LIBRARY No. M.Knoedler&Co. g © | 14 East 57th St. Acc New York T EA THE ORIGINAL ME ING BUREAU yf ther ROMEIKE “No Connection with ay Neo Ca , LEVERHULME ART BRINGS $16,227 MORE, Water Colors, Drawings and Prints Swell Total to | $1,216,133. $1,150 FOR A CRUIKSHANK || | A | Rosenbach Pays Top Price for Midsummer Night’s Dream’ — Sale to Continue. | Piniesver ieee jhe first sale of Parts 6 and 7 of Leverhulme collection, consisting the of original drawings, prints and water last night at the Anderson Gal- colors, r Jeries brought $16,227.50. This brings | the total for the entire sale so far} con- { te. $1,216,188. The sale will be ¢ tinued tonight and tomorrow evening. Mhe high price yesterday was $1,150, | which the Rosenbach Company paid ) for George Cruickshank’s “A Midsum- jeer Night's Dream,” a water color. | Uspes,” by Sir Edward Burne-Jones, | went to C. A. Lister for. $610. This i vas the highest price paid for any of | the works of this celebrated English \ artist. | There was spirited bidding for the John Constable drawings. Two draw- | jngs of Salisbury Cathedral went to ‘Andrew Smith for $150 and $320 each, || | | gnd ‘The Close at Salisbury’’ for $200, ‘Mr. Smith also paid $700 for Richar Cosway’s pen and ink drawing, ‘'K Fisher,” A pencil drawing of Frances!) ‘Abington, the actress, by Cosway,/ went to F. V. Storrs for $490. The drawing by Hablot Knight Browne (“Phiz”) for the engraved title-page| of. Martin Chuzzlewit,” went to W. H. Woodin for $457. List of Objects Sold. The list of objects sold, the title, the name of the buyer description, ‘and the price paid, follow: < Hunting (Henry pair, Mr Duke of Somer: of Hert- ford (1 Snglish, venteenth century), 2 Keppel & Co., Inc. ‘ B—Reading Aloud (J. H. Ba rary Knglish), Mo! 3 + 25.0) s own portrait (David F. V. Storrs. 115,0¢ B—Other Other M: : Communication (Bruce father, contempo two, B, Winthr @—The Historical Old § (Bruce well. ‘ q7—Mower Painting Bnglish), sharles Land Henrietta "Mari With Prince Charles and Prine i + (Bernard Baron, 1700-76), ' B. Caldwell. . 30.00 Wight (George Bar- rett, ), M. Haworth. $5.00 | 10--Classik (George Barrett), Dr, a distin Life (Marie B temporary French), Klar... : 32—-One Fine Morning, or Might Undo Me (1911) (Max .} Beerbohm, 1872), Gabriel Wells.170-00 1s—Jenny (John Hodges Benwell), 5 1764-85), Dr. B. Caldwell 2 40.00 44—Matthey Prior’ (Henry, Pierce Bone, 1779-1855), J. B. Wilthank, 45-Sir William. “Beechey (Henry, Pierce Bone), Karl Freund... ame, cone y | Barnet J. 25.00 i (Henry 16—Sir Godtrey Kneller . Bone), D, ©. Wheele! Pierce 7—Sir Joshua Reynolds (Hen e 00.06, °150,00| | Bone), W. H. Woodin . 4g—Rouen From the Seine. (Richard { Sarkes Bon Pa 1-1828),° F. A, Park aig is—Mr. Ralph his poor Knight Browne (Phig 181 W. H. Woodin . leby relations (1858) (Hablot 1882), (Hobiot Knight 2—Pat and his 4 Browne), Arthur Ackerman & Son, Inc. 5 ¢ 21—Drawing from page of ‘‘Martin z (Hablot Knight Browne), Woodin . aes mtisplece, sketch and sia ished drawings entitled, ‘Nor folk Howard’s ride to the row." | GZ (Hablot Knight_ Browne) ‘Arthur Ackerman & Son, Ini 23—Portrait of John Philpot Our (Irish orator and Judi 435.00 | an (Adam vyckesi: Buek, 1 24—Helena (Mrs. (Adam Buek), D. 25—-A Riverside Landscape Duteh cent 17th | A mout | fall ( . Burgi es—Polar Bear (Sir Edwar Burne-Jones, Bart, R, Freund Se : Edward Col The following of 8 Burne-Jones, Bert, R. A,, 1833-98, were di posed of: 29—Study of a girl's q Tey wees 70.00 g0—Study of a young | F, A. Park 10.00 } Bi—The field of Boa 70.00 |) *| $2—Study of a fema i Fowles .- ~ 80.00 23--Study of a kir TI Bethlehem,” H. F. Collins, agent. 50.00 $4-Study of three young women, Wal- ter Kohn..-..+- h 5—The Meeting, F. 3§—St. Michael, Dr. B, Caldwell. 87—Studies of angel: Bowman: BS—Two studies of male figures, J. W 250,00 Haven + | $0—Two studies of hair, F. A. Park... 30.00} 40—Five studies of hair and head- \| resse Scott & Fowle . 50.00 {| 41—Two portrait studies of MI | Morris, R. Ederheimer. 80.00 | 4°—Day and night, D, B. W 85.00 43—Four studies of heads, Fowle a8 70.00 the head o! 45— 46— Study for Perseu! anymede, Karl Freund. , intaglio designs, Walter Kohr Law- 48—Two studies for Cophetua, lor 49—-Study Caldwell no—Study of a w Bi—Study for Woodin §2—Head of a. tan, L. B3—Study of a woman La 4M 85—Study for Per: BO (a)—Spes, -C, BG—Blind love, us, Scott & A. Lister. Barnet J. Klar K Br—Wood Nymphs, Barnet ie Bs—Two studies for the car of love, Rosenbach é 6 59—Three studies for the car of loy | L. Lawlor ~. : 170.00 | t. Michael, Rosenbach Compar 25.00 | hens, | preaching "s, B,J. MeVoy Washing Day at Burn-Murdoch, K. B. c. A, Contemporary Miss N. Bowe @jA—Clearing Stones Out o} cw, G, Burn- Murdoch), Pickard . . @3—Piceadilly Circus Butcher, Contempora: HH. M. Robinson at 1 25.00 | 64—-May Day Offerings 16 aldecott, 1846-86), bank 2 @5—Three Pencil Drawing: Caldecott), W. H. Woodin.... 60—A Village Fete (Jacques Callot, 1592-1635), Wildenstein & Co... 100. @i—Starting for the Wars (G Gattermole, 1800-1868), Bower - 68—The Armo Dr. B. Caldwell. 60—Off the Nore (G. Cha lish 19th century) Julien TO—Still Life (Henri French Contemporary) , Collins, agent . 72—Still Life (Hen: N. Fallon . T3—-SUl Life (Henri Jul Barnet J, Kla: ‘ 74—Still Life (Henri Julien Walter Grant, agent.. 75—Still lite (Henri Julien Ch Bowman ,-. T6—A Moorland 1840-91), A. J. 7G6A—Seashore with Collier), F. CHfts Pickar ohn Andrew a7 a Stak Smith ..... 78—-Salisbury Cathedral stable), Andrew Smith. . "9—The Close of Salisbury Constable), Andrew Smith...,...200.00 £0—Ploughing (John Constable), J. B. Wiltbank 6 ‘Gon- | (John 8i—A Lugger, ion Beach, 1824 (John Constable), Barnet J. Klar 85,00 82—Landscape (John Gonstable), Mov- ris Hilguit - 50.00 |) 83—Brighton Beach, 1824 stable), Miss U, A. ©. Mearns. .305.00 || §4~Harrow, from the fields at Child's Hill (John Knoedleh 85—OlfSarum from (John Constable), Con: (Julia, neh) , ae y _ Corbet, ‘Dr. B. Cald: Ww 88—H: ty, 1742-1821), Andrew Abington, Q3—A View of a G Cotman, 1782: Wheeler : ndscape with fi Cotman), M. Haw 9%—Loddon, Norfolk GI 94-1 man), I. A, Park 96—Haddon Hall in (avid Cox, 17) Lister 97—A, Mounte nder kard te 106—The or R. A, Court. §6—Bistree and Near Goring 2 (John i Constable), R. A. Court iia Convert, stable), M. Contem- . H, Woodt wel Smith. the ac F. V,_Storrs.490.00 { (Richar H A, 160,00 Pit (John Se Oye nk Ae 30.00 j orth 125,00 ohn inn 30.00 Oden 1859), ohn Robert arl Freund. a, Sunbonn 99—A rt in (Joshu: stall, 1767-1847), A. Lister : ests The following from Nos, 100 to | elusive, are by George Cr 1878: 100—A Midsummer Night's Dream, Rosenbach Co. 1,150 101—The ‘Triumph of Cupid (i845), M. H, Snyder 40,00 ing. Ti: iss L, A. ¢ 80.00, ne Thrown Away, B. Winthrop.. 60.00 Time to Come Home Mili- 20.00 Making . Weodin. ed, Introduces Him to the King (1864), B. Winthrop, 110.00 108—Hop-O’-My Thumb and. the 1 ie Boots Woodin Buel a John at Basket (18: 118—Men of All § Gird at Me rts a 7). ches of the Hi and Bardolph ach Co. Upon the quilford Woodin squ ) the ‘the | Pi aw.) in Power, oh the Smith Pr ndrew | 126—The | from N “Bee. 1 and Winthrop | 189—Interion Scene wi tano +. pair of g hank al Anaden | 140-4 (1858), ), Rosenbach Co. Boare Rosenbach Co. the, Hunte: , Andrew Spoon, . W. H, Wood nd Sundial, W the Devil and. the Deep Candlema H, 5 90.00! 50.00 30.00} 510.00 C864), King i - 130.00 E ceiving a} Rebuke From King Fifth (1858), Rosen- oo nee . 80.00 pping Into the Rosenbach 100,00 175,00, 7 in’ the" Bueie Take a. Pride to 857), Rosenbach 50.00, eads of Fal 1857) Dudley, mit H. ‘Terr (1843) f th n and Son .230,00 Day, W . 65.00 1100.00 th iF A 2 180,00 HUNTINGTON RUGS | : SELL FOR $52,235 | |Highest Price Is $5,000 for a, | Kirman Lahver at Anderson Gallery Sale. Oriental rugs fiom the C. P. Hunt- ington. house, 2 Bast Fifty-seventh Street, ordered sold by his son, Archer M. Huntington, brought $52,235 at the Anderson Galleries yesterday after-| noon. y i A Kirman Lahver rug from Persia, 22 by 14% feet, was bid in by L. R. for $5,000, the highest price. It 4s cone-shaped cypresses alternating with other shrubs in mulberry-rea and pale green, outlined with black on an ivory-white .ground. It has sevenj) borders. | “Two rugs sold for $3,900 each; one a Kurdistan Souj Bulak rug, 26 by near- ly 12 feet, was purchased by B. Law- rence Hunt. The centre field has a Kuba design, palmette flowers and eight inscriptions in reds, yellow and greens on art indigo-blue field amid arabesque leaves and small floral mo- tifs. The other, a large Kirman, 431-3 feet by almost 19 feet, went to H. Kasab. The ground is plain mulberry- red with a large medallion in the cen- tre and the corners matching. | G. B. Minassian bid in four rugs ranging from $2,000 to $2,220 each. An unusual Tabriz garden rug has a pale lemon-yellow field divided into squares occupied by tree designs, divided in turn into groups of four squares each by broad bands. It is decorated by floral rosettes and cartouches, with fluid Talik inscriptions, and has seven borders. It brought $2,250, Mr. Mi-| nassain paid $1,000 each for a small} Kashan silk rug with a field shading from pale golden tones to. an oliye- brown, with repeated designs of nar- cissus flower The other, a much larger Persian silk rug, has a large central cartouche and elaborate corner motifs decorated with dull vermilion drabesques on an olive-brown ground. For another silk rug, 4 Kashan, having a Mina Khani design in pastel hues on its centre field, he paid $1,050. Costykian & Co., Inc., bid in a large Khorassan rug with repeated designs of shrubs in vermilion, light blue and} greens on indigo blue, for $2,100. Whitbread & Ulmer paid $2,000 for a Lahore rug of Ispahan design of rich | and mellow colorings. Large palmette flowers are attached to spiral scrolls and mingled with Chinese cloud bands on a deep red field. B. T. Young paid $2,050 for a large meshed rug from Northeastern Persia. The dull ver- milion field has. florad patterns and four borders. He also paid $1,050 for a Fereghan rug of unusual design, rows of formal cashmere palmette on a} “stone-green’’ background, with five borde i Mi H. Counihan, agent, paid $1,950 for a seventeenth century Kuba rug from the Caucasus, with a vermilion ground adorned with rosettes, palmette | flowers and arabesque leaves, and @ mustard-yellow border with serrated || jeaves and palmettes. H. Kevorkian bid in a Kurdistan Bijar rug of close, heavy weave, for $1,000. The field has a design of lozenges, enclosing floral motifs, on an indigo-blue| ground: He also paid $1,000 for a Samarkand silk rug from Chinese Turkestan, with a central field of changeable light red with he- peated: floral motifs. A. S. Scoville paid $1,000 for a large Sivas rug in subdued colors on a deep blue ground, the centre field showing two types of repeated floral shrubs * 490 WEST 19th ST., NEW YORK i Tel. Chelsea 8860 SS \ THIS CLIPPING FROM ——— | NEW YORK TIMES DRAW ING BY HUET -RUCTIONED FOR $900 “Leda and the Swan” Top Price at Night’s Sale of Leverhulme Art. TOTAL NOW Fielding’s “Scarborough,” a Water- IS $1,228,573 Color, Goes for $700—Morland’s “Turnpike Gate’ $655. The second sale of original drawings, prints and water colors of the art col- lection of the late Viscount Lever- hulme, held last night at the Anderson Galleries, realized $12,540.50. proceeds $1,228,6 of the entire sale 3.50. Tonight's session will con- The total is now clude the sale of Parts 6 and 7. | The high price last night was $900,| which John W. Baxter paid for a pencil ti $700. George color, The same firm paid $655 for Morland’s Gate,” a mezzotint printed in cclors; $425 for a baronial interior by Joseph Nash, and $310 for another Nash water depicting Lanhydroc, Cornwall, one of the series | of the artist's ‘Mansions of England | . in the Olden Times.” List of Objects Sold. } “The the long and water color drawing by Jean Bap-/ te Huet, eda and the Swan.’’ | Anthony Vandyke Copley Fielding’s | water color, ‘Scarborough,’ went to! Arthur Ackerman & Son, Inec., for Turnpike gallery at | The list of objects sold yesterday, the catalogue number, description, the buyer and the price paid follow: 141—Westminster Davison, co Governor Alvan T. FE 142—Land: fles pes a Davisor 144—Landscapes, son), Mauri 145—Landscapes, son), Willia 446—A study of trees in October (Henry Dawson, 1811-1 Rosenbach Co, wssss . bee «2+ 60.00 147—London from enwiech (Peter de “Wint, 1784-1849), Governor Alvan T. Buller . a = 65.00 Wint), Klar . 150—A road de Wint), W. Grant, Freund . 153—The ferry Barnet J. Klar.--+» 154—Miss Andrews a5 Downman, Barnet J. KI 185—Portrait of @_ young Downman), 186—Portrait of a young girl 1 Downman), 1. L, Redmond. -.... 500,00, | as7—Portrait of 2 lady with powdered hair (John Cheever o-o+s Mis: 15s—Portrait of singer (John | thOP, «ees | 130—Portrait “of 2. } Yates s.+s | 160—A lady in white dress an mob-cap (John Downman. lage scene rns (Peter 5 agent,« 152—Cathedral interior dock Dodgson, Abbey (T. tempor nd ships, m), Teavis m A. B Governor (Sir ystal A.), Contemporar 1811-1 lar, Downman, Downman), wo ‘Alvan T. | Storace, y = ‘mob-cap (John Downman), J. B. Raffles nglish). Die! English, H, D, ees + 800.00 noted B. Win- 190.00. ¥ ye As As 85.00 Brings! Ignorance Is_ Bliss, (John Leet Folly to be Wise a, Martin. Ratha . 211A" ‘Brilliant Idea (John Leech). Bronson Winthrop .. , 212-Donkey Hacing (John A. Martin " 213—On ‘the San Leech). Brons 214A Reflection (Johr Kerrigan Great Libert 64), Bronson Winthrop.» —The Ma: peculation (John | ‘Leech, 1817-64), J. A. Martin. 217—Ophelia (attributed to John Leech, 1817-64), Barnet J. Bla: | 218—Le Labourage (Plowing) Legros, 1837-1911), EB. & Ci os 219—Portrait ut | 210—Where | n Leech), 221—(a)_ View tl (William Leight § 44-1883) (b)_Minia~ ith Figures eighteenth cen- Wetmore. Landscape V school, (Leon | eontem- Collir ‘Augustin. 1’Hermitte, porary French), B. (Leon Au Collins, .agent.4254 (Leon Augus | as. Collins, | —Interior of a tin Hermit! gent —Oft Guard R. 1. (Str James D. contemporary W. Luke. a Spinning Wheel ( Linton, R, Char 227—The Reyerle Peat. dee Lane, Lipscomb, contemporary A. A. Hammerschlag 220—The Arablan Nights % ; contemporary English), Cc, W. Kraushaar_-. i 120.00 230—The Siesta (Leopold Lowenstane) ;, ‘Walter Kohn .. . ~- 10.00 231—Spring, Summer atumn milton McClure, contempo! English): Barnet J. Klar ‘ames Macwhirter, Alnine Stream Scottish) A., contempora teenth Centu: BP. ie . Martin : ie ween of Scots (Sir John t Millais, P. R. A., 1829- ; Kennedy & Co. « .150,00 ying _ Off the (sir John Ev 55.00 t 1896 (237—The Romans Cai Sabine Women. erett Millais, 182 Fabman 38-The Turnpike Gate land, 1763-1804); Arthu: man & Sons. 39—The Farme: Daughter in Visit to i Town; the Visit turned to Country (George Morland, 1763-1804) ; J. A. Mar- tin é sold orgs Mor- | l0—Head of a r ¢ land, 1763-1804); Miss Edith, Wetmore } The “Family! Parmer’ (George } Morland, 1 Barnet J. | ++ 55.00 Sir David Mur- I., Gontem- porary Scot! 1 Freund.. 30.00 o44 By the Lake Side (Sir David Mur- rR. A. P, R. 1, Con Scottish); Mau Nash, | in & Son, Cornwall P 310.00 1878); Arthur Atkerm 170,00 ‘Arthur 1812-1 & Son, Inc. .- loqg-study of a Lady § Stewar Newton, 1 Edith W . 949~Autumn Festival (M. 1, > contemporary English). Lawler | HUNTINGTON PORCELAIN | NETS $7,366 AT SALE| Second Auction of Glassware Will Be This Afternoon at An- derson Galleries. ‘The first of two sales at the Ander- , son Galleries yesterday of porcelains | from the Huntington house at Fifth pavente and Fifty-seventh Street, or- | dered sold by Archer M. Huntington, brought $7,366.50. The second sale’ is this afternoon. A Crown Derby dinner service, circa | 1880, of 121 pieces, was pought by Bar- ‘net J. Klar for $750, who also bid in a Sévres garniture, circa 1780, two vases 2314 inches tall and a jardiniere of 16 inches, with gros-bleu ground, painted in panels with figures and jJandscapes, and ormolu-mounted. Leo Elwyn & Co. paid $400 for a pair of 39-inch Crown Derby vases, ruby colored, urn-shaped and dec- orated in gold and paintings of mythological subjects. They also bought two urn-shaped Minton vas s | about 22 inches tall for $340. For two other somewhat similar Minton vases 15%4 inches tall they paid §275. Elwyn & Co. also paid $180 each for two old Viennese vases, circa 1700, and for a third Vienna vase of potiche shape in red and gold, painted with classical fig- ures. BH. F. Collins, agent, paid $150 for a Meissen group of Bacchus and Diana, circa 1755. Henry Symons, Inc., paid $150 for a Meissen group, Cupid and Mars, circa 1755. J. W. Baxter bid in two important Meissen figures in the Chinese fashion, circa 1750, the woman’s figure for $165 and the man for $200. J. L. Hawthorne paid $210 for two turquoise-blue Min- ton jardinieres, 5 inches high, with) oeil de perdrix ground, having shaped panels reserved in white and outlined with gold filled with painted flowers and fruit. J. D. Williamson paid $180 for a Rockingham tea service, fifty- jone pieces, with ruby ground and | finely painted landscapes, circa 1800. | This afternoon Leeds ware will be | offered, including two potiche shaped | j vases in cream glaze. \TO OPEN CARNEGIE EXHIBIT. Veecee tray Tomorrow Evening at | Grand Central Art Galleries. { The Grand Central Art Galleries, “5 | Vanderbilt Avenue, have issued inyita- tions to a reception tomorrow evening inaugurating the Carnegie Interna- tional Exhibition. The committee of patrons includes Mr. and Mrs. J. Agar, Mr. and Mrs. Irving T. Bush, Miss Mabel Choate, Walter L.. Clark, Francis Crowninshield, Mrs. W. say: ard Cutting, Mr. and Mrs. W. A. De- jano, Mr, and M: GC. H. Docge, Mrs. Harriman, Mr. and Mrs. Otto’ H. Kahn, Mrs. Ripley Hitchcock, Mr. and Mrs. C. ©. Glover, Mr. and’ irs. Logan, Mr. and Mrs. John T. . and “rs. Herbert Satterlee, K. Vanderbilt and Mr. and vs. Henry White. This is the first time that the Car- negie International Hxhibition has ever been held outside of Pittsburgh, and as it is an important annual event in the art world, it is expected that the at- tendance will reach a record figure be- Ape (Ors et fore the exhibition closes, April 20. Sa two R. Aw Freund 163—Scarborou % Copley thur Ackermann & on pi—Blev' ink Bt 164—Bleven pen an' eee an 08 iz! : Fieldit Flaxan, 1755-1826), Ww. a 495—The day of judgment (John Fi an), J. A, Martin 166—Studies for. bas-relie Flaxan), Nellie Bower, ..- 467—Three pen and ink sketches Fiaxan), J: B. pate i6—Kate, the Queen © ate. Portescue-Brickdale, A. Fs Rr g. contemporary English), Ww. Grant, agent.. 2. 60.00 469—The darling awake an (2) (Samuel Freeman, 1773-1857), W. W.. ‘Hotfman..--.120.00 ai0—Three Girls in a Garden. (Annie Ieeench, Contemporary English.) +. 59.00 (Annie 40.00 a72—The of the French). Barnet J. 25,00 } 173—-A\ Valley Scene. (Thomas GAlne borough, 1788). Scott &,, Fow 174—Cattle (Thomas ats Pp. Remensnvder . 35,00 475A” Market's Careyiony a. Couniry: Road, (Thomas Gainsborough.) Hoffman’. esee se 65,00 of Cholmondeley. (Daniel yi50-1805,) W. Grant. | 4) nas Girtin, orth. . .180,00 Glory: ‘Lusitania. Gould; Contemporary ‘ew smith (Charles 19th — centu Maurice Sandler .- 1si-Study of a Nude Model. Hamilton, R. A., 1701-1801.) EB. Wetmore E “Mave Mir rs__ Bridge m Heath). iage: Lig and § Holland, 1800-1870). . Pickard. (James Tead of a Holyoake, Hammers and the Huet, Baxter sso 194—Portrait (2) R. Gilber 15-Study of 2 ead Henry Hunt 10-1864). deg nes. 2 120—A Negro Boy with a Tai cw! am Henry Hunt). Haworth 197—-Tlluminated XVU, centaur minated initial VI, centu 2008" Hold Ikeene), Br 201-A Note and tener (Charle gish AU Miscone Awinthrop. a Good Que: st (Srimati M vl contemporary Ma Sandler QOT—Still life (Theodore 00 Klar the Puddin Wis), Mar et of fiv } for. ok ibrrton's maker (John Leech)... Winthrop aan pes ie THIS CLIPPING FROM N. Y. WORLD BEST BY ATTEST - Original eke aig ike SI r PPL | wwe rag gy (BILLINGS ART SALE ee BRINGS IN $407,300 NEW YORK, NoY: Thirty-One Paintings by Noted EWS, THE aN Masters Knocked Down to Spirited Bidders JAN * © = COL. ELVERSON TOP BUYER EW YORK AUCTIONS) Le Gouter, Breton; M, Knoedler & Co. $8,500 Harvesting the Poppies, Breton; M. Co. aes Knoedler 5 f - ler fant . $8,5 H H Pee Fees correction i |L* Fine fraveil, Breton fae Foren) Quaker City Editor Pays $50,- Re COLLECTION Tene, Agent : ; merican Ar ciation —The G, K. G, Bill. | Morning én the Oise, See ae ection of thirty-one paintings, evening| Young Galleries ee eG 500 for Corot Canvas n. 8. Five hundred people were turned | Elizabeth Keene, Sir William ; L away from this sale, while a capacity audience], |, M; Birnbaum Focitiecc@tics d gave a total of $401,300 | Flatford Mills, Suffolk, ‘Consta- f masterpieces of the Barbizon school.| _ ble; R. If Loranz, Agent. .......$10,600 ci WHat Marie Was (3 In ar tepyiee the ‘largest: sum ‘ever ob-| Landscape and Figure, Gainsborough; A shining mark was set up/tn art single session including this num- R. H. Lorenz, Agent............$10,500 auction records last night when thirty- aintings. A complete record follows: ‘Adolph JOHN L. BLACK FURNITURE | ; a $4 an Art Agsociation.—The at from the Storm, collection of Colonial famine vaeaaten fiat sse eee gs and Sheffiel Ra pearance (Chenes), Diaz; 7 eso50s The Higiees eee Tota | one paintings which C. K, G. Billings bought for yon Hall, when he occu- pied that sightly residence in Fort Washington Avenue, brought a total | of $401,800 under the hammer of | {Otto Bernet, in the American Art | | Galleries | That total had nevell before been | approached at any auction in this country for so small a collection. The sale was witnessed by an assembly that taxed thé capacity of the big auditorium and gave the dramatic jtouch of applause to the numerous iced items Mahognay wing chair, Chippendale period; I Sack y console table, dale period; W. man; agent 5—In the Forest of Fonts 2 ickson Higgs J. L. Shult; man; agent... 84— Three Philadelph: | any side chairs, C Jam K ycar mahog- Chippendale period; Kearns "0... grained curley mapi XVIIIth century Ame y American; Shop ..... i Philadelphia | cary ; agent... L, Shultz. $ Corot; , Daubign: oo de Matin, P 2 i ed mahogany side ‘chairs, Chippendale perioa; Margolis Shops eel 5 ates . Eee “eine $850 | bidding contests for the most coveted st the Willows, pendale period; ES TES of the offerings. : t of 12 Adam elo Col. James Elverson, owner of ihe ny dining Peabody ‘ XVIIIth Philadelphia dans room chai Inquirer, had the dis- ae é centur ‘ Peer OMeN REN 147—Philadeiphia ‘carved walnut waiting’? oo tinction of paying, top price of, the Rudete, Agent... hasta thn table, Queen Anne peried; Margolis sale, $50,500, for a Corot, “Les le aD ea 51,600 uigneuses des Isles Borrome ola faulene Ghinsendne en side | Crome’s “Willow ‘Tree’? went to M. la perioc ~ BL | Knoedler & Co. for $47,000, second Prices from $20,000 up- rd were distributed among several Wollowing is the list: A Halt in Wallachia,’ by Adolph D- Schreyer, to Clapp & Graham, $4,500. -$1,150 | “The Retreat From the Storm,’ by | n’Francois Millet, to J. L, Benguiat, 200, “Le Mare aux Chen 2 mahogany tripod tabl ippendale period: Collins and Col. lins _, Anne period; 168—Philadelphia"mahogan sofa, cS o__pendale period; L. B. Holwell $8550] 169—Philaediphia mahogany highboy » ce ana | ayn Chippendale period; W. H, Tay! 5 8,000 | 170—PhilaedIphia carved walnut high ie | Queen Anne period; W. W. § Knoedler La_ Cha ' py Diaz, to T. Kz Leidy Te 1 ne, § rat 5 ans agent J. L, Schultz, $2,400. iT Willams. Rap kranogany, “Chateau Thierry,’ Corot, to M. des Meul be y ss00 | Knoedler & Co., $10,000. 26 Sarees ee nehopany Min theaFovest of Fontainebleau,” by |. mers; Harmon oh paste eee ; Jacques to P, Jackson Higgs, $4,100, 183—Philadelphia carved mahogany a | “Venice,” by: F Ziem, to J. L. retary bookcase, Chippendale period; SRS ae lg hetataee 186- sires $900 “La Route, y Jean Charles » Bry BRukcace eee ore | to J. L, Schdltz, $9,500. W MeL To Sack ee, Heoplewhite period; “Landscape With Fishermen,” by 30—Returning from | hi cee Pa $1,550] (Dupre, to W. W. Seaman, agent, $12. Ma W. R 500. 31 A Galen ene $2,200 “Landscape With Lake and Ruin,” by Clapp and Graham $4,400 | | Corot, to W. W. Seaman, agent, $11,500, ; e : “Ta Saulaie,” by Daubigny, to J, Le Ky TOR CLARK PAINTINGS | Schultz, $12,500. an st Association—The Senator Will- |] “Le Lac-Effet de Matin.” by Corot, iam A. Clark collection of paintings, s sigs a Sar Cee the ass, paintings, sold at to O. W. Peabody, $21,500. ae ee ace vg january 11 and 12. Total “Apleux-Palleul, le Vieux Pont de TOL ALS TTS eee ee Briques,"” by Corot, to Herbert Smith, items of the first session: 500. “Onder the Willow Maris; to 0. W. Peabod, “Ze Cavalier dans la C gna,” by Cotot,-to Clapp & Graham, $30,000, “Bosquet d@’Arbres,” by Rousseau, to ‘A, Rudert, agent, $25,000. | Grafton-street, there is to be seen until ,|Briday a splendid example of the work flof John Crome (1768-1821), recently P| purchased from the Billing’s sale, New b York, and brought back to England on | behalf of Mr. James Hardy, of Norwich. | + | Painted in 1818, the same year as “The | t. | Poringland Oak ” in the National Gallery, it|and a trifle larger—50in. by 4lin. to be le | precise—* The Willow Tree” gives us a different side of Crome’s genius; @ ia| diffused poetry, approaching Gains- ie | borough, instead of the sculptural solidity, \e | recalling Hobbema, of the famous “ Oak.” | | | Tt is equally a “ portrait of a tree,” and | is | might be called the feminine of the pair. Ie The tree, unpolled and in full foliage, ©|stands at the bend of a lane where a} hl | little brook is crossed by a plank bridge, ‘h|and a man on a white horse speaking in| to a woman gives scale to the tree and ‘- | carries the eye to a low. horizon under a jd | high pearly sky of pink-flushed clouds. m |The mood of the picture is that of a) re|serene afternoon in summer. Since it 1s | was sold by auction for £8 after the death Ma of Crome, the picture has had a chequered v's | history, and it has been in America since he | 1898. Its recovery may be put down at | partly to the interest in the local school §S: | excited by the recent exhibition marking he|the Centenary of the Norwich Castle pd | Museum, and Mr. Hardy has promised ty|to make sure that it shall never leave on | the country again. TY Skis lass tatnin FREE PUBLIC EXHIBITION COMMENCING SATURDAY - JANUARY 2, 1926 AND CONTINUING UNTIL TIME OF SALE WEEKDAYS FROM 9g A.M. TO 6 P.M. + SUNDAY JANUARY 3 FROM 2 105 P.M. UNRESTRICTED PUBLIC SALE JOU IOID MASE NAS INTUINES, VAIN ROY 3, 1) BG BEGINNING AT 8:30 O?CLOCK EXHIBITION AND SALE AT THE eAMERICAN cART GALLERIES Madison Avenue « 56th to 57th Street» New York Under the Management of the AMERICAN ART ASSOCIATION - INC: Sales Conducted by Messrs. O- BERNET AND H- H: PARKE Ta NUMBER So! Gop FIVE HUNDRED COPIES FAMOUS MASTERPIECES OF THE FRENCH ~ DUTCH AND ENGLISH SCHOOLS THE COLLECTION OF C-K-G-~ BILLINGS - ESO. From Fort Tryon Hall y New York AMERICAN ART ASSOCIATION :- INC. New York + 1926 CONDITIONS OF SALE I. REJECTION OF BIDS: Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance, may be rejected by the auctioneer if in his judgment such bid would be likely to affect the sale injuriously. Il. THE BUYER: The highest bidder shall be the buyer, and if any dispute arises between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. III. IDENTIFICATION AND DEPOSIT BY BUYER: The name of the buyer of each lot shall be given immediately on the sale thereof, and when so required, each buyer shall sign a card giving the lot number, amount for which sold, and his or her name and address. A deposit at the actual time of the sale shall be made of all or such part of the purchase prices as may be required. If the two foregoing conditions are not complied with, the lot or lots so pur- chased may at the option of the auctioneer be put up again and re-sold. IV. RISK AFTER PURCHASE: Title passes upon the fall of the auctioneer’s hammer, and thereafter the property is at the purchaser’s risk, and neither the con- signor nor the Association is responsible for the loss of, or any damage to any article by theft, fire, breakage, however occasioned, or any other cause whatsoever. V. DELIVERY OF PURCHASES: Delivery of any purchases will be made only upon payment of the total amount due for all purchases at the sale. VI. RECEIPTED BILLS: Goods will only be delivered on presentation of a receipted bill. A receipted bill presented by any person will be recognized and honored as an order by the buyer, directing the delivery to the bearer of the goods described thereon. If a receipted bill is lost before delivery of the property has been taken, the buyer should immediately notify the Association of such loss. VIL STORAGE IN DEFAULT OF PROMPT PAYMENT AND CALLING FOR GOODS: Articles not paid for in full and not called for by the purchaser or agent by noon of the day following that of the sale may be turned over by the Associa- tion to some carter to be carried to and stored in some warehouse until the time of the delivery therefrom to the purchaser, and the cost of such cartage and stor- age and any other charges will be charged against the purchaser and the risk of loss or damage occasioned by such removal or storage will be upon the purchaser. In any instance where the purchase bill has not been paid in full by noon of the day following that of the sale, the Association and the auctioneer reserve the right, any other stipulation in these conditions of sale notwithstanding, in respect to any or all lots included in the purchase bill, at its or his option, either to cancel the sale thereof or to re-sell the same at public or private sale without further no- tice for the account of the buyer and to hold the buyer responsible for any de- ficiency and all losses and expenses sustained in so doing. VIIL SHIPPING: Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, but the Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, however, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. TX. GUARANTY: The Association exercises great care to catalogue every lot correctly and endeavors therein and also at the actual time of sale to point out any error, defect or imperfection, but guaranty is not made either by the owner or the Association of the correctness of the description, genuineness, authenticity or condition of any lot and no sale will be set aside on account of any incorrect- ness, error of cataloguing or imperfection not noted or pointed out. Every lot is sold “as is” and without recourse. Every lot is on public exhibition one or more days prior to its sale, and the Association will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued and in its judgment may thereafter sell the lot as catalogued or make mention of the opinion of such ex- pert, who thereby will become responsible for such damage as might result were his opinion without foundation. XX. RECORDS: The records of the auctioneer and the Association are in all cases to be considered final and the highest bid shall in all cases be accepted by both buyer and seller as the value against which all claims for losses or damage shall lie. XI. BUYING ON ORDER: Buying or bidding by the Association for respon- sible parties on orders transmitted to it by mail, telegraph, or telephone, if condi- tions permit, will be faithfully attended to without charge or commission. Any purchases so made will be subject to the foregoing conditions of sale, except that, in the event of a purchase of a lot of one or more books by or for a purchaser who has not through himself or his agent been present at the exhibition or sale, the Association will permit such lot to be returned within ten days from the date of sale, and the purchase money will be refunded, if the lot differs from its catalogue description. Orders for execution by the Association should be given with such clearness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is un- known to the Association, a deposit must be sent or reference submitted. Shipping directions should also be given. PRICED CATALOGUES: Priced copies of the catalogue, or any session there- of, will be furnished by the Association at charges commensurate with the duties involved in copying the necessary information from the records of the Association. These conditions of sale cannot be altered except by the auctioneer or by an officer of the Association. AMERICAN ART ASSOCIATION, Inc. MANAGERS OTTO BERNET HIRAM H. PARKE AUCTIONEERS INTRODUCTION A FOREWORD T has been a number of years since New York has been introduced to such a collection of masterpieces of French painting, with kindred paintings by the British landscapists, Dutch marine artists and cattle painters, as is the C. K. G. Billings collection now presented by the American Art Association for public competition. It is a fresh reminder of the days and evenings at the American Art Galleries in Madison Square, at Chickering Hall, at Men- delssohn Hall—both those renowned. old halls have passed out of the city life— at the Waldorf Astoria, which exists today as the American Art Association exists, in life ever renewed, ever renewing. But there is a difference in that neither New Yorkers nor Americans in general will be so likely to have things their own way with this Billings sale, for more than ever New York has become the world’s mart for the fine things of artistic production, and some of the Billings canvases are more likely to go abroad than to be retained here. ‘The European collectors and dealers know them, and are keeping track of them. These paintings from the princely estate which Mr. Billings established at Fort Tryon Hall, on Washington Heights—since purchased by Mr. John D. Rockefeller jr. and probably eventually to become park property of the city—to- gether with a few more recent purchases by Mr. Billings, are to be offered at abso- lute unrestricted public sale because Mr. Billings has removed his home to Cali- fornia and finds even spacious bungalow life too confined in its surroundings, its housings, to afford areas for sympathetic contemplation of his masterpieces. He has therefore selected thirty-one of them, the cream and pride of his great collec- tion, to be offered once again to the great assemblage of picture lovers who are ever on the alert for the finest examples of famous schools of painting. One of the greatest and most sincere productions of “Old Crome,” “The Wil- low Tree,” from the M. C. D. Borden collection, is here. It was sought for the Crome Commemoration only four years ago, held at the painter’s birthplace, Norwich, England, in memory of his death in 1821. The National Gallery, of London, loaned some of its treasures for the commemorative exhibit, and the Lord Mayor of Norwich, Mr. George Green, wrote Mr. Billings as “the fortunate pos- sessor” of “one of Crome’s most famous paintings” and asked that “The Willow Tree” be loaned for the same occasion. Of eight great works by Corot three of the most celebrated are the “Lake Nemi” from the sensational sale of ‘Twenty-one Masterpieces owned by the Phila- delphia amateur the late H. S. Henry; “La Charrette de Grés” and ”Les Bai- gneuses des [les Borromées.” Another of interest is “Chateau Thierry”—a view from the ramparts which Corot painted in 1863 and including the church steeple, which the French master, Léon Lhermitte, told Mr. Roland Knoedler in 1920 was untouched by the Great War, adding that he remembered Corot painting the pic- ture, as it was then he first made the acquaintance of “Pére Corot.” Both these Corots, and others of the collection, are reproduced in the monu- mental publication on Corot’s work by Alfred Robaut and Moreau-Nelaton. Moreover, the provenience of all of Mr. Billings’ paintings is recorded in the catalogue, a record too seldom attained in these later days of haste and insufficient observation. A noteworthy canvas, even in this notable collection, is a remarkably forceful Millet, “Haystacks,” which, as the catalogue will show, has a particularly clear history from the time it left the artist’s hands. Not to be wearisome by repetition mention will only be made here of the out- standing “Gleaners, prés des Meules,” by Lhermitte; a wonderful Israéls, “Good Comrades,” Millet’s equally strong “Retreat from the Storm”; Rousseau’s re- markable “Bosquet d’Arbres”; Daubigny’s “La Saulaie”; Troyon’s “La Char- rette de Foin”; which with the other notable paintings will all repay study. DANA H. CarroLu New York, November, 1925 CATALOGUE CATALOGUE NUMBER ONE A HALT IN WALLACHIA By ADOLPH SCHREYER GERMAN: 1828—1899 ADOLPH SCHREYER GERMAN: 1828—1899 A HALT IN WALLACHIA Snow is scattered over the level country and glistens on the thatched roof of a cheerless hut which occupies the left of the foreground. Before the closed door, as if trying to open it, stands a Wallachian horseman, holding the bridle of his mount, a white horse, with greenish-blue saddle-cloth showing under the saddle’s sheepskin covering. Just back of this horse is a black one with pack saddle; while a little to the right is the man’s companion, still in the saddle, with his pack horse beside him. A little black dog is seated with his back to the spec- tator, watching the door. In the near distance on the right, seen through the misty atmosphere, appears a long, low-pitched roof with two wooden chimneys. Height, 1734 inches; length, 30 inches Signed at the lower left, Ab. SCHREYER Purchased from the late HERMANN SCHAUS CATALOGUE NUMBER ONE CATALOGUE NUMBER TWO THE RETREAT FROM THE STORM By JEAN FRANCOIS MILLET FRENCH: 1814—1875 JEAN FRANCOIS MILLET FRENCH: 1814—1875 THE RETREAT FROM THE STORM A peasant woman and her son, who have been in the forest gathering fag- gots, have been caught in the first fierce gusts of a wintry gale, and they fight their way homeward against the increasing blast. ‘The mother supports the child, who is nearly exhausted in the struggle, by clutching his right arm at the elbow. With a sturdy stride the vigorous peasant woman bends her head to the gale, holding the faggots in her blue apron, tightly clasping the burden to her breast. Her red petticoat is swept across her knees, and a large white shawl en- veloping her head floats far behind her in the wind. The light falls strongly upon the group from the left, bringing into vigorous relief the flesh and the wind-tossed drapery against a lowering sky and sombre landscape. Height, 18 inches; width, 15 inches Signed at the lower left, J. F. Mrtrr Collection of M. Srymore, Paris Collection of M. Varnter, Rheims Collection of the late H. S. Henry, New York, 1907 CATALOGUE NUMBER TWO ——— CATALOGUE NUMBER THREE LE MARE AUX CHENES By NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 LE MARE AUX CHENES A landscape of dense foliage on the oak trees, and deep greens on the swampy lands of the foreground, which enclose a small pool that reflects the light among the encompassing shadows. In the background lies a sunlit field under a sky which discloses a shower cloud overhead. On the right, before the oak trees, a peasant woman in white and red bends to gather faggots, her figure catching a glint of light which is reflected in the dark water below in the foreground. Panel: Height, 11% inches, length, 174 inches Signed at the lower left, N. Diaz Collection of E. Gronter, Paris, 1905 Collection of Grorce BLUMENTHAL, New York From M. Knorpier & Company CATALOGUE NUMBER THREE as CATALOGUE NUMBER FOUR CHATEAU THIERRY By JEAN BAPTISTE CAMILLE GOROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 CHATEAU THIERRY On the right, the walls of the chateau, along which extends a broad path bor- dered by a row of leafless trees, dominate a steep hillside which slopes down on the left, where the vista extends over the roofs of houses past a square church tower with many windows in a mysterious distance, suggesting a broad wooded hillside. The single figure of a peasant woman in a gray dress, with a red ker- chief over her head and a white sack thrown over her left shoulder, stands in the tight foreground leaning upon a stick, and is strongly accentuated by the sunlight, which broadly illuminates the landscape, casting deep shadows upon the chateau walls, the roofs of the houses, the church tower and along the gravelly path under the trees. The sky is completely covered by a veil of soft luminous clouds. Height, 13 inches; length, 18 inches Signed at the lower left, Corot Collection Bocquet, 1869 Collection MicuEt-Livy, Paris, 1876 “L'Exposition des Cent Chefs-d’Guvre, Paris,’ 1892, No 49 Reproduced in Moreau-Nélaton’s work on Corot, 1905 Collection of H. S. Henry, New York, 1907 CATALOGUE NUMBER FOUR CATALOGUE NUMBER FIVE IN THE FOREST OF FONTAINEBLEAU By CHARLES EMILE JACQUE FRENCH: 1813—1894 CHARLES EMILE JACQUE FRENCH: 1813—1894 IN THE FOREST OF FONTAINEBLEAU An immense oak tree rises from a knoll in the foreground, and with its tan- gled branches and deep foliage covers a large part of the sky and extends out of the picture. Broken branches and various scars denote its great age, and its size is made apparent by the figure of a child crouching near the trunk, and a flock of sheep scattered over the grass nearby. A shaft of sunlight strikes the tree and the little knoll, casting a deep shadow on an irregular bank of bushes beyond to the left, and over the foreground to the right. In the distance is a flat plain with a sunlit hillside in the horizon. The sky is covered with rolling masses of cumuli, brilliantly illuminated by the sun behind the oak. Height, 31 inches; width, 241% inches Signed at the lower left, Cu. JacqUE Collection of Epwarp M. Knox, New York, 1906 CATALOGUE NUMBER FIVE CATALOGUE NUMBER SIX VENICE By FELIX ZIEM FRENCH: 182I—1911 FELIX ZIEM FRENCH: I82I—I9QII VENICE On the right is the familiar mass of the ducal palace with the Campanile, and the water-front of the Riva, with numerous craft of all descriptions from the fishing boat to the peasant’s barca. On the left are various gaily decorated sail- ing craft, one of which, a prominent object in the composition, is evidently the Bucentoro heading the fleet of official vessels on its progress up the canal. A prominent object in the near foreground is a gondola with two oarsmen and a party of gaily dressed men and women. In the extreme distance is seen the en- trance to the Grand Canal, softened by the warm summer haze which covers the sky. Height, 24 inches; length, 35 inches Signed at the lower right, Z1mM Collection of Eowarp M. Knox, New York, 1906 CATALOGUE NUMBER SIX CATALOGUE NUMBER SEVEN LA ROUTE By JEAN CHARLES CAZIN FRENCH: 1840—1Ig01 JEAN CHARLES CAZIN FRENCH: 1840—I9QOI LA ROUTE A broad country road sweeps around from the foreground to the left, and disappears in the middle distance, beyond a roadside cottage overhung with tall trees. In the foreground on the right, a large church, with projecting roof, cor- ner buttresses, rude belfry and simple windows stands on a grassy bank, which is surrounded by a rough stone wall. To the right, in the immediate foreground, is a low, tiled building with green shutters, and near it is a country cart loaded with wood. The sky is completely covered with gray clouds, except near the horizon, where a narrow strip of sunlight shows through the trees. Height, 31 inches, length, 38 inches Signed at the lower right, J. C. Cazin Collection of Epwarp M. Knox, New York, 1906 CATALOGUE NUMBER SEVEN CATALOGUE NUMBER EIGHT LANDSCAPE WITH FISHERMAN By JULES DUPRE FRENCH: 1812—1889 JULES DUPRE FRENCH: 1812—1889 LANDSCAPE WITH FISHERMAN A spacious landscape with distant reaches of meadow and low hills, under an active sky billowing with vaporous clouds. Light is distributed from the left, the left corner of the foreground being shadowed—and just beyond the shadows a fisherman’s thatched hut lies at the edge of the picture. Before it a sturdy and pic- turesque tree stands in the sunlight, its foliage betokening the turn of the season, near the border of a meandering stream. On the right a punt is shoved ashore on the right hand of the stream, and in it a fisherman is at work. Height, 2134 inches; length, 29 inches Signed at the lower right, Jutes Dupré Purchased direct from the Artist, by Mr. J. Gillingham Fell, of Philadelphia Collection of Mr. Frit From M. Knorpier & Company, 1912 CATALOGUE NUMBER EIGHT CATALOGUE NUMBER NINE LANDSCAPE WITH LAKE AND RUIN By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LANDSCAPE WITH LAKE AND RUIN A conspicuous feature of the composition is the ruin of a vast Gothic church, possibly an abbey, with two high towers at one end and a single tower remaining at the other end, through the bare openings of which show the gleams of a very white sky. Elevated above a group of houses, from which an arched bridge ex- tends, it occupies the end of a spit of wooded land. This forms the left bank of a lake that stretches from the bridge to the foreground. Here a man, wearing a gray-blue blouse and straw hat with red ribbon, sits fishing, while near him a girl stands knitting, beside a goat. She has bands of red ribbon in her dark hair, and her trim figure is clad in a purplish slaty gown. The grassy foreground, starred with white and red flowers, is inclosed at the sides by the soft gray foliage of willows. The trees on the right present a labyrinth of freely growing branches, while the two on the left are pollard willows. Height, 16% inches; width, 22 inches Signed at the lower right, CoroT Purchased from Corot by Mr. Rostanp, Administrator of the Comptoir d’Escompte of Paris, 1875 Sold in 1875 to Mr. Grorces Petit, of Paris Bought by a great Chilean collector in whose noted collection it remained until 1908, when it was sent back for sale and as collateral, to the Comptoir d’Escompte of Paris and bought—a short time after—by Mr. Hermann Scuaus, of New York after—by the late Hermann Scuaus, of New York CATALOGUE NUMBER NINE ly CATALOGUE NUMBER TEN LA SAULAIE By CHARLES FRANCOIS DAUBIGNY FRENCH: 1817—1878 CHARLES FRANCOIS DAUBIGNY FRENCH: 1817—1878 LA SAULAIE The scene is translated into a delicate tonality of gray and brown, the gray tenderly suffused with rose, the brown with faint mellow green. Across the water on the left a woman stands watching two dull red cows that have stepped into the water and are drinking. Her black skirt makes a strong note against the grass, while the cool light strikes clearly on her white waist. Some little way back of her two tall slender poplars rise out of a mass of foliage, pale gray and dusky gray, relieved with a little olive and brown. To the right of this stands a single poplar, whence across the picture extends the farthest bank. It is edged with a line of willows that parts in the centre and shows a glimpse of faint lavender hills. Above them is a far-reaching sky of gray creamy vapor, faintly tinged with rose, in which float lazy wisps of rosy lavender and soft creamy clouds. Five birds are flying in the air and as many ducks appear in the front of the water. The latter gives back the tender hues of the sky, stirred with the darker tones re- flected from the vegetation. On the right of the water, where the reflections are dark olive, flecked with yellow, a punt is moored beside the bank. Here rises a clump of bushy willows, three of their stems showing white against the fluffy masses of olive-green and amber foliage. In front stands a slim birch with a sprin- kle of yellow leafage. On the right of it a vista of mossy grass, barred with deep green shadows, extends back to where three willow trunks reflect the light. Height, 1434 inches, length, 261% inches Signed at the lower right, Dauicny, 1863 Collection of M. Roverer, Paris, 1891, No. 8 “Cent Chefs-d’Giuvre des Collections Francaises et Etrangéres,” Grorces Perit, Paris, 1892 Collection of ALEXANDER YOUNG, London, 1906 Collection of Tuomas AGNEw & Sons, London Illustrated in the “International Studio,” 1906 Collection of the late H. S. Henry, New York, 1910 CATALOGUE NUMBER TEN —— we —— - 3 CATALOGUE NUMBER ELEVEN LE LAC—EFFET DE MATIN By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LE LAC—EFFET DE MATIN Beyond a screen of trees standing on a narrow foreground and extending their tops above the picture line, a silver-gray lake lies placid in a softened morning light—almost in a haze. The foreground and its leafage are a quiet green, a sil- ver birch lightens the mass of the tree trunks, and near the centre a woman is seated at the foot of a tree at the border of the water—a cow keeper, as one of her herd behind her indicates. Across the lake a hillside rises toward the left, under a light gray morning sky. Height, 17 inches; length, 25 inches. Signed at the lower left, Corot Painted between 1865 and 1870, and entered in Robaut as “Ville d’'Avray—L’Etang vu & travers le feuillage (Une vachére assise au bord de l'eau sous les arbres) Exhibited at the Grorcrs Prrir galleries, Paris, 1884 (private collection of Mm. Cassin) Collection of LA MarouisE LANpotFo Carcano From M. Knorpier & Company CATALOGUE NUMBER ELEVEN CATALOGUE NUMBER TWELVE ARLEUX-PALLEUL—LE VIEUX PONT DE BRIQUES By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 ARLEUX-PALLEUL—LE VIEUX PONT DE BRIQUES The bridge with its three arches crosses the middle distance. It is of stone with red brickwork inserted over the two left arches. Here above the parapet shows the blue back of a woman in a white cap, a clear bright accent against the masses of foliage, deep green relieved with gray and buff, in the rear of the bridge. To the right of this clump of trees a rolling country of sandy soil dips and rises, sprinkled with scrub, while on the left the bridge leads to a bright green knoll sur- mounted by cottages. Above the latter, springing from the lower level of the foreground, a single tree spreads its delicate boughs. The sky is a gray atmo- spheric blue, ruffled with downy cloudlets of milky-white. At the foot of the tree in the long grass sits a woman wearing a lavender waist and white cap, while nearer to the front stands a black-and-tan dog. On the right of the foreground the scene is further enlivened by a group of figures. Two women are in conversa- tion, while a child carrying a baby stands between them. Another woman in a blue waist and bright yellow cap kneels as if picking flowers, and a man, wearing a crimson cap, is chopping the boughs off a “stick” of timber. Height, 20 inches; length, 35% inches Signed at the lower left, Coror Collection of Oscar Simon, Dinard, 1894. Collection of VAN Excan, and exhibited in the Museum of Amsterdam, 1895-1907 Described in “L’Giuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 2025 Collection of the late H. S. Henry, New York, 1910. CATALOGUE NUMBER TWELVE —. CATALOGUE NUMBER THIRTEEN UNDER THE WILLOWS By WILLEM MARIS DUTCH: 1844—1910 WILLEM MARIS DUTCH: 1844—I910 UNDER THE WILLOWS Under a hazy sky of springtime is shown a broad expanse of lowland mead- ows, with scarcely a suggestion of slightly rising ground in the distance, appear- ing in a faint blue against the grayish horizon. The meadows are in varied tones of green and through them comes a shallow brook, broadened in the immediate foreground, where it occupies all but the whole of the canvas. Here, in the centre of the composition, in the cool water and under the scant shade of a line of trees which edge the stream at the right, four cows stand in placid comfort. A white one tipped with black, facing away from the spectator, has raised her head to nibble at tender shoots of the young foliage. Another of like coloring, which ap- pears in different values in the higher light beyond the trees, is drinking of the waters at her feet between two other cows, one red and one black, all facing to the left, where, out of the water and heedless of them, another cow pokes her nose through a break in a farm fence. The day is quiet, with just a trace of motion in the slow flight of a bird or the drift of an occasional leaf. Height, 23% inches, length, 44 inches Signed at the lower left, WILLEM Maris Exhibited at the Dutch and French Exhibition, No. 181, Edinburgh, 1886, and engraved in the catalogue Collection of WitttAM My.in Collection of the late Tuomas McDouaat, of Dalhousie Castle CATALOGUE NUMBER THIRTEEN a a ———— i _ a _— ~ ee GATALOGUE NUMBER FOURTEEN LE CAVALIER DANS LA CAMPAGNE By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LE CAVALIER DANS LA CAMPAGNE On rising land to left of centre a group of trees stands, above a foreground grown with wildflowers. Through a depression at the centre of the foreground a solitary horseman on a white horse pursues his way toward a sheet of water shim- mering in the distance. He has paused to converse with a couple of peasant wo- men, one of whom kneels at a clump of flowers. On a high background to left, above the water, a group of rambling buildings extends over a hillside. Height, 22 inches; length, 29% inches Signed at the lower left, Conor Painted at Ville d’Avray Sold by Corot to M. Leroy, 1874 Collection Faure, Paris, 1878 Collection of ALEXANDER Duman, Paris, 1892 Collection of Euctne Lyon, Brussels, 1903 Collection of J. W. Stmpson, New York Illustrated in Robaut, Vol. III, page 382, No. 2423 Recorded in “Corot and Millet” by Gustave Geffroy and Arséne Alexandre From M. Knoepirr & Company, 1912 CATALOGUE NUMBER FOURTEEN a, oe CATALOGUE NUMBER FIFTEEN BOSQUET D’ARBRES By THEODORE PIERRE ETIENNE ROUSSEAU FRENCH: 1812—1867 THEODORE PIERRE ETIENNE ROUSSEAU FRENCH: 1812—1867 BOSQUET D’ARBRES In this fine example of Rousseau’s art he has shown us his great analytical skill at its highest, the details of herbage, of trees, even of rocks and stones, being executed with the utmost fidelity. It is withal a most artistic conception, show- ing in every brushmark the hand of him whom all his contemporaries acknowl- edged as master of them all. Through the level countryside a narrow river wends its placid way. A few cows crop the sparse herbage which grows upon the rock- strewn meadow or drink from the many pools which bejewel the foreground. In the middle distance a few trees grow, outlined against the sky, making the absolute flatness of the landscape, if anything, more accentuated by their presence. The sky is a grayish-blue, largely overspread by the filmiest fleecy white clouds, the azure of its brightest spots being repeated in the waters of the pools. Height, 16% inches, length, 25 inches Signed at the lower left, TH. RoussEau Purchased from WiLu1aM Scuaus, 1881 Collection of the late THERON R. ButiEr, New York, 1910 From M. Knorpier & Company, 1910 CATALOGUE NUMBER FIFTEEN CATALOGUE NUMBER SIXTEEN LAKE NEMI By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LAKE NEMI On the bank in the foreground a girl sits, with her staff across her lap, watch- ing her cows that are standing in the water some distance back on the right. The artist has given to the figure of this cowherd, as she leans her weight on one arm, the hand planted on the grass, and gazes over the water, the suggestion of a classic pose and dreamy feeling that seems atune with the mingling of naturalism and classic serenity in the composition and sentiment of the landscape. Over the water, cooled by the greenish gray reflections of the surrounding vegetation, the light floats softly toward the girl from the central distance. Here a low hill forms a lavender silhouette against the rosy suffusion of the lower sky. The latter, as it mounts, pales to a warm ivory and thence to ivory touched with blue, passing up into a faint dove-gray, barred with dipping strata of feathery tufts of white. Its tremulous expanse is bounded on the right and left by the wooded hills of the middle distance that form a V with the horizon, where a pile of buildings nes- tles at the foot of the left slope. The color of these hills is a greenish-gray. Pricked out in front of the one on the left is the dainty yellow, green and brown leafage of a tree with a twisted interlacement of boughs, while on the right of the water rises a white birch trunk with a few tiny limbs frilled with leaves. ‘The cows beyond show spots of dull red and black, while the girl’s figure, in a yellow- ish drab skirt with a touch of blue on one sleeve and a golden-white kerchief, makes a piquant note in the foreground. Height, 21% inches; length, 31% inches Signed at the lower left, Corot Collection LivEQuE, Paris, 1907 Described in “L’CEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, No. 1638, under title of “Solitude” Collection Boussop, VAaLavon & Co., Paris Collection of the late H. S. Henry, New York, 1910 CATALOGUE NUMBER SIXTEEN _CATALOGUE NUMBER SEVENTEEN THE HAYSTACKS By JEAN FRANCOIS MILLET FRENCH: 1814—1875 JEAN FRANCOIS MILLET FRENCH: 1814—1875 THE HAYSTACKS Ata little distance from the hamlet, whose red and green tiled roofs are seen at the right, three haystacks have been erected on the level farm land, over which their fat bulk throws shadows. In the shade of one of them a red-capped shepherd is leaning on a stick, and here and there about him sheep are grazing. It is a Barbizon plain motive. Overhead a black, menacing cloud is being driven by the wind, threatening a violent storm, but all the landscape in the picture is in a bright, diffused light. Height, 334 inches; length, 43% inches Signed lower right, J. F. Miciet Purchased from the Artist by Mr. Frrp Hartmann, of Paris HartMann Collection, Paris, 1881. Engraved by Champollion J. F. Millet Exhibition, Paris, 1887 (under the title “T’Automne’), No. 55 Centennial Exhibition French Art, Paris, 1889 “Cent Chefs-d’GEuvre des Collections Francaises et Etrangéres;’ Gnorcrs Perit, Paris, 1892 Collection of Mmz. SAMSON-DAVILLIERS From M. Kwnorpier & Company CATALOGUE NUMBER SEVENTEEN CATALOGUE NUMBER EIGHTEEN LA CHARRETTE DE GRES By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: I1796—1875 LA GHARRETTE DE GRES An unusual Corot, combining the charm of tree and sky with an incident of every-day peasant life such as is very infrequently found among the artist’s work. In the centre of the picture, and the most prominent feature of the composition, stands a huge tree, with twisted trunk and great limbs which have spread their shade for many a decade. The dense mass of its foliage obscures the sky, the deep green of the leaves shading off, as the lighter branches and twigs are reached, into feathery bunches of bluish-green through which filters a tender silvery light. Other smaller trees grow on the right, and a tangle of undergrowth fills the spaces between the trunks. On the left, the side of a low hill has been broken away for building stone. A workman, buried to his knees, is busy at it, and a high two- wheeled cart, heavily laden with blocks of stone and drawn by two horses, is just being driven away. Beyond, the low hills sweep to the right, and the gleam of a large body of water catches the eye. The sky is a light blue, covered with gray clouds, from between which the sun casts a pallid light, falling full upon the cart and the immediate surroundings and making ill-defined shadows over the rest of the picture. Height, 32 inches; length, 3914 inches Signed at the lower left, Conor Collection of the late Joun T. Martin, New York, 1909 Exhibited at VEcole des Beaux-Arts, 1875, No. 68, by Doctor CaMBAY Described in “L’GEuvre de Corot” by Alfred Robaut and Moreau-Nélaton, 2422 CATALOGUE NUMBER EIGHTEEN _ CATALOGUE NUMBER NINETEEN LES BAIGNEUSES DES iLES BORROMEES By JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 JEAN BAPTISTE CAMILLE COROT FRENCH: 1796—1875 LES BAIGNEUSES DES [LES BORROMEES The spectator is looking against the light upon waters in gentle motion, marked by the shadows of tree trunks, and on the left by those of shrubbery, and on the right by the shadow of a large gray boulder. At the trees, near the centre of the stream, in the foreground, whose roots are overflowed, two nude women bathers cling to the trunks—one bather standing knee-deep in the shallows, the other partly suspending herself from a vine branch to touch the water, while hav- ing a foothold on the tree. In the background at left, buildings on a hillside. Height, 31% inches; width, 22% inches Signed at the lower left, Coror Bought from Corot by M. Martin and sold by him to Henri Rovart In the Memorial Exhibition of Corot’s Work, at the Ecole des Beaux-Arts, 1875, No. 45 Corot Exhibition, DuRAND-RUEL galleries, Paris, 1878, No. 105 Reproduced in Robaut, No. 1653, vol. III, page 154 From M. Knorpier & ComMPANY CATALOGUE NUMBER NINETEEN a a = zs CATALOGUE NUMBER TWENTY THE WILLOW TREE By JOHN (OLD) CROME ENGLISH: 1769—1821 JOHN (OLD) CROME ENGLISH: 1769—1821 THE WILLOW TREE The composition is dominated by a group of trees—a birch to the left, and in the centre two large willows—trising on the banks of a little brook which al- most fills the foreground. At the foot of the willows is a bit of fence beyond a rustic bridge. On the right bank of the stream, a peasant on a pony is talking with a peasant woman, and beyond them the distant landscape shows. The scene is pas in summer sunshine, the blue sky being almost covered with soft white clouds. Height, 51 inches; width, 4034 inches Exhibited at Winter Exhibitions of Old Masters at Burlington House in 1876 (No. 280 of the catalogue), and in 1891 (No. 33) when owned by Mr. Grorcr Hoimss. Sale (about 1870) of the best known collection of pictures of the Norwich School, the SHERRINGTON Collection (bought by Mr. Grorce Hoimes,from whom it came into Mr. BorvEn’s Collection) Exhibitions of Old Masters, M. Knorpirr & Company, New York, 1912 Collection of M. C. D. Borpen, American Art Association, 1913 CATALOGUE NUMBER TWENTY CATALOGUE NUMBER TWENTY-ONE GOOD COMRADES By JOSEF ISRAELS DUTCH: 1824—1911 JOSEF ISRAELS DUTCH: 1824—I911 GOOD GOMRADES A fisherman, left in charge of the baby, is captivating its interest with a toy soldier. The child is seated in one of the baby-chairs characteristic of a Dutch household; her head, encased in a rosy cream cap, showing against a blue scroll- work of the chair-back. Her hands are laid on the tray in front of her, as she eag- erly watches the red and blue figure, which is held erect by the fisherman. The latter wears a silvery blue woolen cap and jersey, the short sleeve of which dis- plays a red undersleeve. His figure, seen to a little below the knee, leans forward in an armchair, so that his face is in profile, looking toward the right. Behind the child’s seat, on the right, is partly visible a chair, on which lies some knitting. The wall of the room is of dark grayish-olive tone, broken with silvery lights. Height, 43% inches, length, 59% inches 72 Signed low down on the side of the child’s seat, JosEF IsRatLs The Salon, 1877, No. 1905 Collection of GrorcE I. SENEY, American Art Association, 1891, No. 298 Collection of P. A. B. WiDENER From M. Knorpter & Company CATALOGUE NUMBER TWENTY-ONE By CATALOGUE NUMBER TWENTY-TWO LE PARC AUX BCEUFS By NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 NARCISSE VIRGILE DIAZ DE LA PENA FRENCH: 1808—1876 LE PARG AUX BQ@UFS A little pool occupies the centre of the foreground, which is cleared of trees and tufted with scrubby grass and bunches of foliage sprouting from the stumps. Farther back on the right stand three handsome oaks, whose white bark catches a brilliant light, while their tall masses of yellow and green leafage spread finely against the sky. The latter is a grayish-blue, interrupted with a few puffs of white cloud and overarched with a canopy of dove-gray vapor. The vista of level fore- ground terminates in a horizontal band of trees, the advance line of the forest. Towards the left appears a signboard on a post; and near this is a slanting tree with a succession of curving twisted boughs that overhang an open gateway. Height, 32% inches; length, 441% inches Signed and dated lower left, N. Diaz, ’69 Collection of BARON DE HauPE Collection of M. Boucusron, Paris “Cent Chef-d’Guvres,’ exhibited 1883 Collection of Paintings, AMERICAN ArT AssocIATION, 1892, No. 153 Collection of ANTHONY Roux, Paris From M. Kwnorpirer & ComPpANy CATALOGUE NUMBER TWENTY-TWO CATALOGUE NUMBER TWENTY-THREE LA CHARRETTE DE FOIN By CONSTANT TROYON FRENCH: 1810—1865 CONSTANT TROYON FRENCH: 1810—1865 LA GHARRETTE DE FOIN The lower sky is filled with grayish vapor, which grows whiter toward the zenith and shows intervals of blue. There is a stir of breeze, but the light, though veiled, is warm and gives a liquid quality to all the hues. In the foreground lies a stick of timber, at the end of which a brown dog and a white one stand facing each other. Beyond them a stream of shallow water crosses the picture, its surface sprightly with reflected tints. A white cart-horse, a blue cloth edged with red on its back and a blue coat hanging over the flap of its collar, is standing in the water. The wagoner is seen behind it, dressed in blue blouse and golden brown breeches. He holds up a stick as he turns the horse with its head down stream, so that two oxen which are yoked behind it may have free way with the hay-cart which they are dragging down the little slope that leads to the water. One of the oxen is a pale dun, its yoke-mate white with redddish-brown head and neck. The two wheeled cart is piled high with hay that glistens in various tones of green. Be- hind the cart follows a man in shirt sleeves, with a fork over his shoulder, accom- panied by a woman in a brownish plum dress, white cap and apron, and a boy who is frisking with a dog. Behind this group the meadow recedes to dull pur- plish hills along the horizon, which appear nearer on the right and become green. The scene is inclosed on the right by the end of a thatched barn, its drab walls rising close beside the stream. Near it stand four slender trees with delicate leaf- age that grow out of a mass of deep green shrubbery. Height, 3034 inches; length, 44. inches Signed at the lower left, C. 'TROYON Collection of Prince Worouzorr, Florence Collection of ALEXANDER YouNG, London, 1906 Illustrated in the “International Studio,’ November, 1906 Collection of the late H. 8S. Henry, New York, 1910 CATALOGUE NUMBER TWENTY-THREE a kia) CATALOGUE NUMBER TWENTY-FOUR LE TEVERONE, SOUVENIR D’'ITALIE By HENRI JOSEPH HARPIGNIES FRENCH: 1819—1916 HENRI JOSEPH HARPIGNIES FRENCH: I819—1916 LE TEVERONE, SOUVENIR D’ITALIE A narrow river, its crystal waters sparkling in the brilliant sunlight, winds through a luscious landscape at the foot of a noble group of trees of heavy foliage. The nearer low bank in the foreground has taken a deep emerald hue under the umbrageous canopy, while across the stream the higher bank slopes to a broad meadow bathed in sunshine, and revealing tender greens, with suggestions of light yellows, in its luxuriant vegetation. Fleecy clouds of rounded contours float in a turquoise sky over hillside and meadow and the blue summits of distant mountains. Height, 48 inches, length, 59 inches Signed at the lower right, HARPIGNIES, 1898 The Salon, 1891, No. 1001 Collection of J. Staats Forsrs, London From M. Knorpier & Company CATALOGUE NUMBER TWENTY-FOUR ey daa CATALOGUE NUMBER TWENTY-FIVE GLEANERS, PRES DES MEULES By LEON LHERMITTE FRENCH: 1844—1925 LEON LHERMITTE FRENCH: 1844—1925 GLEANERS, PRES DES MEULES Golden the harvest, and golden the fields after it, through which the gleaners wend their way. Three of them, women, are at work on the left, two bending to gather the precious leavings of grain, one standing, a bundle of sheaves under her arm, and looking toward the figure of a sleeping man on the right—a harvester exhausted, who in the heat of the day has thrown himself down upon a bundle of hay or grain which lies in the grateful shadow of a haystack. Back in the middle distance rise other stacks, a rich golden tone, with contrasting transparent shad- ows, and in the background at the left low green encircling hills are observed, under a fair summer sky of robin’s-egg blue and mauve-white cloud billows. Height, 3534 inches; length, 514% inches Signed at the lower right, L. LHERMITTE, 1912 The Salon, 1912 From M. Knorpirr & CompANy CATALOGUE NUMBER TWENTY-FIVE xtbi PSyags 7 a yoo CATALOGUE NUMBER TWENTY-SIX INTERIOR AT SCHEVENINGEN By BERNARDUS JOHANNES BLOMMERS DUTCH: 1845—1914 Z BERNARDUS JOHANNES BLOMMERS DUTCH: 1845—I914 INTERIOR AT SCHEVENINGEN At a window within a cottage room two young peasant women and a small girl are grouped about a table eating a frugal meal. The two elder wear quaint headdresses. She at the right is seated, her knitting in her lap where her left hand rests still holding on to it. Her right elbow rests on the table, and with her right hand she holds a cup she has just taken from her lips, which, still open, give to her features the suggestion of a listless smile. Across the table, at the opposite side of the window casement, her companion stands, a loaf of bread held against her breast with her left arm. She has paused in the act of cutting a thick slice and is gazing at the floor in vacuous contemplation, while the child, who has been munch- ing bread, looks wistfully up at her. A deep blue spread covers the table and across it are lying the dried herring of the lunch. The sunlight throws the shad- ows of the window frames upon the curtains, and falling on the red carpet bright- ens this cozy corner of an humble room. The seated girl wears a brown waist and a bluish-green skirt, the one standing, a rose waist and brown striped skirt, while the child has a red skirt and striped overdress. Against the wall is seen a corner of the china cupboard. Height, 43 inches; width, 35% inches Signed at the lower right, B. J. BLommeErs Purchased from the late HERMANN SCHAUS CATALOGUE NUMBER TWENTY-SIX ig CATALOGUE NUMBER TWENTY-SEVEN HOLLAND MEADOWS By ANTON MAUVE DUTCH: 1838—1888 ANTON MAUVE DUTCH: 1838—1888 HOLLAND MEADOWS The picture, which remained for a long time in the studio of the artist, and was considered by him to be one of his best productions, shows a characteristic scene in the broad plain of Holland under a moist sky full of low-hanging sum- mer clouds. In the foreground a group of spotted cows reposes in the sunlight after a morning’s browse on the rich grass of the meadow. In the middle distance on the left is a clump of trees overhanging the entrance to a pasture beyond. The wide, level meadow which stretches away to a low horizon in the extreme distance is dotted with cattle, and among the trees on the sky line on the right are sugges- tions of a tree-shaded village. Height, 34% inches; length, 54 inches Signed at the lower right, A. MAUVE #t. Collection of Davin H. Kino, Jr., New York, 1905 CATALOGUE NUMBER TWENTY-SEVEN a bach CATALOGUE NUMBER TWENTY-EIGHT KIOSQUE DES EAUX DOUCES By FELIX ZIEM FRENCH: 1821—r911 FELIX ZIEM FRENCH: I82I—IQII KIOSQUE DES EAUX DOUCES A small pool in the foreground reflects the white stucco walls of a handsome fountain. Its square structure curves out at the top into wide eaves, in the hollow of which are drowsy red-gold shadows. It is surmounted by a white central cu- pola, and four smaller ones. A figure in a geranium-colored jacket and brown skirt stands in the act of filling a blue pitcher. Other gaily dressed figures are dis- posed on the right, the centre of the group being a hooded wagon, decorated with yellow mouldings, to the pole of which are attached two white oxen. It appears to be a harem carriage, and the ladies have alighted and are seated on the ground. At the back of this vivacious scene is a grove of golden-brown and yellow trees, beyond the trunks of which appears a horizontal line of deep blue water. Its fur- ther bank is edged with the rosy yellow buildings of a city, the sky line of which, on the right, is interrupted by a towering mass and two minarets, which glisten white against the sky. The latter is bright robin’s-egg blue, streaked with lazy layers of white and cream. Height, 321% inches; length, 51 inches Signed at lower right, Z1EM Collection of BARON DE VILLARS Collection of P. A. B. WiDENER From M. Knorpirr & Company CATALOGUE NUMBER TWENTY-EIGHT CATALOGUE NUMBER TWENTY-NINE BULGARIAN SMUGGLERS By ADOLPH SCHREYER GERMAN: 1828—1899 ADOLPH SCHREYER GERMAN: 1828—1899 BULGARIAN SMUGGLERS On a rough rocky eminence a band of Bulgarian smugglers, with their shaggy unkempt horses, have halted on one of their unlawful excursions. A strong gale is blowing and the horses are huddled together for shelter, while two of the smug- glers are seated on the rocks nearby in attitudes of patient expectation. On the tight of the scene, beyond a pony scrambling breathlessly to the summit, is a view over a sunlit plain, with a dimly seen collection of buildings, evidently the first frontier town. Height, 33% inches; length, 55 inches Signed at the lower right, AD. SCHREYER Purchased from Wiiu1am Scuaus, New York, 1881 Collection of the late Huser R. BisHop, New York, 1906 CATALOGUE NUMBER TWENTY-NINE Ring CATALOGUE NUMBER THIRTY RETURNING FROM MARKET By EMILE VAN MARCKE FRENCH: 1827—1890 EMILE VAN MARCKE FRENCH: 1827—1890 RETURNING FROM MARKET In the foreground a sturdy spotted bull, ring in nose, is moving with heavy dignity along a rough seaside road, followed by a cow and accompanied by a flock of bleating sheep. Just behind this group of animals, which is in a strong effect of sunlight, is seen the farmer’s horse with panniers, upon which sits his daughter. The farmer himself trudges nearby, struggling to keep his hat on his head in the heavy gale. In the middle distance is a small bay of the sea, with flat-topped hills beyond, and the water is roughened by the strong wind, which drives a mass of lowering clouds across the horizon and over the hilltops at the left. Height, 38 inches; length, 56 inches Signed at the lower left, EM. VAN MARCKE Collection of Epwarp M. Knox, New York, 1906 CATALOGUE NUMBER THIRTY SS eS Se ~~ — = — CATALOGUE NUMBER THIRTY-ONE A CALM ON THE SCHELDT By PAUL JEAN CLAYS BELGIAN: 1819—1900 PAUL JEAN CLAYS BELGIAN: 1819—1900 A CALM ON THE SCHELDT Near the centre of this picture two vessels are lying close together. They are hermaphrodite brigs, and their sails are flapping lazily in the breeze. ‘To the right is a sloop, with bare mast; to the left is a village, with a windmill in the dis- tance; near the shore is a boat with a square hull; and in the foreground, to the left, are small fishing boats with fishermen. Height, 31% inches; length, 54 inches Signed at the lower right-hand corner, P. J. CLays Collection of the late CHarLes T. YERKES, New York, 1910 CATALOGUE NUMBER THIRTY-ONE cm a LIST OF ARTISTS REPRESENTED AND THEIR WORKS LIST OF ARTISTS REPRESENTED AND THEIR WORKS CATALOGUE NUMBER BLOMMERS, BERNARDUS JOHANNES Interior at Scheveningen 26 CAZIN, JEAN CHARLES La Route 7 CLAYS, PAUL JEAN A Calm on the Scheldt 31 COROT, JEAN BAPTISTE CAMILLE Arleux-Palleul—Le Vieux Pont de Briques 12 Chateau Thierry 4 Landscape with Lake and Ruin 9 Lake Nemi 16 La Charrette de Grés 18 Le Lac—Effet de Matin II Les Baigneuses des Iles Borromées 19 Le Cavalier dans la Campagne 14 CROME, JOHN (OLD) The Willow Tree 20 DAUBIGNY, CHARLES FRANCOIS La Saulaie 10 DIAZ DE LA PENA, NarcissE VIRGILE Le Mare aux Chénes 3 Le Parc aux Beeufs 22 DUPRE, JuLEs Landscape with Fisherman 8 HARPIGNIES, Henri JosEPH Le Teverone, Souvenir d’Italie 24 ISRAELS, JosEr Good Comrades ai JACQUE, CHarLes EMILE In the Forest of Fontainebleau LHERMITTE, Lton Gleaners, Prés des Meules MARCKE, EMILE VAN Returning from Market MARIS, WILLEM Under the Willows MAUVE, ANTON Holland Meadows MILLET, JEAN FRANCOIS The Haystacks The Retreat from the Storm ROUSSEAU, THoporE PIERRE ETIENNE Bosquet d’Arbres SCHREYER, ADOLPH A Halt in Wallachia Bulgarian Smugglers TROYON, CONSTANT La Charrette de Foin ZIEM, FELIX Kiosque des Eaux Douces Venice CATALOGUE NUMBER 5 25 30 , The AMERICAN ART ASSOCIATION - INC: Designs Its Catalogues and Directs All Details of Iustration Text and Typography x PHOTOGRAVURE PLATES BY A. W. ELSON & CO., BOSTON x COMPOSITION 7 PRESSWORK & BINDING BY THE LENT & GRAFF CO., NEW YORK a> is - TLS POU J January 8-1926,. Artist aes Price Schreyer 4500, Millet 22006 Diaz 2400. Corot 10000, Jacque 4100. Ziem 6400. Cazin 9500. Dupre 12500, Corot 11500, Daubigny 12500. Corot 21500. Corot 12500. Maris 8500. Corot 30000. Rousseau 25000. Corot 15000, Millet 26000. Corot 27000. Corot 50500 » Crome 47000. Israels 8000. Diaz 8000. Troyon 16500. Harpignies 5500. Lhermitte 5000, Blommers 1900. Mauve 4300. Ziem 2500. Sehreyer 3900. van Marcke 2200. Clays 4400. +.BILLINGS Sa Buyer Clapp & Graham V.L. Benguiat J.L. Schultz Knoedler Jackson P. Higgs Z.L. Schultz J.L. Schulte JL. Schultz 0.W. Peabody Herbert Smith O.W. Peabody Clapp & Graham J.N. Hill W.R. Timkin O.W. Peabody Co. Jas.Hlverson Knoedler W.H. Henry Williams Albee V.H. Henry Knoedler \ McLaughlin W ichardson : Graham river, Norwich,” and the itory of European art, THE DAILY TELEGRAPH, WEDNESDAY, FEBRUARY 3, 1926, PIPED POLI LLIPIPP PIS PD PP IPI PPP II PIII, PPL SPS I PIL PPL ILL LPL POLS S “WILLOW TREE.”"—THE RETURN OF THE NATIVE. CROME [ these days of economic stress the steady |stream of painting during the eighteenth century migration to America of masterpieces of the|was largely confined to England and France. civilisation of the Mediterranean basin pro-| When the French revolution burst in all its fury, eeeds with monotonous regularity, and European| France, for the time being, was compelled to galleries and collectors have acquired a habit of |drop out, and England alone was left to preserve regarding the migration with something like fatal- istic resignation. For once in a way the tables have been turned. A few daysago Crome’s famous “ Willow Tree” arrived in England from the United States. At the important Billing’s sale in New York, attended by the wealthiest collectors of America, the masterpiece . fell to the courageous bid of Mr. James Hardy, of Nor- wich, who was determined to bring it back if he could to the land and county of its origin. This news is not only of the utmost im- port to Norwich, but to the whoie country. Crome painted certain out- standing pictures, amongst which can be sighted the “Mousehold Heath,” “ Por- ingland Oak,” “ Moonlight on the Yare.” and “ Mill on Mousehold Heath,” all in the National Gallery, the * Outskirts of the Forest,” in the Victoria and Albert Museum, and the lovely “ Marlingford Grove,” at Port Sunlight. There are, perhaps, but two others of equal importance out of the country, “ A view of the back “Willow Tree.” The latter has now returned, never again, let us hope, to leave these shores. The importance of the phase of painting which Crome, Gainsborough, Cot- man, Constable and Turner represented in the his- famous though it be, has yet to be fully grasped. An attempt to emphasise it was made in the recent exhibition at the Norwich Castle Museum. The main the honoured tradition. Thus were the founda- tions laid, as history proved, on which the most significant art of the nineteenth and twentieth centuries was built. Amongst the greatest figures of , this transition period, Crome stands out like a giant. He it was who assimi-| lated the best principles | of Claude on the one hand. and Ruisdael and Hobbema on the other, grafted the finest principles of painting on to the English School and raised it to one of the highest pinnacles it has ever, attained. Crome’s influence | created the Norwich school, and through it, moulded much of the subsequent painting of this country. The great Frenchmen of the nineteenth century uncon- sciously owe to him more} than they realize. Incredible! though it may appear, Crome and Cotman are to all intents and purposes unknown in modern Paris. A great creative artist is rarely appreciated by his own generation. His réle is to lead, and hence he is always in advance of his time. Crome was essentially in this category, and we cannot be surprised, there- fore that, even at the height of his powers, he was com- pelled to earn his daily bread by teaching those who were too often unworthy of their master, How many more master- pieces he would have pro- duced had he been freed from such drudgery, what man ean tell ? Let us, however, rejoice in the return of the “Willow Tree,” and trust that its presence amongst us_ will prove an incentive to fur- ther creative effort on the part of the young artists of this country. The acqui- sition was a costly one, but no mere sum of money can represent our gratitude to the purchaser. P, M. TURNER. BILLINGS T0 SEL 31 GREAT MASTERS Moving to California Bungalow, He Disposes of Paintings for Which He Has No Room. EIGHT OF THEM ARE COROTS Millet, Others — Sale on Jan. Diaz and Daubigny Are 8 After American Gallery Exhibition. Some of the masterpieces of French, Dutch and English painters of the nine- teenth century, belonging to Cc. K. G. Billings, which formerly adorned the walls of Fort Tryon Hall, in this city, @re to be sold at the American: Art Galleries on the evening of, Jan. 8, it Was announced yesterday, They will be exhibited on Jan. 2. Mr. Billings has moved to California, and because he found his quarters in a bungalow too restricted to atsplay me collection he is selling some of them, There are eight Corots to be sold. One ef these is ‘‘Lake Nemi,’’ illustrated in Robaut under title ‘“‘Solitude.’’ This was purchased by Mr. Billings at the sale of twenty-one masterpieces be- longing to the estate of H. S. Henry of Philadelphia, in 1910. Part of its deserip- tion reads: ‘‘Over the water, cooled by the greenish gray reflections of the sur- rounding vegetation, the light floats softly toward the girl from the central distance, Here a low hill forms a lavender silhouette against the rosy suf- fusion of the lower sky. (The latter, as it mounts, pales to a warm ivory and thence to ivory touched with blue, Sing up into a faint dove-gray, barred with dripping strata of feathery tufts of white.” Other Gres, Arts and coming more recently from the John T. Martin collection, New York, 1909; ‘Le Vieux Pont de Briques,’’ also om the Henry collection, and ‘‘Land- pe with Lake and Ruin,’’ a composi- yn taken from near Nantes, which was purchased from Corot in 1875 by the i ator of the Comtoir d’Escompte aris, sold to Georges Petit of Paris and then to a Chilean collector, who re- tained it until 1908, when turned to Paris and bought by Herman Schaus of New York. Other Notable Three other Corots were added by Mr. Billings to his collection in 1912 and 1913. They are “Le Cavalier dans la Campagne,” and at one time belonging to Alexander Dumas; ‘‘Le Lac—Effet de Matin,” one the Corots are ‘‘La Charette de Canvases. of the Ville d’Avray landscapes, and the| charming landscape with: nude bathers, “Tes Baigneuses des Iles Borromees,”’ ally bought direct from the artist, ited at the Memorial Exhibition of Works of Corot at the Ecole des Beaux- Arts in 1875, and at the Corot exhibi- tion at the Durand-Ruel Galleries in Pe in 1878. ether there are just thirty-one ” shown at the Ecole des Beaux-! it was re-| painted at Ville d’Avray) paintings for this exhibition and sale. One of the most notable among them is the world famous ‘‘Old Crome,’’| known as ‘The Willow Tree,’’ from the! M.. C. D. Borden coilection. Tris pic- ture was sought as a loan from Mr. Billings for the Crome Commemoraticn of 1921, held at Norwich, ‘England, the eity of John Crome’s birth, and where he died on April 22, 1821. Another painting, almost a century re~ | moved from Crome’s time, is L’her-} mitte’s Salon picture of 1912; “Cleaners, pres des Meules,’’ another gui ‘Le Mare aux Chenes,’’ by Diaz, from the George} Blumenthal collection, New York; and a third is ‘Landscape With. Fisherman,” by Jules Dupré, purchased direct from the artist and obtained from the coi- lection of J. Gillingham Fell of Phila- delphia. Three Millet Paintings. ‘Waystacks,’? by Millet, is another canvas. It was purchased direct from the artist, shown at the J. F. Millet | Exhibition, Paris, 1887, also the Centen- | nial exhibition of French Art, Paris, | 1889, and from the collection of Mme. } Samson Davilliers. Another canvas is Josef Israels’s "Good Comrades,” ‘a Salon painting of 1877. Millet’s ‘‘Retreat from the Storm,” from | the H. Si Henry sale of 1907 and an-| other, “The Haystacks,” by the same | artist, are also to be sold. A Dutea | composition by Blommers, ‘‘Interior at | Scheveningen,’”’ is a group of two young | peasant women and a small girl at a cottage window, Other paintings include Rousseau’s “Bosquet d’Arbres,’’ ‘‘In the Forest of | Fontainebleau, ”’ by Jacque and a harbor | scene, ‘“‘A Cali on the Scheldt,’’ by the Belgian painter, Paul Jean Clays, which was once in the Charles T. Yerkes col- lection. Another gem from the “La Saulaie,” by Daubigny. ‘‘La Route,”’ by Cazan, ‘Le Pare aux Boeufs,” by Diaz, ‘‘Le Teverone, Souvenir d’Italio,” by Harpingnies, ‘‘Venice,” by Ziem, two characteristic Schreyers, ‘tA Halt in| Wallachia,’’ and the more adventurous “Bulgarian Smugglers,” and a harem/| party at the “Kiosque des Eaux) Douces,” by Ziem, are to. be shown at} the American Galleries. The great cattle painters are included, Troyon with his fine and varied compo-| sition, ‘‘La Charrette de Foin,’” van Marcke with his sturdy and vigorous “Returning From Market,’’ Willem Ma- ris with a tender and peaceful group of cows near a pool in the Low Coun- tries, ‘Under the Willows,” Anton Mauve with ‘‘Holland Meadows,” from} the David H.’King collection, Henry sale js The Sketch Book Magazine a! “THE HAYSTACKS”’ A Millet which is included in that portion of the famous Billings collection which will be sold at auction in New York during January. Troyon, van Marcke, Willem Maris, Corot, Crome and L’hermitte are other masters represented in the thirty-one canvases which are to go under the hammer The (. K. G. Billings Collection Oo Oo ME of the famous masterpieces of French, Dutch and English painting of the Nineteenth century, belonging to C. K. G. Billings, Esq., which formerly adorned and lent distinction to the walls of Fort Tryon Hall, in New York, are to come under the auctioneer’s hammer. When they were in place in the truly wonderful mansion on Wash- ington Heights—on the site of the ancient Revolu- tionary Fort Tryon, named for the last royal gov- ernor of New York province—not long ago bought by John D. Rockefeller, Jr., and perhaps eventually to come to the City of New York for parkland— they were renowned as a conspicuously important part of that truly remarkable estate. Twenty-eight Since those days—and how short a time ago they were—Mr. Billings has removed to California, and in the bungalow (though magnificent) typical of that land of the Golden West he has found quarters too restricted for these productions of the great painters’ pencils. So he has determined upon selling a few of the greatest of them, and has transported them back to New York to be sold at absolute public sale by the American Art Asso- ciation, Inc., the sale to take place early in January. Of how careful Mr. Billings has been and is of these priceless paintings an earnest is offered in the fact that a special car was chartered for their transportation to the East and a man accompanied The Sketch Book Maguzine appeared on fifteen separate occasions. The Virgin touched the rock from which now flows the stream of healing water, and ordered that a shrine should be built where all the nations of the world might come and worship. Naturally Bernadette’s fame soon spread abroad and lovers of the marvelous came to Lourdes from all over France. Over the spot a large and beautiful church has been built, too small however to accommodate the crowds that gather from the ends of Europe and beyond the seas. Services are held in the open, the multitude being enclosed in the arms of great stone galleries supported on arches that extend in front of the church. All manner of people are there, the wealthy in their affluence, and the poorest of the poor, the sick and the lame of body and spirit, all seeking healing, and some there be that find it, for the walls of the grotto are lined with crutches left by those who needed them no longer. Great masses of people drawn together by a common purpose are always impressive and a crowd of pil- grims that have gathered together in the hope of seeing some miracle wrought is intense indeed, whether it be on the banks of the Ganges or by the little stream at Lourdes, but the looker-on is filled with sadness for the suffering of those who appear beyond all earthly aid. A little way up the valley from Lourdes there is a small church that will interest many even more It is no ordinary than the one by the grotto. church this one of Luz, for it is a church and fortress combined embattled and enclosed in defen- sive works. Built by the Templars in the twelfth century, many a siege it must have withstood in those stirring times when warfare was a pastime and the church was a refuge. Relics of those days still hang on rusty nails in the wall inside, swords and spears of warriors who might have unarmed themselves after battle and left them there. For those who like the gaiety of a cosmopolitan health resort there are such places as Pau and Biarritz where swagger hotels abound, and Toulouse is a place of art and learning, while over them all rests a wealth of history. But of all the medizval towns in this part of France Bayonne is perhaps the most charming, a town to fascinate the artist or the antiquarian. Along its battlements there. are charming pictures where bastions and towers have been changed into peaceful dwellings, but should one forget that this is a soldier town. The very name would remind one that at one time it was noted for the manufacture of arms, for did not it give its name to the bayonet? So old are some of the buildings that they seem almost to have outgrown history. On one of them there is a slab of stone giving a list of the names of the people that have lived there, and the name that heads the list is that of the illustrious hero of history and romance the Black Prince of England, reminiscent of the days when Gascony was an English province. Twenty-seven The Sketch Book Magazine the car to see that nothing happened to them on the long railway journey. They are now here, and promise a treat to the picture buyers of the world—for the world is represented in New York City. They will be exhibited at the American Art Galleries on January 2, 1926 and will be sold there on the evening of January 8th under the auctioneer’s hammer. Mr. Billings not only purchased at famous sales held by the American Art Association but also bought through private negotiations, largely through the house of M. Knoedler & Company, Mr. Roland F. Knoedler giving his personal attention to Mr. Billings’s acquisitions. As a further evidence of Mr. Knoedler’s interest in this great collection Mr. Billings has a letter from him, dated June 19, 1920, relating to “Chateau Thierry,” a painting by Corot, which Mr. Billings had purchased long before the World War, from the collection of H. S. Henry, which was sold in New York in 1907. Mr. Knoedler writes: “My dear Mr. Billings: I showed a reproduc- tion of your Corot, “Chateau Thierry” to Lher- mitte, who lives near the place, and he tells me that the church steeple was not touched during the war, and that it is in the same condition now as it was before the war. “He said that he remembers the picture dis- tinctly, as it was while Corot was painting it, in April, 1863, that he made the great artist’s ac- quaintance. I hope these few facts will interest he you. The picture is a view from the ramparts, and was taken to Arras by Corot shortly after it was painted. The church steeple is a conspicuous feature in the composition. The picture was shown at the Exposition des Cent Chefs-d’Oeuvre, Paris, 1892 and is reproduced in Moreau-Nelaton’s work on Corot. Altogether no less than eight authentic Corots are in the collection, all but one of them repro- duced in the authoritative work on Corot by Alfred Robaut and Moreau-Nelaton, and the provenance of that one most clear and direct. Perhaps the “Lake Nemi,” purchased by Mr. Billings at the sensational sale of twenty-one masterpieces belonging to the estate of the Phila- delphia amateur H. S. Henry, most enthused the audience at Mendelssohn Hall on that February evening in 1910. A part of its description at the time read: “Over the water, cooled by the green- ish gray reflections of the surrounding vegetation, the light floats softly toward the girl from the cen- tral distance. Here a low hill forms a lavender silhouette against the rosy suffusion of the lower sky. The latter, as it mounts, pales to a warm ivory and thence to ivory touched with blue, pass- ing up into a faint dove-gray, barred with dipping strata of feathery tufts of white.” Other Corots are “La Charette de Grés,”’ shown at the Ecole des Beaux-Arts and coming more recently from the John T. Martin collection, New York, 1909: “Le Vieux Pont de Briques,” also from the H. S. Henry collection of 1910; and “Landscape with Lake and Ruin,” a composition taken from near Mantes, which was purchased from Corot in 1875 by the Administrator of the Comtoir d’Escompte, of Paris, sold to Georges Petit of Paris, then to a Chilean collector who retained it until 1908, when it was returned to Paris as collateral and bought by Hermann Schaus of New York. Three other Corots were added by Mr. Billings to his collection in 1912 and 1913, subsequent to the publication of his private catalogue of the Fort Tryon Hall premises, and worthy of their associ- ates at the Hall: “Le Cavalier dans la Campagne,” painted at Ville d’Avray and at one time belonging to Alexander Dumas; “Le Lac—Effet de Matin,” one of the Ville d’Avray landscapes; and the charming landscape with nude bathers, “Les Baig- neuses des Iles Borromées,” originally bought direct from the artist, exhibited at the Memorial Exhibition of Works of Corot at the Ecole des Beaux-Arts in 1875, and at the Corot exhibition at the Durand-Ruel galleries in Paris in 1878. Altogether there are just thirty-one paintings— all masterpieces—which Mr. Billings has selected from his collection for this exhibition and sale. One of the most notable among them is the world famous “Old Crome,” known as “The Willow Tree,” from the M. C. D. Borden collection. This picture was sought as a loan from Mr. Billings for the Crome Commemoration of 1921, held at Nor- wich, England, the city of John Crome’s birth, and where he died on April 22, 1821. The National Gallery, London, loaned some of its masterpieces, and the Lord Mayor of Norwich, Mr. George Green, in writing to Mr. Billings requesting the loan of “The Willow Tree,” spoke of Mr. Billings as “the fortunate possessor of one of Crome’s most famous paintings,” and expressed the desire for “your picture which is representative of Crome at his best.” Another great painting in the collection, almost a century removed from Crome’s time, is Lher- mitte’s Salon picture of 1912 “Gleaners, prés des Meules”; another is “Le Mare aux Chénes” by Twenty-nine Sb. wr. ( AG, The Sketch Book Magazine Diaz, from the George Blumenthal collection, New York; and a third is “Landscape with Fisherman” by Jules Dupré, purchased direct from the artist and obtained from the collection of J. Gillingham Fell of Philadelphia. A noteworthy canvas even in this notable collec- tion is a remarkable and forcible Millet “Hay- stacks” purchased direct from the artist, shown at the J. F. Millet Exhibition, Paris, 1887 also the Centennial Exhibition of French Art, Paris, 1889 and from the collection of Mme. Samson Davilliers and later purchased from M. Knoedler and Company. One of the finest paintings by Josef Israéls in this country—or, it may be said anywhere—is the “Good Comrades,” a Salon painting of 1877, formerly in the George I. Seney sale of 1891 and later in the collection of P. A. B. Widener of Philadelphia; and Jean Francois Millet’s “Retreat from the Storm” from the H. S. Henry sale of 1907 is a document of vivid action and freshly pricked emotion. A second canvas by Millet is one of haystacks and sheep and a shepherd, “The Haystacks,” which has a long and direct record from the artist through notable Paris exhibitions. A second Dutch figure composition, this one by Bloomers, “Interior at Scheveningen,” is a delight- ful group of two young peasant women and a small girl at a cottage window. =-Theodore-Reusceau,-acknowledged master of his contemporaries the great men of Barbizon, is here with a picture which fairly sings, with its marked fidelity to placid nature, the “Bosquet d’Arbres.” “In the Forest of Fontainebleau” by Jacque is an unusual painting by this master, and at his best. A brilliant harbor scene by the Belgian painter Paul Jean Clays is here, “A Calm on the Scheldt,” a reminiscence of the remarkable Charles T. Yerkes collection sold by the American Art Asso- ciation in 1910. Perennial beauty and dignity in landscape painting runs through the collection, as instanced in “La Saulaie” by Daubigny—“a delicate tonality of gray and brown, the gray tenderly suffused with rose, the brown with faint mellow green”—from distinguished ownerships and _ exhibitions in Europe, reproduced in the International Studio in 1906 and obtained at the H. S. Henry sale in 1910; in “La Route” by Cazin, from the Col. Edward M. Knox collection; in “Le Pare aux Boeufs’” by Diaz—“The Vista of level foreground terminates in a horizontal band of trees, the advance line of the “forest”; in “Le Teverone, Souvenir d’Italie” by Harpignies, his Salon paint- ing of 1898—‘“A narrow river, its crystal waters sparkling in the brilliant sunlight, winds through a luscious landscape at the foot of a noble group of trees of heavy foliage,” a typical Harpignies with “all of the great out-of-doors” brought within its compass. The great cattle painters are included, Troyon with his fine and varied composition “La Charrette de Foin’”; van Marcke with his sturdy and vigor- ous “Returning from Market”; Willem Maris with a tender and peaceful group of cows near a pool in the Low Countries, “Under the Willows”; Anton Mauve with “Holland Meadows” from the David H.-Kang-collectien. A romantic variant comes in in one of the finest of Ziem’s paintings, a “Venice” with a view of the Doge’s palace and the Campanile. The same painter appears in one of his more Oriental com- positions, a harem party at the “Kiosque des Eaux Douces.” And there are two characteristic Schreyers, “A Halt in Wallachia” and the more adventurous “Bulgarian Smugglers.” THIS CLIPPING FROM NEW YORK AMERICAN By GERALDINE FITCH.