancellor SANTERRE, JEAN BAPTISTE Lady with Mask SLINGERLANDT, PIETER C. Van The Music Lesson Stone, Henry Inigo Jones, the Architect SUSTERMANS, JUSTUS Vittoria Della Rovere Tenrers, Davin, —BREUGHEL, AMBROISE Landscape with Castle Tenters, Davip The Prodigal Son Trntoretro, Marretra Rosusti The Duke of Parma CATALOGUE NUMBER No. No. No. No. No. No. No. 40 re a0) 53 1g . 29 . 13 23 14 41 65 60 ARTIST TITLE Tospar, Don Atonzo MIGUEL DE Christ-Child and St. John TouRNIERES, RoBERT Gentleman with a Jewel Box Portrait of a Lady Francois Mouchard VALENTIN, PIERRE The Card-Players VELDE, ADRIAAN VAN DE The Old Broken Bridge Victoors, JAN A Dutch Gentleman A Dutch Lady Wittcock, G. B. Landscape WIJNANTS, JAN A Landscape Chateau de Cleves Wuson, RicHarp An Italian Landscape WovuwERMAnNs, PHruip At the Inn ZOFFANY, JOHN Captain Money, the Aeronaut CATALOGUE NUMBER No. . 34 . 68 . 54 . 48 . 39 . V1 List of Illustrations [In the order of their insertion] ARTIST TITLE Mazo, Juan B. M. pew Frontispiece A Spanish Grandee WovuweErmMans, Puinip At the Inn Ramsay, ALLAN Horace Walpole Tosar, Don Atonzo MIGUEL DE Christ-Child and St. John Moro, ANTONIO A Gentleman of Ravenna KNELLER, SiR GODFREY Portrait of William III Morand, GEORGE Looking at the Pigs TinroretTo, Marrerra Rosusti The Duke of Parma Goren, JAN Van Twilight on a Dutch River Stone, Henry Inigo Jones Lety, Sir Perer Nell Gwynne Taking Music Lesson BrecHey, Sirk WILLIAM George IV when Prince of Wales CATALOGUE NUMBER No 52 No. No. No. 39 40 . 44 50 . 58 i oe . 60 . 62 . 23 . 25 Bt ARTIST TITLE NUMBER Lancret, NicHouas (ScHOOL OF) Féte de Famille No. 28 CANALETTO, ANTONIO A Canal in Venice No. 31 Victroors, JAN A Dutch Gentleman No. 32 Victoors, JAN. A Dutch Lady No. 33 VALENTIN, PIERRE The Card-Players No. 34 CONSTABLE, JOHN The Lock No. 37 Natrier, JEAN Marc The Duchesse de Chateauroux No. 38 Tenters, Davip-BrEeuGHEL AMBROISE Landscape with Castle No. 41 BrecHey, Sir WILLIAM Mrs. Sarah Siddons No. 43 Pater, JEAN BAPTISTE JOSEPH Le Glouton No. 45 Bronzino, ANGIOLO ALLORI An Italian Princess No. 46 Orrz, JoHN Girl at the Well No. 49 ARTIST TITLE Bar, BONAVENTURE DE Féte Champétre ReEynoups, Sir JosHua Elizabeth, Countess of Berkeley WIINANTS, JAN Chateau de Cleves Hogartu, WILLIAM The Artist’s Sister LAWRENCE, Sir THOMAS Portrait of a Lady Hoprner, JOHN Miss Elizabeth Moore RAEBURN, Sir HENRY Professor Donald Stewart Nattier, JEAN Marc The Duchesse de Chateauroux and the Com- tesse de Flavacourt Pauma, Jacopo (In Grtovine£) Violante Palma VELDE, ADRIAAN VAN DE The Old Broken Bridge Treniers, Davip The Prodigal Son CONSTABLE, JOHN Daniel Mendoza CATALOGUE NUMBER No. No. No. 51 . 53 . O4 . 56 59 61 . 63 . 64 . 67 . 68 . 65 . 66 No. 1 H. BELLEVOIS SOC FLEMISH SCHOOL 3 He, 1684 ©. UU JSP OVA CF The date of the birth of Bellevois is unknown. In fact, little is known of his life except that he painted marines in the style of William Van der Velde and of Backhuysen, that he resided long in Hamburg, and that he died there in 1684. The beauty of his drawing and of his tone is well attested by this example. SEASCAPE This might be called a study in private ensigns, so many and various are the flags which a brisk wind straightens out from the topmasts and sterns of a number of sailing barges and ships. A pier of stone, protected by wooden piles, carries a stone custom house, with belfry and pinnacles. On the other side of the pier one sees the lofty stern of a frigate, a very tower it is, surmounted by the red flag of an admiral, while from the loftiest top flies the banner of Holland. A rowboat is in the shadowed foreground. Fine graded sky, light toward the horizon. Signed on wall, lower right, H. Bettevois, 1651. On canvas; height, 234 inches; width, 313 inches. No. 2 [dh eS. WILLIAM HOGARTH id} EN ENGLISH SCHOOL jose ey 1697-1764 Hogarth, the school-teacher’s son—“ the first man of genius in the native British School ”—was born in London. After an apprenticeship to a silversmith, and following a long period of work as an engraver, he finally developed into a painter in oils. ‘The brilliant character of his work is too well known to need comment. It is very unequal, but at its best his pictures possess an abiding charm. THE POET JOHN GAY Bold brushwork and powerful drawing are characteristic of the great British caricaturist. ‘The poet is depicted in his working dress when his wig is laid aside and he has donned a soft cap to protect his shaved head. A dressing gown is thrown over his loose white shirt. The peculiar shape of the ear and the depression in the chin give an individuality to the head. The expression is calm and reflective. On canvas, height, 30 inches; width, 25 inches. No. 3 CORNELIUS JANSSENS th 40 & AN DUTCH SCHOOL ve iytrr b Au Cs Og Oe et ‘ 1593-1663 Bi Ws eee Janssens, called also Janssens Van Keulen, was prob- ably born at Amsterdam. Visiting England in 1618, he was patronized by James I, whose portrait he painted several times. He remained in England until 1648, then returned to Holland and settled at The Hague. PORTRAIT OF A YOUNG LADY A young noblewoman, scarcely out of her teens, is painted with the utmost simplicity and directness. ‘The bodice of rose color is trimmed with gold braid and laced in front. A perfectly plain cambric collar reaches from the beginning of the neck quite to the shoulders and is separate from the embroidered chemise which entirely covers the breast. Above runs a necklace of fine big pearls. She wears neither breastpin, earrings, nor anything in her hair save a tiny flower whose color tallies with her roseate gown. Pensive glance out of large eyes with arched pencilled brows. On canvas; height, 23 inches; width, 19 inches. No. 4 /4y.§—- BERNARDO GERONIMO DE LLORENTE > SPANISH SCHOOL eg fio, 1685-1757 Llorente, born at Seville, for a time devoted himself to the imitation of Murillo. He was recognized as a very able painter, but his morbid disposition made him refuse all hon- ors, even that of painter to the King. He was, however, elected member of the Academy of San Fernando. “He is known in Spain as ‘el pintor de las Pastoras,’ from his charming representations of the Virgin as a shepherdess.”’ THE DIVINE SHEPHERDESS The Madonna and Christ-child, painted rather whimsically as a shepherdess, and her little son, surrounded by sheep which bring roses in their mouths to lay them at the feet of the divine child! Naive as this may appear to our ideas it is surpassed by the artist when he places straw hats on the Virgin and the Bambino. The Virgin has an indication of a halo in the circle of stars behind her head. In the clouds farther out are faces of little angels in varied foreshortening. To the extreme right one sees a monster with open jaws representing the devil, and above an archangel with shield and flaming sword. Very sweet are the tones of robe and cloak, the lamb’s-wool coat of the Virgin, and the pink-tinged roses in the mouth of the sheep. One little winged angel in attendance carries a rude wooden crook. ‘Tender outlines and benevolent expressions in the faces. It is Murillo softened into decorative color masses. On canvas; height, 50 inches; width, 42 inches. Collection: Jimnnrnz, Madrid. No. 5 MATEO CEREZO A kx C Ohutty Lipa, e: Cerezo, who was a pupil of Carreno de Miranda, was an eminent painter of his time. He chose Van Dyck as his model. He painted several pictures for the churches of Madrid and other Spanish cities. A fine portrait of a car- dinal from his hand is in the Hermitage of St. Petersburg. SPANISH SCHOOL 1635-1685 A SPANISH PRELATE Admirable example of the bold and characteristic painting of the Spanish School. Splendid colors in mitre, lips and robe. Observe the big strong folds, the massiveness of the painting. Note the sensual lips and determined expression. ‘This face would be notable in any collec- tion of portraits. On canvas; height, 29 inches; width, 22} inches. No. 6 SHO —— GEORGE DAWE A HE : ENGLISH SCHOOL LO ? ar 19787-1829 Dawe began as a mezzotint engraver, but soon aban- doned it for painting. In 1819 he went to Russia, where he painted the portraits of the chiefs of the Russian army. He became an Associate of the Royal Academy in 1809 and an Academician in 1814. His portraits are considered very excellent as likenesses. MISS. PHILIPS, THE ACTRESS In an attitude of studied elegance which suggests sentiment the young woman raises her fine eyes in an abstracted gaze and gently rests her fingers on her neck. A long chain of small pearls is loosely thrown about her shoulders. She is in ball costume, low in the neck, white silk trimmed with gold braid. A fine mass of chestnut hair elaborately arranged by a coiffeur, rosy lips and finely chiseled features, make her appear a typical young Englishwoman arrayed for the opera or the royal levee. As a matter of fact, this elegant apparition was a popular actress at Drury Lane Theatre. On canvas; height, 30 inches; width, 28 inches. mya 91 SF Age S99I—-TISL “SNVYWYHIMNOM dITihd No. 7 SEBASTIEN LECLERC ve ad eat FRENCH SCHOOL ’ COT LL, Cban, 1676-1763 Poh kogie Oe Leclere, called Leclerc de Gobelins, was the eldest son of the famous engraver of the same name. He was ad- mitted into the Academy in 1704. He exhibited in the Salons of 1737, 1747, and 1751. He died in Paris at the Gobelins. 4, BLIND MAN’S BUFF A scene of outdoor merriment from the epoch when nobles affected the sports of country folk and considered themselves dressed as rustics if they put a scarf around their heads and carried a shepherd’s crook. The young gentleman all in red is “It,” and the young woman mostly in pink expresses fear lest he should catch her. A youth seizes the chance to put his arm around her waist. ‘Two others conceal themselves behind atree. Behind the blindfolded youth is an older lady with a long-handled spade in her hand to which a pink ribbon has been tied in order that it may not be too rustic and real in her fair hands. Strong colors and lively figures. A curious specimen of eighteenth- century decorative art. On canvas; height, 334 inches; width, 32 inches. Collection: Sotomon, Paris. No. 8 ) JO G. B. WILLCOCK ENGLISH SCHOOL 1820-1852 Of this painter, of whose work the London National Gallery has lately bought an example, little is known. He exhibited twelve paintings in the Royal Academy between 1840 and 1851. His death was caused by a cold, caught while painting on Hampstead Heath. ee oe No. 25 SIR PETER LELY pitbol el ENGLISH SCHOOL (rv r y \ OR ect 1617-1680 C, OKs 8 Lely, born in Germany, educated in Holland, came to England so early in his career that he is counted a member of the English School. He was patronized successively by Charles I, by Cromwell, and by Charles II, the latter of whom appointed Lely his principal painter, and made him a baronet. The number of his portraits is large, but the pleasing color and quality of his work, with the broadening public appreciation, is steadily increasing the value of his canvases. NELL GWYNNE TAKING MUSIC LESSON The young man with a Neapolitan cap on his head, the face in half shadow, and Nell looking at the music he holds, her face in full light, form a group of amateur musicians whose simple intentness on their task is one of the subtle charms of the picture. The singing youth and lute-playing lady, each different in tone of skin and color of hair, are delightfully serious. The two browns in her dress, and the deeper brown of his coat are splendidly painted. Observe the beautiful folds in the drapery. On canvas; height, 50 inches; width, 40 inches Collection: J. Oaxtny Maunne, Esq., England. No. 26 4 4) G | A fleece JOB BERKHEYDEN 4 Lee tecé~, DUTCH SCHOOL C Onetly / 1638-1693 Berkheyden or Berck-Heijde was born in Haarlem. From earliest youth he was devoted to landscape painting. His brother Gerrit encouraged him in his work. He always enriched his landscapes with small figures. “ His careful study of nature enabled him to give an appearance of air and sunshine to his pictures, producing a very agreeable effect.” He met with great success both in Germany and in Holland. He was accidentally drowned in a canal at Amsterdam. Good examples of Berkheyden are found in the museums of Amsterdam, Berlin, and Dresden. DUTCH LANDSCAPE A country seat in Holland with high gabled buildings seen through the trunks of stately trees. A stone bridge over a canal carries the road on which horses, and a man in a dull red coat on a dapple gray horse, are moving away from the spectator. A couple of boors are on the left foreground; to the right opens up the arable land with a village spire in the distance. | Sunlight falls unevenly on road, buildings, a flock of sheep beyond the canal to the right, bringing out the white haunch of the horse, the dog behind, the figures on the bridge. Fine sky full of cumulus clouds; delicate painting of foliage, agreeable distribution of soft light and shade. A charming landscape, painted with great repose and distinction. On canvas; height, 19 inches; width, 23} inches. Ea) GEORGE IV. SIR WILLIAM BEECHEY. Lye. 1339 eK | pr | V7] No. 27 SIR WILLIAM BEECHEY = 9 7/7 ENGLISH SCHOOL 1758-1839 x. La Levee ? Beechey, originally intended for the legal profession, soon entered as a student in the Royal Academy. Por- traiture attracted him from the very first. He was much patronized by George ITI, and at the age of forty was made portrait painter to Queen Charlotte. “In his portraiture of men, he seems to have been deeply imbued with a com- mand of character and expression; and in those of ladies, grace and beauty are ever pervading.” GEORGE IV, WHEN PRINCE OF WALES British painters of the late eighteenth and early nineteenth centuries had a taking way of painting the powdered hair which was still in vogue. Sir William Beechey understood how to melt these grays into the darker background. Here we have also rich effects from the dark blue coat edged with gold braid and the salmon-colored waistcoat which peeps along with the lace tie from the open coat. The darkened upper lip clean shaved, the dent in the chin, the double chin and curling lips give this prince a decidedly individual character. On canvas; height, 30 inches: width, 25 inches. Collection: G. A. Dorrrry, Birkenhead, England. No. 28 ii f Jf — NICHOLAS LANCRET (SCHOOL OF) P FRENCH SCHOOL r, > | te fom fe : EIGHTEENTH CENTURY Lancret, the follower and later the pupil of Watteau, painted the decorative Fétes Champétres and Galantes, which are so attractive by reason of their grace and color, and which adapt themselves so harmoniously to the Louis XV and Louis XVI rooms so much in vogue. This exam- ple was painted in the time of Lancret and is fully worthy of his brush, yet we think it more conservative not to attrib- ute it direct to him, but rather to ascribe it to his School. FETE DE FAMILLE An afternoon reception on the grounds of some great country place in which the architectural part, consisting of a high terrace with balus- trade and urns, recalls the terraces inside the garden of the Tuilleries. It is a family féte in which children are present. ‘Two girl children and a dog chasing a butterfly are in the foreground. A golden light falls on the central group consisting of a man, in soft beret ruffled collar and wine-red coat and half-hose, who is presenting one lady to another. To the left is a woman in pink seated with a basket of fruit and at her feet a white dog. Lovely tones in the clouds, foliage, and gowns of the women. On canvas; height, 284 inches; width, 394 inches. Collection: Apsé Barsier, Nancy, France. er is ~PCZ14 WS Sere ee Net) dele one ae eee ee) eC) a No. 29 JEAN BAPTISTE SANTERRE Fi. f— FRENCH SCHOOL y K LZ, of. Cte TGV) 1658-1717 Santerre, the pupil of Bon Boulogne, painted compara- tively few works. Two of his pictures, one a lady’s portrait, are in the Louvre gallery. “ His portraits are carefully designed and harmonious in color.” Most of his pictures have been engraved. LADY WITH MASK A young woman, with her hair powdered snow white, stands near the conventional column and curtain, dimly seen in the background, and turns her face to the spectator, having just removed a black mask. Dressed in a black velvet dress with puffs on the shoulders, her gown is further embellished by slashes on the shoulder puffs and upper arm, through which the red silk lining shows. Gold braid about the neck of the low-cut waist, the edges of the slashes, etc., forms a rich con- trast to the black dress. Firm gaze from eyes, rich lips, solidly modeled features. The moment chosen is the unmasking after a dance, or just before a supper, such as one reads of in Shakespeare. On canvas; height, 33} inches; width, 26 inches. No. 80 Af Wf Seve WILLIAM HOGARTH eut~ ENGLISH SCHOOL ¢ heake , “4 1697-1764 Hogarth, the school-teacher’s son—‘ the first man of genius in the native British School ”—was born in London. After an apprenticeship to a silversmith, and following a long period of work as an engraver, he finally developed into a painter in oils. The brilliant character of his work is too well known to need comment. It is very unequal, but at its best his pictures possess an abiding charm. ALEXANDER POPE In a dull red coat, loosened at the neck so as to show the chest, sits the lame arbiter of poetic lore, who, at Twickenham-on-Thames, made Latin Horace his model. A wonderful green velvet turbanlike cap embroidered in gold covers Pope’s head, which is cropped for the sake of the big perukes then in fashion. Fine masculine broad painting by this reviver of British Art. Ob- serve the boldness of line in the straight right angle formed by the left elbow; also the excellent craftsmanship in the melting of the olive velvet turban in the dark gray background. Pope is shown in negligée holding a sheet of paper and turning his face to his left, as if reading aloud to a friend. On canvas; height, 26 inches; width, 21 inches. Collection: Miss Hocartu, a relative of the family. (¢ > 11 Fla > : “SOLO OT ASE eS ai I 4S) OTN OL Sv No. 81 ANTONIO CANALETTO Yh aes ITALIAN SCHOOL Fa 4 1697-1768 Aery ea? Canaletto was the pupil of his father, a decorator and scene painter. After an apprenticeship at theatrical deco- ration and study in Rome, Canaletto returned to Venice and devoted himself to painting Venetian views, “which, for their great truth to nature and for their extraordinary effect, perspective and color, met with immense success, and are still most highly esteemed.” ‘The principal public galleries of Europe possess works of this master. A CANAL IN VENICE Marine with plenty of soft pale sunlight and feeling for perspective. On the left is the Dogana, or custom house, with the domes of Sta. Maria della Salute behind. This part of the Grand Canal has changed greatly since the picture was painted. The houses on the right hand have also been largely rebuilt and improved in architecture. Very curious ancient view of this celebrated spot, a historic document which would be greatly valued by the Venetians. Mellow tones with primitive architectural drawing. Good painting of gondoliers and sailors. On canvas; height, 36 inches; width, 47} inches. No. 82 ts a JAN VICTOORS DUTCH SCHOOL Pe a ce nw fut 1615-1670 (1620-1672) Victoors was a scholar of Rembrandt, working in the master’s studio from 1635 to 1640. Little is known of his life. Some of his finest historical works have been attrib- uted to Rembrandt. His portraits are full of character and strength. | A DUTCH GENTLEMAN A fine type of the man who made Holland famous for her commerce and colonies, her learning, wealth and high civilization. ‘This is a %e portrait of a syndic or burgomaster, a gentleman yet a plain man, as “4 his simple collar and cuffs, his unadorned gloves prove. ‘The modeling ; of eye sockets, cheeks, nose and chin is masterly. ‘The black hat melts finely into a plum-colored curtain. Observe the splendid flesh painting in the face and the individuality of the sitter expressed by the brows, one being considerably higher than the other. It is a rugged visage that holds the attention and inspires confidence in the man. The gesture of left hand to breast undoubtedly refers to the portrait of his wife by Victoors which follows. It is a naive expression of con- jugal attachment. ae On canvas; height, 404 inches; width, 334 inches. Collection: Ruston Hay, Northampton, England. see, | Sa) Gee aare NGS HS mee OL FAS Fe pots mr» Se Bruker Vat TOON S. 1615 ~ 1670. OF] me. 3% \ No. 33 JAN VICTOORS he rT gp SR DUTCH SCHOOL 1615-1670 (1620-1672) OE Age cit Victoors was a scholar of Rembrandt, working in the master’s studio from 1635 to 1640. Little is known of his life. Some of his finest historical works have been attrib- uted to Rembrandt. His portraits are full of character and strength. A DUTCH LADY A Dutch matron between thirty and forty, soft in modeling of mouth and chin, candid eyed and but little given, it is clear, to the pomps and vanities. Yet her severe cambric doubled collar is a trifle wide, and underneath is a double row of pearls. A large curious pin fastens the collar in front. Fine lace is seen in the cuffs, and her left hand lies on an ostrich feather fan. The dark blue velvet dress sets off very well her blond curling hair and fresh complexion. She is entirely different in character from her husband, but not less individual in her way. The two portraits are types of Dutch people of the wealthy class who may be found in Holland to-day. On canvas; height, 404 inches; width, 334 inches. Collection: Rusaton Hau, Northampton, England. age ae le ee ee No. 84 bb 2J —— * PIERRE VALENTIN [3 | FRENCH SCHOOL fue beg YAP ° 1600-1684 Comparatively little is known of the life of Valentin. When very young he found his way into Italy. The paint- ings of Caravaggio had a strong influence on him. The scenes most congenial to Valentin are those representing gamesters, musicians, gipsies, etc. Examples of his works are found in the principal galleries of Europe, especially in the Hermitage and in the Louvre, and they are greatly prized by art-lovers. THE CARD-PLAYERS. A young man, in a colored coat and dull red cloak over his arm, shows four cards to a comely young woman in pale pink dress, low neck. She leans against him and puts her right hand on his arm as if to stay him from his next play. A square ruby is in the ring on her little finger. The light of an unseen candle throws a powerful glare on these two faces and glistens on the gold and silver coins which lie on the brown tablecloth. The large silver coin appears to be English. It has a cross and a lion. Hard, firm painting and robust drawing in the faces. Agreeable combination of red, brown, and pink. Striking in composition and in execution. On canvas; height, 34 inches; width, 28 inches. Collection: Drpasst, Paris. tak, CAR D=PLAYERS Per E. SAN TN No. 35 PIERRE MIGNARD ts bo — FRENCH SCHOOL Ae Mae Sb SDE 1610-1695 Although intended by his father for the medical pro- fession, Mignard showed such an early passion for art that he began as an art student at the age of twelve. After various instruction in France, principally in the studio of Vouet, he set out for Italy in 1635, where he remained twenty-two years. Recalled to France in 1657 by royal command, he was largely patronized by Royalty and by all the court beauties. DUCHESSE DE BOURGOGNE A princely luxury is shown by this grande dame in her dress and jewels. Not content with the rich lips and attractive contours nature gave her, she must wear an ermine-lined cloak covered with Bourbon lilies, so that no one shall forget her lineage. At her ears are pearl drops of immense size, and over her shoulder runs a chain of great cabochon rubies alternating with big round pearls. Her hair is a creation of the court coiffeur; and the painter has sought to give her a mingled air of virginal sweetness and royal condescension. In the dark background’ one can still distinguish the feathers which completed this gala toilette. On canvas; height, 29 inches; width, 23} inches. No. 86 Lf pe eed CAMILLUS HONE - Qectly iy wit ENGLISH SCHOOL EO 1745-1887 Camillus was the younger son of his more famous father, Nathaniel Hone. He would, no doubt, have achieved very great reputation if he had not given up painting for a gov- ernment appointment in Dublin. Hone exhibited in the Royal Academy from 1775 to 1780, and then practised por- trait painting for a few years in the West Indies. PORTRAIT OF A BOY A child of cavalier parents, this young scion of a distinguished family wears his slashed and frogged blue coat—a blue softened by age to a steel gray—and his deep lace collar with perfect ease. He gazes intently from the canvas with a look older than his years. His left arm is around the neck of his setter dog, out of whose eyes comes a rarely intelligent gaze. Delightful family portrait, easy and natural in style. Signed, wpper left, C. Honn, pinxit, 1778. On canvas; height, 80 inches; width, 25 inches. Ove ree Walaa SH) JOHN CONSTABLE. LO 7 ee RS re Lot ino. OF ra No. 87 JOHN CONSTABLE iE ZOO ENGLISH SCHOOL 1776-1837 $F Vella (¢ lai G bey K Constable, the son of a wealthy miller, had great diffi- culty in obtaining the consent of his father to pursue his _ natural bent for art. From the very beginning he devoted himself to landscape painting, and the multitude of his sketches preserved in the South Kensington Museum attest his industry and genius. His work was not adequately appreciated in England until 1824, when three of his ex- amples were exhibited in the Paris Salon. The French commissioners greatly admired these canvases, and were astonished at their power. The King of France awarded Constable a gold medal. This attracted the attention of Constable’s countrymen to his superior merit. There is a steadily growing number of art-lovers who regard Con- stable as by far the greatest landscape painter that England has produced. THE LOCK Scene probably on the river Stour in England. A barge has been floated into a lock and the lower gate closed. Now the lock-keeper is engaged in letting in the water from the higher level while the bargee hauls the boat nearer the gates through which the water already begins to spout. On the left is a single oak; to the right two horses and some trees. ‘The distance is a typical English river scene with square church tower and steeple. Quick broad brushwork, agreeable tones, a great work of the master. On canvas; height, 23 inches; width, 29 inches. Collection: Mr. SANDERSON, Bullers Wood, Chiselhurst, England. Collection: Cotonet Exuis, London. > No. 88 3,f00 —~ JEAN MARC NATTIER FRENCH SCHOOL fue Cf, f se 1685-1766 Nattier’s father was an excellent portrait painter, his mother a miniaturist of distinction. Soon winning reputa- tion as a portrait painter, he was, in 1716, taken to Amster- dam to paint the picture of Peter the Great, then sojourn- ing in Holland. In 1718 he was received into the Paris Academy on the strength of an historical painting. 'There- after, however, he devoted himself exclusively to portraiture, being largely patronized by the beauties of the Court of Louis XV. In the last few years the extraordinary decora- tive quality of his work has been recognized, and the prices of his pictures have been most rapidly advancing. LA DUCHESSE DE CHATEAUROUX During the reign of Louis XV classicism produced some strange effects among the portraits in oils and marble. It was naturally reflected in the masques, costume balls, and pageants, and the grandes dames of the court must need have themselves reproduced as goddesses. ‘The Duchess of Chateauroux was one of several sisters who enjoyed tem- porary eminence because Louis Quinze showed them favor. Behold her as Diana with a sickle moon in her curly locks, a leopard skin slung across her soft white shoulder, a bow in her tender hands. All is softness. The main traits suggest Venus as well as Diana, for her mouth itself is curved like Cupid’s bow. Excellent drawing of face, chin and neck; tender brushwork; fine tones in the waist material falling from the left shoulder, and in the dark blue gown visible below the leopard’s skin. On canvas; height, 36 inches; width, 29 inches. Collection: Count p’Ertne, Paris. Collection: BARON CHRISTIANI, France. eee Teel ree I ACT CIE Fe. LOS —— Leo. No. 89 PHILIP WOUWERMANS AEG DUTCH SCHOOL A Pecker. 1614-1668 Wouwermans’s father was a mediocre painter and his first teacher. Then he studied in the studio of Jan Wijnants. At the age of nineteen he eloped with a young woman, marrying her in Hamburg. By 1640 he had returned to Haarlem, where he seems to have spent the rest of his life. Although he died at the age of forty-nine, he produced a considerable number of works. “ His popular reputation depends chiefly on his horses,” but he was “a natural col- orist, and as a technical painter he has had few equals.” AT THE INN Lively scene of arriving and departing guests in front of a tavern over whose door grows an old vine stock, thus proclaiming that the place is one for refreshment. The cavalier, who is about to mount his horse and holds it by the bridle, turns to a lady who has just ridden up and bows low to her with a sweeping gesture of the hand that holds the broad feathered hat. The center is held by a superb little figure of a cavalier in a red coat on a white horse who puts his right arm akimbo. His companion has his foot in the stirrup and turns his head to speak to some one in the tavern. Beautiful painting of two boys wading in a pond in the foreground, two chickens and two dogs. ‘Tender soft tones, lovely delicate colors in animals and clothes. On canvas; height, 12} inches; width, 17 inches. Collection: Prince ScrarRa. - No. 40 LPO ALLAN RAMSAY ENGLISH SCHOOL , dé eee (ot, Ett re EC OfeLY << 1713-1784 Ramsay, born in Edinburgh, first studied in London, and then in Italy. On his return from Italy he first estab- lished himself in Edinburgh. In 1762 he settled in Lon- don, where he painted the portrait of George III, whose special patronage he enjoyed for many years. Being a good linguist and an accomplished writer, he was in touch with the literary men of his time and painted their portraits with very considerable ability. HORACE WALPOLE Readers of Walpole’s diary will conclude that he was a prudent man of the world who possessed a good measure of artistic taste. This youthful portrait shows a determination not to err on the side of orna- ment. It is that of a young gentleman sufficiently content with himself who will not be guilty of foppery but knows that simplicity in dress means good breeding. The ship in the offing may represent his first trip to the Continent. On the table by his side is a round box, open. His dark blue coat has no gold buttons and his collar and cuffs are fas- tidiously plain. Large planes in the handling of the face, sincere and well-balanced intelligence in the expression. On canvas; height, 353 inches; width, 282 inches. Collection: J. Davis, London. . 4 WW 10D (eo eae bee ee OOO ft Olt Pe ae GEN Gy Scie Nea GERDA cr No. 41 DAVID TENIERS Vie eee 1610-1690 | gu; Peale AgeeeX AMBROISE BREUGHEL 1617-1675 AND Of David Teniers we speak elsewhere. Ambroise Breu- ghel was a painter of flowers and of landscape. He was Director of the Antwerp Academy from 1653 to 1670. Occasionally he codperated with David Teniers in the crea- tion of paintings similar to this example, he painting the landscape and Teniers sketching in the figures. LANDSCAPE WITH CASTLE Decorative picture with small full-length portraits, greatly relished in Holland and England during the seventeenth and eighteenth centuries, representing a Dutch gentleman with his falcon and wife and daughter. Behind him stands a youth with a brace of greyhounds; over his shoulder a hare which the falcon and hounds together have overtaken. The wife in red overgown stands to the left; beside her a much younger woman in a broad hat who looks at the older woman—whether mother or sister—with an intent gaze. The landscape by Ambroise Breughel has the spacious distance and reposeful horizontal lines which add so much to the quiet of the scene. Doubtless this gentleman owns the residence which peeps from the grove in the background. It is afternoon; two ducks are winging their way over the surface of the stream and others are high in air. Broad and confident brushwork, low notes of color, in which dark blues predominate. On canvas; height, 344 inches; width, 47} inches. Collection: Joun Emuens, Holgate Terrace, York, England. . No. 42 3/0 —~ ROBERT TOURNIERES FRENCH SCHOOL 7. WV Hebe 1676-1752 Tourniéres, born in Normandy, pursued his art studies in Paris. In 1702 the Academy received him as a portrait painter, and in 1735 he was made professor. He was a favorite of the Regent of Orleans, who frequently visited his studio. Several of his works have been engraved. FRANCOIS MOUCHARD, KNIGHT AND ARMORER Portrait of a French gentleman whose expression is benevolence itself and something more; there is art and there is the tolerance of the man of the world. ‘The yellowish-brown velvet coat is richly edged with appliqué gold braid in an agreeable pattern, and the big cuffs have large glass buttons with enameled designs. Snow-white wig and fall of rich lace from the white stock, ruffled cuffs, a white quill and a letter folded in the old style and sealed in red, make a very simple but effective color scheme. ‘The background is dark brown below to almost black above. Beautifully drawn face and hands. It is a picture that grows on one with gazing—in its way a master- piece. On canvas; height, 394 inches; width, 32 inches. SARA SIDDON S. Sli~w a Wit TANT SE CrEY. Laie 7 es 3 OF cohi ne: 43° No. 438 SIR WILLIAM BEECHEY JS DOE ENGLISH SCHOOL SOEs Ns 3 y, Ag tut 1753-1839 COR ty seat Oe Beechey, originally intended for the legal profession, soon entered as a student in the Royal Academy. Por- traiture attracted him from the very first. He was much patronized by George ITI, and at the age of forty was made portrait painter to Queen Charlotte. “In his portraiture of men, he seems to have been deeply imbued with a com- mand of character and expression; and in those of ladies, grace and beauty are ever pervading.” » MRS. SARAH SIDDONS, THE FAMOUS ACTRESS Many times was Mrs. Siddons painted by the fashionable portraitists of her day. Her wide acquaintance with artists gave her weight as an arbitress of the arts in the London social world. 'To have her sit for him was a distinct advantage to the favored artist, and many a reputation, as we know through Haydon’s biography, was made after Mrs. Siddons had nodded approval to a picture in her own majestic way. This is a personal record of the woman rather than a picture of the actress. A volume of poetry in her left, with the index at the page where she has interrupted her reading, a plain turban round the hair, the sim- plest possible of housewifely gowns betoken a great personage away from the footlights. Broadly and easily painted is the soft scarf that passes round the neck and encircles the waist with a big bow behind. Clear, intelligent and penetrating gaze. On canvas ; height, 30 inches; width, 25 inches. Collection: Lucsur, London. No. 44 ISU —~~ DON ALONSO MIGUEL DE TOBAR V1 7) Lf SPANISH SCHOOL yl el? 1678-1758 Tobar was the best follower of Murillo. He was court painter to Philip V. Many of his works have been attrib- uted to Murillo. “In coloring he imitates Murillo closely and happily; he selects faces of the same expression, and draperies of the same studies; and in his more elaborate efforts he falls short of his model in little except his inimi- table roundness of forms and absence of outline.” CHRIST-CHILD AND ST. JOHN Strongly marked Spanish countenances are seen in this little group of children and angels. Although the child in a pale lilac robe has no halo, it is the figure of the Christ, and the smaller boy half kneeling is St. John the Baptist. He has a ragged brown covering and carries a cross with streamer. Behind the little St. John a lamb raises its head as if to the group of winged nude angels in the clouds. One tree appears on the right. To the left front is a basket with apples and grapes, the offering of the little friend. The Christ-child has a somewhat feminine look in face and figure. He bends forward as if to prevent St. John from kneeling to him. Sweet and delicate colors in a narrow gamut. Strong influence of Murillo, but softer outlines and tones. On canvas; height, 434 inches; width, 273 inches. Collection: SzeXor Navas, Madrid. Zs SA "O12 sw alll Oa ee Wick tele ay -NOLANOID aT No. 45 JEAN BAPTISTE JOSEPH PATER Z, 7 — FRENCH SCHOOL ie 1695-1736 igen ¥T lle Pater, the son of a wood-carver, was taken to Paris, while still young, to continue his art studies. There he be- came the pupil of his fellow-townsman Watteau, until the irritability of the latter caused a separation. When, how- ever, in 1721, Watteau felt that his end was near, he again sent for Pater and gave him his best instruction and part- ing inspiration. In 1728 he was received into the Academy. The fame of Pater is linked with that of Watteau and Lancret, and the prices of his works are rapidly advancing. “LE GLOUTON” The rollicking, Rabelaisian composition is a delicious scene of broad humor from the old comedy. The Glutton, having eaten all but the head of the sturgeon, has to be forcibly prevented from devouring that. A servitor is trying to remove it at the order of the physician. Fearing the results of his excesses, the apothecary and his assistants rush in, while a maid on the right mixes a medical potion. Lovely tones of brown, pale blue, and robin’s egg green. Animated action, rapid yet masterly brushwork. The painting has been engraved, with the following quaint rhymes, in the Old French, attached: “Un Glouton, opulent, qui faisoit ses delices De remplir 4 grands frais son ventre spacieux, Et de voir entasser 4 differents services Sur sa table des mets friands et précieux, Ordonne qu’d souper pour lui seul on appreste Un Eturgeon auquel on n’6te que la teste. Il soupe; mais bientost il créve, il n’en peut plus, L’Apoticaire en vain lui donne maint clistére, Tous les secours de |’Art deviennent superflus. Ah, dit-il, si mourir est un point nécessaire, Pour m’en dédommager, sans faire de facon. Qu’on m’apporte a instant le reste du poisson.” On canvas; height, 184 inches; width, 214 inches Collection: Drpass®, Paris. No. 46 2o0u —- SNGIOLO ALLORI, BRONZINO ITALIAN SCHOOL | sy ie Cte Gy 1502-1572 Bronzino, born near Florence in the golden time of the Renaissance, stands out as one of the great portrait painters of the sixteenth century. He painted the great nobles of his time, especially Cosimo I, Grand Duke of Tuscany, and many of his court. Fine examples of his work are con- tained in the museums of Florence and Dresden, and in the National Gallery of London. AN ITALIAN PRINCESS Powerful and sculpturesque portrait of a beautiful young Venetian woman, who wears a chain of amber links once round her neck and depending over the breast, where she fingers it with a slender tapering hand. Her brown hair is braided tight and wrapped close to her head. Two chains in the Greek fashion over the top of her head may fasten a net behind. One sees the network faintly between the chains. A very fine gold chain under the amber links disappears below the bodice, perhaps ending in a miniature ora charm. ‘The quiet colored gray dress has thick puffs over the shoulders and sleeves to the wrist. A transparent undergarment open at the throat covers shoulders and bosom. Her only jewels are two big pear-shaped pearls at her ears. Candid and intelligent, the young girl is imposing through the calm, clear look from her gray eyes. On panel; height, 27} inches; width, 224 inches. Collection: Princr ScraRRA. AN ITALIAN PRINCESS. ANGIOLO ALLORI BRONZINO. DS Ger LS 7 cons coed | WV | Ye, No. 47 CARRENO DE MIRANDA “4/0 SPANISH SCHOOL ee AOrnim a 1614-1685 Carreno soon won recognition by his talents, and was specially patronized by Philip IV, who employed him in several important fresco works, and nominated him as his court painter. “ His coloring was, in tenderness and suav- ity, perhaps superior to that of any painter of his country except Murillo.” | YOUNG PRELATE IN RED In looking at pictures by Vibert and other moderns who paint red- - clothed ecclesiastics one often misses the extraordinary tones of old mas- ters. A portrait of a young ecclesiastic like this by the Spaniard Miranda is a feast for the eyes. ‘Though mitre and cloak and curtain behind the head are of the same tone of red, yet in each case a difference can be observed owing to the difference in texture. Rich lips, peculiarly shaped nose, long upper lip offer a pronounced type of man. The expression is mild and engaging. On canvas; height, 31 inches; width, 24 inches. No. 48 @F 2 — RICHARD WILSON ENGLISH SCHOOL fof (ake te. 1714-1782 Wilson, the son of a clergyman, first practiced portrait painting with considerable success. Going to Italy, he there painted some landscapes which were so strongly com- mended by brother artists that it determined him to make landscape painting his life work. He had a long struggle with poverty, and never during his lifetime achieved the suc- cess he deserved. It is only in late years that his superior merits have come into public recognition. AN ITALIAN LANDSCAPE A landscape from the lower ‘Tiber perhaps, but more probably not a literal transcript of any one spot. In the foreground an animated dis- cussion goes on between four men, one of whom examines a stone with a carved relief. To the left sits a man drawing the monument before him, perhaps part of some ancient bath. On the river’s edge three men bend as they track a boat concealed by the bank. To the right is a clump of trees with long pendant moss. Mellow pearly distance with white clouds melting. An ideal land- scape which expresses the movement of British art prior to the Revolution. On canvas; height, 26 inches; width, 40 inches. Collection: Rev. M. Patmer, Portland Place, London. PORN OPI: bY Ol AsO ye. cad, ne, Y4. JOHN OPIE LOLO ENGLISH SCHOOL 7 AD. b LYSE ES: 1761-1807 Opie, the son of a carpenter who desired him to follow his trade, was so filled with the love of drawing that noth- ing could divert him from the life of an artist. At nine- teen he came to London, where he soon won success, paint- ing not only portraits but domestic and rustic subjects as well. In 1806 he became Professor of Painting at the Royal Academy. Good examples of his work are found in the National Gallery and in the National Lote Gallery of London. GIRL AT THE WELL Large decorative figure of a country girl in dull red skirt and a short- sleeved long-necked jacket. She is carefully posed by a square well- curb, leaning her left elbow on the stone and the back of her left hand delicately against her cheek. Fine eyes and a Cupid’s bow for a mouth; a half smile and an arch look give animation to this figure. Notable is the disposition of the large color masses—the rose jacket and the well- head, the simple big jar to the right, the tree trunks to the left. Itisa picture which holds its own from a great distance. ‘There is vivid, strong coloring here, and a composition almost sculptural. On canvas; height, 56 inches; width, 44 inches. Collection: R. S. Smrru, London. No. 50 y S20 — ANTONIO MORO ify: Sle DUTCH SCHOOL AW eae Tf * : 1512-1578 Moro, called also Mor, Moor, and More, was born at Utrecht. After studying with Jan Van Scorel, he went to Italy. On his return to Holland, he first devoted himself to an imitation of the style of Holbein. Being recommended to the Emperor Charles V, he went to Spain in 1552, where he painted the portrait of Prince Philip (afterwards Philip II) and many members of the royal household. The Em- peror sent him to England to paint the likeness of Queen Mary, when he also painted the famous portrait of Sir Thomas Gresham, now in the National Portrait Gallery. Moro’s works are highly esteemed by all art connoisseurs, and are found in the principal European galleries. A GENTLEMAN OF RAVENNA A noble citizen of Ravenna, whose titles to distinction are set forth in a pompous inscription, interests not so much because the Venetian Senate appointed him, in 1541, to receive the High Pontiff of his day on a visit to Ravenna, nor because he was persona gratissima to the Dukes Gonzaga, but because he has an intelligent face, and was painted by the great Anthony Mor. Next to the simple, earnest look and unpretending gesture, we may admire the admirable painting of eyes, hair, and ruffled collar. A slight stiffness in the drawing of the hand belongs to the period—after 1541 and before 1545. Splendidly decorative is the suit of nearly full armor, worn partly under and part over a dark wine-red coat of velvet. Observe the gold hilt of his sword and the peculiar shape of the gold buttons. Antonio Moro painted other gentlemen in iron suits, such as “A Knight of Malta” in the Museum at Vienna. On canvas; height 52 inches; width, 37 inches. Collection: Exate Garuuarp, Paris. “Js 7-37 ie Re Oe ada TOUS, | reve SLCT Seo. NEAY NO & “BwtL gat Ny aL a ot No. 51 BONAVENTURE DE BAR ohn Adee FRENCH SCHOOL 1700-1729 DP See. The tremendous values which are now placed on the works of Watteau have called attention to those of his fol- lowers who were imbued with his style and beauty of color. Among these, Bonaventure De Bar is gradually rising more and more in public appreciation. His life was brief, and few details have come down to us. He was received as a member of the French Academy in 1728. ‘The records show that two of his paintings in the style of Watteau were publicly sold as early as 1737. FETE CHAMPETRE Brightly dressed men and women enjoying themselves in a park, strongly suggestive of Italian landscape architecture. ‘The composition uncommonly extended, running from the lady in black, who seems a portrait, to the seated man in a red cloak, who is the sixteenth figure in the scene. The style of Watteau is very well imitated and a certain originality added. ‘The composition resolves itself into three parts, one group to the left, another to the right, and a third central but a little to the rear. That on the right enjoys the dancing of two figures, of which the man with the castanets is the livelier. In the rear, young men and women with mandolins are singing and playing. The scene is such as Boccaccio imagined for his young people. A painting full of decorative charm. On canvas; height, 42 inches; width, 60 inches. No. 52 < SPANISH SCHOOL Efe #4 a 1610-1667 Mazo, born at Madrid, entered the studio of Velasquez, and became his son-in-law. He followed closely in his mas- ter’s footsteps. ‘‘ Mazo was an admirable portrait painter; his pictures resemble very closely those of Velasquez—the same rich color and fine treatment.” At the death of Velas- quez, Mazo was made painter in ordinary to King Philip, which post he also occupied under Charles II. A SPANISH GRANDEE A splendid bit of decoration is this canvas just as it is, without regard to subject or painter. The black cloak sprigged with gold, similar to the black gold sprigged body coat and short hose, is wound around the grandee’s lower body below the arm and comes over the left shoulder and down in front. Across the waist and on the uplifted left arm, where that is held akimbo the lining of this cloak is seen. This lining is a lovely old rose color, darker in the shadows. Corresponding is the color of the stockings, and close, if not identical, the color of the tablecloth, where his right hand rests. Add to this the ostrich feathers of his beaver on the table and the rose-red curtain above, and it must be confessed that few of the great masters have hit a finer color scheme. Firm and slightly insolent, the young aristocrat with his natural curling brown hair, small mustache, and tip of goatee under the lip makes an unusual and most attractive picture. On canvas; height, 82 inches; width, 47 inches. Collection: T. Gattt, Paris. CHOI Tins 0 OE ES SP Eo Sik S'S Pe Mes eet IN OLSEN & oe IN ee ee SFLU Ly 23 No. 53 SIR JOSHUA REYNOLDS 2,3f07 —— ENGLISH SCHOOL Bar elt 1723-1792 hittig ce tle flee Reynolds is acknowledged as the greatest of all English portrait painters. His life was one uninterrupted artistic triumph. Whether as the President of the Royal Academy, or as the writer of the famous “ Discourses on Art,” or as the intimate friend of Dr. Johnson, of Oliver Goldsmith, and of all the great Englishmen of his time, he stands out as a leader of men and as a shining ornament to the art profession. ELIZABETH, COUNTESS OF BERKELEY Rich, splendid coloring in the portrait of a character. A strong, capable woman is this lady with fine dark eyes and ripe lips, tiny pink ears and taper fingers, who turns almost profile and looks off to her right. The brown hair, with one small dark red rose set in front, contrasts strangely but attractively with the almost black eyebrows. Under the soft wine-red scarf knotted about the neck is a simple velvet ribbon, and the white satin cloak thrown over her shoulders is trimmed with fur. Hands and laced sleeves are painted with little attention to detail, as was Sir Joshua’s custom. A beautiful example of the work of this great artist. On canvas; height, 30 inches; width, 25 inches. No. 54 74 v{li——— JAN WIJNANTS ih ¥ i DUTCH SCHOOL / ek Vv Dae 1615-1679 ijnants, born at Haarlem, was one of the principal founders of the great Dutch School of Landscape Art. He is said to have been the teacher of Philip Wouwermans and of Adriaan Van de Velde, but little is really known of his life. He died in Amsterdam. In the rendering of sky and landscape he was.a master of the first rank, but he had little facility in the painting of figures and animals. These were generally added to his pictures by other eminent artists. He is well represented in most of the leading European galleries. CHATEAU DE CLEVES What first attracts in this picture is the soft cloud masses, then the delicate feeling for movement in the distant hills; after that we begin to appreciate the noble proportions of a castle which at one time, doubtless, had its moat and drawbridge and still retains the round tower of feudal times. It is a very peaceful scene now. ‘The peasant woman and huntsman with dogs and guns in the foreground, the reapers forming stacks in the middle distance, the man on a white horse approaching by the road, and the little figures before the castle, help to carry the perspective. A soft, pale golden sunlight falls from left to right across the scene; well-studied trees in groups to right and left frame the view. Signed, lower right, J. WisNANTS, 1675. On canvas; height, 33 inches; width, 40 inches. '"“@8727- 3 o> O24 Ol= OO' OS oT1r—O1er SaH4INAL CIAVad MOS, “IV DiGOsd BAHL No. 71 JOHN ZOFFANY /60—— ENGLISH SCHOOL fp Jt /. WL Pit ae 1735-1810 Zoffany’s real name was Zauffely. Born in Bavaria, where his father was an architect, he is said to have run away to Rome at the age of thirteen, where he remained about twelve years. He returned to Germany, and then went to England at the age of twenty-five. First meeting with little encouragement, he soon began to acquire fame by his portraits, which are admired for their truth and vivacity of expression. He painted a group of the royal family and of other notables. He went to India, where he acquired a fortune. His works are steadily gaining in value. CAPTAIN MONEY, THE AERONAUT A careful and thorough bit of work which recalls in its landscapes the earlier Dutch masters, and in the figure of Captain Money the early work of Gainsborough, except that it is much clearer brushed and harder. A rather original way this is for a portrait. Captain Money is a lover of literature and of nature. Like Izaak Walton, he takes his book to the brookside. But he is an elegant fellow, very neatly dressed, and too much of a city man to seem very thoroughly in keeping with the rustic scene. Observe the cathedral in the distance and the conscientious drawing of the weeds in the foreground. Caprain Joun Money was of Trowse Hall, Norwich, England. On canvas, height, 26 inches; width, 23 inches. No. 72 Si 2~ —— ~~ ALONZO SANCHEZ COELLO ) SPANISH SCHOOL : o ’ dL ~ 5S Opeuely ek 1518-1590 Alonzo Sanchez must not be confounded with Claudio Coello, who was born a hundred years later. In 1541 Coello resided in Madrid, where he became intimate with Antonio Moro. He painted the portraits of the royal families of Portugal and Spain, and of many of the dukes, popes, and cardinals of his time. PORTRAIT OF A LADY RESEMBLING MARY QUEEN OF SCOTS A rich and solid brushwork having fine color tones in background, hair, color, and jewelry gives this portrait of a young noble lady all the charm of a masterpiece. A strong living look marks the countenance. But a historical connection is suggested through the singular likeness to the pictures of Mary Queen of Scots. Thus this young princess may have looked before she went to Scot- land. She has a high forehead, small French features, large eye sockets, full but not sensuous lips, a well-shaped small chin. The black velvet tocque she wears has very sober decorations. Her earrings are of pearls forming a stag lying down. On a chain round her neck is a medal with unrecognizable inscription or relief. On panel; height, 21} inches; width, 174 inches. DANIE L’ MEND OZA.. WO Taos SON S ae Ae LE EPP a aN a a NG ET Ge Cnt Me - Ge ‘ No. 78 LEANDRO DA PONTE BASSANO 5 ogy ee ITALIAN SCHOOL W,> FH [ett 1555-1623 ? MebG_ Leandro, one of the several artist-sons and pupils of Jacopo da Ponte, was born in Bassano. He was famed chiefly by his portraits. The Doge Grimani made him a Knight of the Order of St. Mark. The latter part of his life was spent in great state and luxury in Venice. THE DUKE OF VISCONTI Portrait of a member of the Visconti family as we see by the coat of arms, a serpent holding a child in his mouth—and by a letter the gentleman has in his right hand, which is addressed “ Visconti.” Visconti is very soberly clad in a dark cloth with relief decorations in black embroidery, small round gold buttons, and on the sleeves flowrets and sprigs in gold embroidery. His gloves are in his left. Simple ruffles, cuffs and collar. Strong Italian type of face, such as one sees to-day and also finds painted on the walls in Etruscan tombs. Handsome, masculine, thought- ' ful. The painting is straightforward and suited to the subject. A remarkable man painted with perfect ease. On canvas; height, 354 inches; width, 27} inches. Collection: A. Meuut, Florence. No. 74 /§O FD. A. Cc. DELGADO ae » SEVENTEENTH CENTURY C : re ne A har A certain Delgado, who lived at the close of the seven- teenth century, is noted as a Spanish painter. He is called Juan Delgado. Whether he is the same as the painter of this example it is difficult to determine. The character of the picture and the age of the painter definitely establish it as seventeenth-century work. : SPANISH PRINCESS Curious old-fashioned garb of a small child of five years. The little girl has a ring on her finger, a bell fastened to a stick to amuse her with its noise; a green parrokeet with a string to its leg sits on the table. The bow on her right shoulder is fastened with a jeweled pin having the likeness of a saint painted in miniature; the other shoulder shows a big carbuncle with heavily jeweled pendant. From her waist hang various objects by gold cords—a miniature set with cabochon garnets, a gold ring, an animal’s paw with sharp claws with gold handle, a rattle, two teething sticks of crystal and coral, an apple-shaped box (perhaps the hunting case of a watch), a jeweled picture of a saint, etc. If these ad- juncts are curious, what may be said of the dress? It is cut low neck like a ball dress and almost covered with lace. Strange old-wise expression, short dark hair, infantile pose. Most attractive by reason of its quaintness. Signed, lower right, D. Ant°. CAyETAND DELGADO. On canvas; height, 482 inches; width, 33} inches. 4 ra he en ety aera) “ , Sey Jt elf a Ate hae ye. $ o ditas yin I te Aa he a 53! * _— bd dnt Nail aii ciently “admire the th incomparable Mr. the enthusiasm of those eritics who accept and man should be allowed after it? Itis true that a number: perfectly sound, nor is it likely that will « ever be disputed by an “expert .” They are for the most ortant and not worth disput- . a what of the “important” ex- ples? What of the male portrait that itself HocartH? What of the re- at of the canvas attributed to PatEr, 80 obviously inferiorto theengraving under.it? What of the much-advertised ea rats “by Navrier”? Mr. Euricu observes naively that his Nattiers have faeeeneoeed indorsed by leading “experts” —“one of them an expert of the Hotel Brower! We suppose he means an “expert” who presided at some sale ; there.’ Is there no one to tell him that the r records of that venerable institution are think it proper to cau- rantee, without any con-_ af the 2 enormous risk he runs nte 1 devotion tothe public. — anh hard that a kindly and ' to no end of trouble | ae canvases, when the x might as well be given before the rable thing attributed to CHARDIN? _ EHRICH PICTURE ne Seventy-four Paintings Go ‘Under the Ham-— ., mer for a Total of $63,635. st The much advertised sale of “Old } asters: alehe. Prices. _were ie in spite of the4 guarantee printedei the front of each | catalogue. A. bate baker's dozen of the ‘Seventy-four pictures offered brought $1,000. ‘or over, and several reputed to be by famous artists brought startlingly, low piers -A picture catalogued as a portrait of ’xloxandar Pope by Hog garth, for instance, brought only $475—very low for an. bers ue | ‘and a fair price for a pom: But pers! ' haps the most othe Duke @ af the evening was that of “The Duke of Parma,” “Marietta Robusti © Tintoretto,”. eenioH | | ‘brought $400. | The highest. ‘price o thie ouente wart | $8,000, . announced as for a picture catalogued as “La Duch@sse de Chateaue | roux et La Comtesse de’ Flavacourt. ” The | total for the seventy-four pictures sold | was announced as $63,635. “Sales above $1,000 follow: ; x | Jonn Philpot Curran, Sir Henry Raeburn, i on W. Crimmins: > 232, oa a8 pees Gwynne Taking Music ‘Lessons, * Sir Bee Upeter Lely; O'Reilly, agents... //....000.4 1,450! The Lock, Jobn Constable; F. Nella, agent.. 6,200) La Duchesse 43 Chateauroux, Jean Mare fe Wattler;.D. My omMin... 0.6.5. cee ves 8,800 _ Mrs. Ss haat Sane Sir William Beechey 3 O'Reilly, agen 215 1-4 sicee. ede ue te tem te 3200 An ree oe Angiolo Allont Bronzino; Oey. ARENWACK 6s eis. ss ae 6 "Cha Protas Beepouald | Stewart, Sir” burn; sine ThOMAGs= £04) u cs bauer nee e de Diedehivenre et La Gomicsear Oe Flavacourt, Jean Mare Nattler; Samuel PECTIN VOT ie ed Ge oe des ale Ca ota tee ee “Prodigal ais David Tenlers; puree & CIP er reer eee eee eee eee ee eee ' Tree eee ee ee i eo a pagent Paima,< pena ae (ii Giowies: John Lawrence, a Velde; O'Rellly, agente... -seevesv nse “1,950. LC Waldorf-Astoria, ore: inne hatkain S. gt Ser PRB BI) o, “Spanish Prel nt q Bee, ee Ae oe ee ee a ar ag ig Bae Yan: a 3) ROP OS e eee eeeseees + “Blind ind _ Mans Buff ;’ oe BoM Prams a." Thee eee wes sf de dD, alia j Sunset B Coast; J. Neale. = | ve stat Lady;” L. Ral- L SU aR 2 1 \ oe River Scene;”’ Ralph. = RE - Ri hancellor;”* S. Branders. a se Bag Teck 5” Hy Ow. See WURME nec ots" thie Uule's © soc s-0's i s-« Cr es nt et mat ok ie, Portrait of Lady; Duryea £ mea gen Pee eees Ce od sa ef rie ee Bee any see 38 hoa ec eect ets ae : I ; - schettenheim, wee aus 29—Santerre, ‘‘Lady with~ Mask;’ h, Ral- ee aa) ston 4 eo Alexander Pope; J.‘ Neale os “Canal in Venhice:*” “Duryea ig ad Ap a _ Gentieman > A Tan seme eee On ER ee OS a ee ee elit a | $5—Mignard. ey Wee etic, ss. ae “Portrait of Boy;” so 0’ aie ‘8—Constabie, a “the” Lock re? Nena: eeNehie “Tuchesse de’ Ghateauroux.” e D. M. Coffin | $9—Wouwermans, “at the Inn: J. Seck: I Ramsay, ‘‘ Horace Walpole;”} E, 0’ sciet teee Mrs. M. J. DROME: opel mule V REM Cts gilelb's veces Ai—marie, Brenghel, “Tandscape with Cas: tle;* Neale, PROT ea i ciwsiy'e wlocis 2—Tournieres, ‘Francois Mouchard} ae : His MOODS as eae Oe feiss las 43— ‘ hey, “‘Mrs, ons; Hs B. O'Reilly, 44--Tobar, “Christ-Child "and" St!" “ohn 2? Duryea_& Potter. atid donn:" canbe ag “Le _Glouton; a “Duryea &° Pot- CP s viem Bes + ele et ok es besseee eseene 46—Bronzino, “Ttalian Prin v7 y O'Reilly. agent..... ere at Silo's Sale Charles Pres : } ia. al. The ce of the sale—$8,000—was paid ; Untemmyer for Mattier’s picture, : e de Chateauroux et la eee ; jw eb Be Tanaicees tk Hallo eek Dee gain Cates e ee sees Matenuae: tea of Ra: 3” Duryea “Cheaper fifties estate? Mee weer age of Berkeley; 2? Dur in the list, were Mrs. John -E. Stanford | White, Sy) T. Perrys-and Untermyer. 47=Miranda, “Young Prelate" J, VD. Crim-~ cker tanto ne wana - atten > eas Wigs = Ae ae Bis i Ss aio : ee 725 *Bookdag’ at “fis” Wigs? it axing Wihiaay 112° “Hotidnd aN 60—Lawrence, “Portrait” of Yay?" "AL? MGDCHACE <5 ls 6 a6 900. 60—Tintoretto, ‘Duke of Parma;” ‘Holland Art G@ i Be Sea eegh aa lebeaeate 400 61—Hoppner, iss Elizabeth Moore:’* Je . k wrence, OTE: ie-S aide blsiain Aostace pte an “1,700 62—Van a haan aii on Dutch Riv- ; IAT.» sie s Mate eatamaeee 725) @8--Rachiirn,, “Professor Donald Stewart;”” a John Thomas ..... osha -< 4 eee SO! G4—Nattier, ‘ ‘Duchesse de Chateauroux et : eee de Flavacourt ;” Samuel Un- ee 65—Teniers, ‘Prodigal Son; ‘Duryea & Pot: Ee 66-—Constable, “Daniel "Mendoza; RE, O'Reilly, agent ..... 1,550, 67—Palma, _Vigete Pama: ‘John Law- TONES; ALONG es cele ai we wane eee 1,900 - apie oye Velde, “Oid "Broken Bridge;” EB, . eilly, BRON | oie Noah sas 9d eee tery 1,350) fo ocnee, Lomallini Family; na Naylor. 140 70--Charam, “Portrait of Lady;’’ J. Kauf- =e T1—Zottans, Gaptsin’ Moneys” To i! New: a 72—Coelio, “Portrait of Lady *'E, O'Reilly, ' Been |... SS Cine ele oa haem ete 220 he “Duke “of! Visconti;’* FP, H. rey ‘74—Delgado, “Spanish Princess)” “Bb. A, | i Tatler sriteeciersenenstagecneans 180 Total lune us esc wecnink woe oid pccs dts cro peeOe OSB: Among the spectators some of whom were buyers, although their names do not appear Parsons, Isaac ‘EHRICH SALE “BRINGS $63, 635. Spirited Bidding. ‘Seventy-four Paintingesnocked Down Atter Seventy-four’ ‘paintings from the collection of the attendance and spirited. bidding | Ehrich Ga @fies brought-$63,635 last. evening in the grand batroom of the Waldorf-Astoria. The sale “was Conducted by James'P, Silo. There was a large The highest price was"s,000, paid by Samuel Un- termyer for ‘La Duchesse de Chateauroux et La Comtesse de Flavacourt,” by Nattier. started at $1,000. knocked down The bidding “The Lock,’ by Constable, was to FEF. Nella at. $6,200, and “La |} Duchesse de Chateauroux,”’ by. Nattier, to. DoW, | Coffin, at $3,800. Many paintings were bought by E. O. Reilly, who, Parsons, Isaac Untermyer, ‘was said to represent Stanford White; Mrs. John EH, George Crocker, Bay- ard Cutting, Thatcher Adams and Mare A. Blumen- berg. John D. Crimming bought several pictures, includ- ing “John Philpot Curran,’ by Raelburn, for $1,060, and ‘“‘Girl at the Well,” by John Opie, also at $1,050, crestor eaeestemnania ESEARCH INSTITUTE | : : ii WHIM 3 31 25 01 ans On8 te pe ahaa PIR et 8 = = yee hea, “4 a Kn! ti Bed ree ee Fas =