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- PRIVATE COLLECTION EXUIBITED. 
 
 Paintings Owned by Ww. 0. Cole in 
 Waldorf-Astoria Ballroom. 
 
 Seventy-six paintings, forming the private 
 collection of W. O. Cole, are now on free 
 exhibition in “the small ballreom of the 
 Waldorf-Astoria, where they will be sold at 
 auction by John Fell O’Brien‘on Wednes- 
 day evening at 8.30. It is said fn a prefatory 
 note in*the catalogue that of the thirty 
 
 years in which Mr. Colexhas made art a 
 recreation and stud. “~twelve have been 
 passed in London, ft is plain that the 
 influence of the Hnglish school has had an 
 appreciable effect upon his ‘taste, for his 
 collection is notable for works in tones so 
 low as to give an almost sombre air to 
 even the brillianey of the electric-lighted 
 exhibition room. it also is set forth in the 
 catalogue that the collector’s ambition was 
 always to have only ‘representative’ works 
 among his pictures. In this Mr. Cole has 
 succecded, in almost every instance, with 
 s0 much success as to make the use of that 
 much abused word fully justified... The lit- 
 tle water color, ‘A Woman in-Grey,” by 
 Whistler, for example, is emine ehar~ 
 acteristic, though in the case of the ex- 
 ample by Courbet, ‘Th neoming Tide,”’ 
 | we can remember happier examples of his 
 | work, 
 
 Mr. Cole’s taste is confined to neither one 
 | eountry nor one school, but ranges from 
 | our own George Inness, Jr., Bruce. Crane 
 | and J. Francis Murphy to Anton Mauve, 
 lommers, Constable, Corot, Daubigny, 
 Diaz, Ziem, Rousseau, Raffaelli and 
 ‘Sehreyer. If there is a preponderance of 
 any one schooi it is that of the Barbizon 
 | group. of which there are ten canvases. 
 Some of the more important works in the 
 co leetion are: William Beauquesne’s “At 
 Bay"; the “On the Seashore” of Blommers, 
 a charming study of a mother and child: 
 Jacque’s “Cloudy Day.’’ “Girl and Sheep” 
 and the “Barn Yard’’; a emall but ex- 
 tremely personal ‘‘Vi'lage Seene’’ by Jules 
 Punre; Mauve’s “The Wiltows’ and -a 
 | ‘Wood Interior’; a study of a tree by 
 | Corot, Daubieny’s “Apnle Tree in Bloom.” 
 a fizure groun by. Diez, Bruce Crane’s 
 “Winter,” a canvas that antedates his 
 sprirne, summer and-avutumn neriods. and 
 | is sinewlar'v drv in color: a little winter 
 | seene hv Raffaelli, with an unusual amount 
 of treatmert of a co mmonovlace subject: 
 one. of \J. Francis Murnhv’s noetic land- 
 | seanes, a small but vigorous Serayer, 
 “Russian Peasant Team in Storm’’: Con- 
 | stable’s ‘Somerset House." Davhbieny’s 
 “Sinset Near Barbizon.’* Raussean’s “An 
 Autireen Dev" and a mytholocical subject 
 by Millet that is only {nterestine from its 
 beines an unusual example of this master’s 
 work, 
 
the. pictures, 
 
 The highest price obtained was. fe 
 Charles Emile Jacque’s ‘‘Au Croisse,’’ 
 ‘painting ofa girl driving a flock of ‘sheey 
 which was bought by G. S. Phillips fo 
 $1,750. A landscape with cattle by Mauv 
 febupht Sh, 100, and Mr. Phillips secure i t 
 also. Aut Wheeler bought Jean F 
 ‘Millet’s “ Mercury, fo and Argus” tor "$550, 
 after the auctioneer had announced tha 
 the same picture, which was once in th 
 _Sansier collection, had been ‘sold out of 
 in 1888 for 10,000f. Am 
 
 wee the following: 
 vine hin = Sie 
 
 Dau- 
 “Bleny? P. ‘ seb ee tees | 
 - One es the yee over which there was 
 
 lively bidding was a Winter scene by Bruce 
 Crane, and the figures rose from $50. to. 
 $210 by advances of only $2.50 a timé. | 
 beak scene by Daubigny, once a mural 
 ecoration of the artist’s own room in 
 Barbizon, brought only $150, A water, 
 color, entitled ““A Woman in Grey,” by J.) 
 McNeill Whistler,’ started at $100 and rose 
 to $360 in less than a minute. An endrm- 
 Ss _painting 0 of an Autumn twilight by 
 rges Michel rose as high as $350 after | 
 etioneer had exhorted $5 at a time 
 the first bid of $200. - 
 
| Seventy-six Works, Repre- 
 | U oe English, Dutch and 
 French Schools, to<Be Auc- 
 tioned Off To-morrow Night, 
 
 be ae 
 
 Ww. O. Cole’s collection of paintines: gives 
 to the small ball reom of the Waldorf- 
 | ‘Astoria a charm lntSestingty varied. : 
 | There are seventy-six works of the 
 rench, the Dutch, the Hnglish and the 
 1 |Americans, gathered with artistic faith. 
 i Bridgman’s ‘Day Dreams,” two of Cour- 
 bet’s impressions of the sea, two pictures 
 lof dramatic trees signed Corot, “Apple 
 ‘Trees in Bloom,” a “Sunset” and a “Twi- 
 light” in the Melee of Daubigny, Sgures 
 and a otc as Diaz, are in ihe 
 collection. 
 There are also a ‘Village “Scene,” 
 “Warmyard” and a “Still Life’ signed rues 
 Dupree; three Jacques, three Mauves, a 
 Raffaelli, a Rubens—like Fragonard. : 
 There are works of Blommers, Brang- 
 wyn, Constable, Neuhuys, Millet; a water 
 color of “A Woman in Gray,” by Whistler; 
 
 la Jandscape by Bruce Crane, a figure by 
 Tnness, JT.5 a aes by Murphy, a 
 “Venice” of Ziem, “Russian Peasant 
 Team in Storm” of Bonrey er, 
 
 There are works of Roelofs, Ter Beulen, 
 Broedelet. The collector was at his work 
 for thirty years. The exhibition is free. 
 John [eli O’Brien is to sell all these ‘paint- 
 lings by auction to-morrow evening, in Ve. 
 ‘small es room of ue Waldorf: Astoria, — el 
 
W.. 0. COLE Ce SALE. ' 
 — ~49~0Y, 
 | Painting by Jacque Brings Siren tak 
 A Sow Fen O’Brien the Auctioneer. 
 
 At the Waldorf-Astoria last evening John 
 Fell O’Brien sold seventy-six pictures be- 
 longing to W. O. Cole for $16,661, Mr. 
 O’Brien was one of two auctioneers selling 
 pictures last evening, each of whom pub- 
 licly stated that the paintings were’ guar- 
 anteed to be the work of the artists whose 
 names they bore or were catalogued as 
 bearing. Mr. O’Brien stated that his own 
 guarantee was back of that of the owner 
 of the pictures. 
 
 A Mauve, “Landscape and Cattle,” was 
 knocked down at $1,100, and a Jacque, 
 “Au Croisse,” at $1,750, to George S. Phillips. 
 “Mercury, lo and Argus,” by Millet, sold 
 ‘at $650; “ue Commencement de Crépuscle,” 
 by Daubigny, at $750; “Russian Peasant 
 Team in a Storm,” by Schreyer, at $460; 
 and “A Woman in Grey,” a water color 
 drawing by Whistler, at $360. 
 
 Of the Dutch pictures, which formed 
 the dominant note of the collection, one by 
 Brangwyn, who is rarely seen here, “Pleas- 
 ure Party. in Spain,” a most interesting 
 example, was sold for $570 to one of the 
 best-known picture buyers of the city, 
 who also took for $115 Peppercorn’s “Grey 
 Day,” an admirable bit of this English 
 artist’s work: 
 
 One of Bruce Crane’s good works in 
 snow scenes, “Winter,” sold at $210 “In 
 the Stable,” a cattle piece by George Inness, 
 Jr., for $350, and a stretch of upland country 
 and valley catalogued merely as “Land- 
 scape,” by Julian Rix, at $450. 
 
 MR. COLE'S PICTURES BRING $16,646. 
 WwW. O. Cole’s ‘collection of paintings) was sold at 
 auction last night in. the.small ‘b Wines of the 
 Waldorf-Astoria for abies nye t figure was 
 paid by G. 8. Peutys r Ja gs “Au Croisse,” | 
 namely, $1,750. we hillips 47% bought a “Land- 
 scape wife Oe Te,” by , for $1,100. P. Rhein- 
 hardt paid for Dédkbigny’s ‘Le Commence- 
 ment de ‘Crepuscule.” #Thomas_ Porthun secured 
 Brangwyn’s ‘Pleasure Party in Spain”’ For $010.9 
 CEU 
 
 _— -—— 
 
At the Waldorf-Astoria John Fell 
 O’Brien sold seventy-six pictures belonging 
 to “WO. Cole for $16,661." A Mauve, 
 “Landscape and Cattle,” was knocked down 
 Ats1, 100, and a qacaue, Au Croisse,’ at 
 $1,750; “Mercury, Io, and Argus,’ by 
 Millet, sold at $650; “Le Commencement de 
 Crépuscule,’ by Daubigny, at $750; ‘“Rus- 
 Siam o- excants heat ify Jay) storm, 6 Dy. 
 Schrefer, at $460, and ““A Woman in Grey,” 
 
 a water-color drawing by Whistler, at $360. 
 Of the Dutch pictures, which formed the 
 dominant note of the collection, one by 
 Brangwyn, who is rarely seen here, ‘“‘Pleas- 
 ure Party in Spain,” a most interesting ex- 
 ample, was sold for $570. One of Bruce 
 Crane’s good works in snow scenes, “ Win- 
 ter,’ sold at $210. “In the Stable,” a cattle 
 piece by George Inness, Jr., for $350, and 
 a stretch of upland country and valley, cata- 
 logued merely as “Landscape,” by Julian 
 
 Rix, at $450. (Wresh x Movert » Upr'd 1902) 
 
ANDI A 
 
CATAPOGUER 
 
 Rn 0) Sn 
 
 the Private Collection of 
 
 OIL PATNA EN GS 
 
 W. ©, Cole, Esq. 
 
 to be sold at AUCTION without reserve 
 IN THE.. 
 SMALL BALL ROOM 
 
 —OF THE — 
 
 WALDORF-ASTORIA 
 
 WEDNESDAY EVENING, 
 MARCH 26th, 
 
 at 8.30 o’clock. 
 Exhibition Opens Saturday, March 22nd, 
 
 and Continues Day and Evening 
 
 until Time of Sale. 
 
 JOHN FELL O'BRIEN, AUCTIONEER, 
 
 Office, 33 LIBERTY STREET, 
 
 TELEPHONE, 3213 JOHN. 
 
THE ALEXANDER PRESS, 
 14-16 ASTOR PLACE, N. Y. 
 
CONDITIONS OF SALE. 
 
 1. If there should bea dispute in regard to the bid be - 
 tween two or more buyers the article shall be at once 
 put up and re-sold. 
 
 2. Purchasers to give their names and places of resi- 
 dence and to pay a cash deposit of at least 25 per cent. of 
 the purchase money—or the whole of the purchase 
 money if required—in default of which the lot or lots so 
 purchased to be immediately put up again and re-sold, 
 
 3. Bills payable in cash before delivery. 
 4. Bills must be sent for delivery of goods. 
 
 5. Goods to be removed at the expense and risk of the 
 purchaser on the morning following each day’s sale and 
 the remainder of the purchase money to be absolutely 
 paid. 
 
 6. Goods not removed on the morning following each 
 day’s sale between nine and twelve o’clock, remain at 
 the sole risk of the pnrchaser. 
 
 7. No claims allowed after the removal of goods. 
 
 8. Articles are exposed for examination and are sold 
 without guaranty of any kind. 
 
 No goods delivered during the sale. 
 
 9g. Our record of sales in all cases final. 
 
 1o. Upon failure of complying with the above conditions 
 the money deposited in part payment shall be forfeited - 
 all Lots uncleared within the time aforesaid shall be 
 re-sold by public or private sale, and the deficiency (if 
 any) attending such re-sale shall be made good by the 
 defaulter at this sale together with all charges attending 
 the same. 
 
 This condition is without prejudice to the right of the 
 Auctioneer to enforce the contract made at this sale 
 without such re-sale if he thinks fit. 
 
 JOHN FELL O'BRIEN, 
 
 Auctioneer 
 
INTRODUCTORY PREFACE 
 
 With a natural inclination toward art, Mr. W. O. 
 Cole for nearly thirty years has made it his recrea- 
 tion and study. In the course of his business he re- 
 sided for about twelve years in London and availed 
 himself to the fullest extent of the advantages of- 
 fered for the prosecution of his hobby among artists, 
 in studios and galleries, and among the most sincere 
 and responsible experts and dealers in Paris. This 
 has resulted in placing the individual peculiarities 
 and characteristics of the artists above every other 
 consideration, and led him to seek those examples 
 which, whether slight or fully developed, were those 
 which the artists themselves, as Albert Wolfe quotes 
 Daubigny as saying, “ne voulent vendu pas,” and 
 which Whistler has said “were finished from the 
 beginning.” Without in the feeblest sense entering 
 on the broad scope of the Mesday Collection at The 
 Hague, Mr. Cole has yet made that remarkable ag- 
 gregation of the purest and most distinct individual 
 poetic expression of artists ever brought together 
 his highest ideal. These remarks apply particularly 
 to the pictures of the French School of T8305 liteis 
 not considered necessary to note the reasons which 
 make their sale advisable and peremptory. 
 
 With regard to the pictures of the modern Dutch 
 School embraced in the collection it can be stated 
 that they are all by men of established reputation, 
 whose works are becoming more widely known con- 
 stantly and are steadily increasing in value. As a 
 most fitting expression of the position which the 
 Dutch School itself has taken, we take pleasure in 
 quoting from an article from the pen of Mark 
 Rooses, the noted art critic: 
 
THE DUtCH SCHOOL 
 
 Among the schools of different countries and na- 
 tions, the Dutch School takes a peculiar and a dis- 
 tinguished place. It has not the versatility of others, 
 it feels no inclination to embark upon great subjects,' 
 nor to take voyages of discovery into unknown 
 regions; but it does not seek to deceive or impose 
 upon the world by any false glitter; it is opposed to 
 all show and exaggeration, all that may be called 
 theatrical; it is thoroughly sincere, and it expresses 
 and renders just what it sees and feels. 
 
 The Dutch School knows its “métier” better than 
 any other, and is the worthy and direct descendant 
 of former centuries, transformed, though not degen- 
 erated. The subjects are modest, but acquire im- 
 portance by fine execution; the colors are sober, 
 pure, and in good taste, neither loud nor discordant ; 
 conscientious and honest, it combines with its homely 
 virtues the higher attributes of reaY art, a sensitive- 
 ness for the beautiful, and the power to portray it 
 without being either commonplace or artificial. 
 
 It is the school of which, in proportion, the great- 
 est number of works will survive, because its pro- 
 ductions bear witness to a genuine and deep feeling 
 for art, and its sterling qualities are independent of 
 passing fashions and frivolous amusement. 
 
 MAX ROOSES. 
 
ARTISTS REPRESENTED. 
 
 Akkeringa, J., 18 
 Apol, L., 36 
 Boclgstardese2 
 Broedelet, 16 
 Bridgman, F. A., 22 
 Blommers, 10 
 Bilders, Van Bosse, 26-56 
 Brangwyn, F., 55 
 Beauquesne, W., 6 
 Bauffe, V., 12 
 Courbet, 43-63 
 Corot, J. B., 19-61 
 Constable, J., 51 
 Crane, B., 30 
 DeJong, A., 53 
 Daubigny, 21-52-73 
 Diaz, 29-71 
 
 Defaux, 8 
 
 Dupre, J., 13-49-72 
 Escosura, L., 35 
 Fragonard, J. H., 70 
 Hitchcock, G., 34 
 Howland, F., 24 
 Hoppe, B., 23-64 
 Inness, Jr., 57 
 Jacque, Chas., 9-27-44-75 
 Kost, F. W., 40 
 Kuypers, 5 
 
 Laguna, B., 25 
 Millet, J. F., 68 
 Murphy, J. F., 47 
 Michel, 76 
 
 Mauve, A., 15-39-67 
 Mura, 38 
 
 Neuhuys, 14 
 Priestman, B., 28 
 Peppercorn, 33 
 Roelofs, A., 11-45-60 
 Rix, J., 59 
 
 Rudell, P. E., 4-37 
 
Raffaelli, 42 
 Ranger, H. W., 17 
 Rousseau, Th., 66 
 Roelofs, W., Jr., 1 
 Schreyer, A., 48 
 
 Ter Meulen, 54 
 Vernet, H., 74 
 
 Van Waning, C., 20-58 
 Van Schaick, 3 
 
 Van Soest, L. W., 7-62 
 Van Ingen, 46 
 Valkenburg, H., 41 
 Whistler, J. McN., 65 
 Yvon, 32 
 
 Zwart, de Wm., 31-50 
 Ziem, F., 69 
 
BIOGRAPHICAL NOTES 
 
XIY NVITOAL 
 
 = 
 
LOUIS APOE 
 
 Painter of landscapes, principally Winter scenes, 
 born 1850; pupil of the Academy of The Hague and 
 of J. Hoppenbrouwers and P. Stortenbeker. Award- 
 ed medals, The Hague, Amsterdam, Munich, etc. 
 Member of International Jury of Awards, Chicago 
 World’s Fair. ‘Chevalier of the Order of the Eiken- 
 kroon. Is represented in the Museum of Amster- 
 dam, The Hague, Rotterdam, Dordrecht, and in 
 many other important collections. 
 
 JOHANNES EVERT AKKERINGA 
 Genre painter. Born 1864. Studied at the Acad- 
 emies of The Hague and Rotterdam. Enjoyed the 
 
 royal subsidy. Received the Willink Collin prize 
 and honorable mention, Paris, 1900 (World’s Fair). 
 
 VICTOR BAUFFE 
 
 Landscape painter. Born 1849. Pupil of The 
 Hague Academy; also of J. Weissenbruch. Repre- 
 sented in collections principally of England and 
 America. 
 
 WILLIAM CONSTANCE BEA UQUESNE 
 Contemporaneous French. 
 
 Pupil of De Neuville, with whom he studied for 
 
 about three years. Finding that his own paintings 
 
 met a ready sale, he left his master, but not without 
 
 taking with him that strength and virility so char- 
 acteristic in the works of De Neuville. 
 
 MARIA PHILLIPINE VAN BOSSE 
 BILDERS 
 
 Deceased. 
 
 Painter of woody landscape. Born 1837, died 1900. 
 Pupil of J. van de Sande Bakhuyzen,. Bosboom, and 
 her husband, J. W. Bilders. 
 
 13 
 
BERNARDUS JOHANNES BLOMMERS 
 
 Painter of Dutch interiors and seaside scenes of 
 fisherman-life. Pupil of the Academy of The Hague. 
 Gold medals, The Hague, Amsterdam, Munich, 
 Brussels. Honorable diploma, Antwerp, Amsterdam, 
 Chicago, Brussels. Gold medal, Paris, 1900. Che- 
 valier of the Order of St. Michael of Bavaria, Leo- 
 pold of Belgium, and Netherlandsche Leeuw. His 
 work is represented in the principal museums of 
 Holland, Europe, and America. 
 
 Ti eOPrILE DE bOCK 
 
 Landscape painter. -Born 1851. Pupil of J. W. 
 van Borselen and Weissenburch. Awarded medals 
 in Amsterdam, Munich, Berlin, Chicago, and Barce- 
 lona. Diploma of honor, Ghent. Silver medal, 
 Paris, 1900. Decorated with the Order of St. 
 Michael of Bavaria. His work is represented in the 
 museums of Holland and Belgium. 
 
 - F. A. BRIDGMAN 
 
 Born 1847, Paris. Pupil of Gerome. Medal 1877, 
 1878. Universal Exposition. Cross of the Legion 
 of Honor, 1878. Medal E. U., 1889. Medal Paris 
 Exposition, 1900. 
 
 ANDRE BROEDELET 
 
 Painter of figure pieces. Born 1872. Pupil of the 
 Academy of The Hague. Enjoyed the subsidy of 
 H. M. the Queen. His work is well known in Hol- 
 land; also represented in the collection of Mr. Druk- 
 ker, of London. 
 
 BRANGWYN 
 
 English artist. Born about 1862. Subjects mostly 
 Spanish and Oriental marine. One of the most 
 widely known and original painters in Europe. He 
 is represented in nearly every public gallery, includ- 
 ing the Luxembourg, Munich, Berlin, Vienna, and 
 Budapest, and the Carnegie Gallery in Pittsburg. 
 
 14 
 
JEAN BAPTISTE -GAMILLE COROT 
 Born 1796. Died 1875. 
 
 Accredited a pupil of Michallon and Victor Bertin, 
 it was nature after all that taught Corot all he knew 
 and to her he went for study, inspiration and con- 
 solation, working always with an enthusiasm, an 
 energy, and an intense love of her. He came of 
 modest origin, his father being a hairdresser, and as 
 a young man he was destined for trade, but, revolt- 
 ing, his people gave him a fixed allowance and he 
 was permitted to follow his inclinations. He visited 
 Italy, made many studies there, and early in his 
 career made careful searchings after nature which 
 enabled him later to paint with consummate knowl- 
 edge of landscape forms. Success came gradually 
 but surely, and he received always the encourage- 
 ment and admiration of his confreres. When he re- 
 ceived the decoration of the Legion of Honor, in 
 1846, Corot’s father doubled his allowance. Corot 
 was the doyen of the little group of Barbizon men. 
 He was almost childlike in his naiveté, beloved by 
 all his fellows, and had but one thought in life—his 
 art. No one in all the history of landscape painting 
 ever found more of the beauty, the charm, and deli- 
 cate poetry of nature; his color is exquisite, his sense 
 of beauty complete, and his manipulation of his 
 colors that of a genuine master. He lived to a splen- 
 did old age, working to the last with all the enthu- 
 siasm of youth, and he died full of honors, regretted 
 by the world at large. Medals: 1838, 1848, 1855, 
 and 1867; Legion of Honor, 1846; Officer of the 
 Legion of Honor, 1867; Diploma to the Memory of 
 Deceased Artists, Universal Exposition, 1878. 
 
 GUSTAVE COURBET 
 
 Born 1819. Died 1878. 
 
 Genre, landscape, and portrait painter. Sent to 
 school at Besancon and then to study law at Paris 
 in 1839. Attended several studios, but chiefly that 
 of David d’Engers.. He exhibited in 1844, though 
 it was not until 1849 that he first attracted attention 
 by his “After Dinner at Ornans,” and the “Stone- 
 Breakers” were much talked about. After 1870 he 
 ceased to exhibit his pictures. 
 
 15 
 
BRUCE CRANE 
 
 Born 1857. A. N. A. Pupil of A. H. Wyant. 
 Visited Europe in 1878 and remained several years, 
 painting principally in France. Member Society 
 American Artists, 1881. Awarded Webb prize of 
 $500, 1897. Medal, Paris Exposition, 1900. 
 
 JOHN CONSTABLE, R. A. 
 
 Born 1776. Died 1837. 
 
 Landscape painter. Pupil of Royal Academy in 
 1779, and later of Joseph Farrington and R. R. 
 Reinagle. After painting portraits and history, he 
 turned to landscape art as his real vocation, exhib- 
 iting his first picture in 1802. He became a member 
 of the Royal Academy in 1829 and never during his 
 lifetime enjoyed any great popularity in his native 
 country. The influence he exerted upon the modern 
 school of French landscape painting, which is incon- 
 testable, fully entitled him to a place in the great 
 national French collection. 
 
 CHARLES FRANCOIS DAUBIGNY 
 Born 1817. Died 1878. 
 
 The youngest of the Barbizon painters, Daubigny 
 was the son of a teacher of drawing, and his aunt 
 and uncle being miniature painters, he may be said 
 to have come by his taste naturally. He was a pupil 
 of Paul Delaroche, and he was an unsuccessful 
 aspirant for the Prix de Rome. He did go to Italy, 
 however, and he traveled considerably about Europe, 
 but he finally settled down in France to paint. the 
 landscape along his native rivers, and in this work 
 he holds a unique position. He received the cross 
 of the Legion of Honor in 1857, his picture, 
 “Springtime,” being bought by the government, and 
 it now hangs in the Louvre. He built a large boat, 
 which he called “le Bottin,” and he may be said to 
 have spent the latter part of his life floating upsand 
 down the French rivers near Paris, painting that 
 scenery which he loved so much, and with which his 
 name will ever be associated. Medals: 1848, 1853, 
 1857, 1867; Legion of Honor, 1859; Officer of the 
 Legion of Honor, 1874; Diploma to the Memory of 
 Deceased Artists, Universal Exposition, 1878. 
 
 16 
 
ms 
 
 WANIN( 
 
 VAN 
 
 Cc, 
 
ALEXANDRE DEFAUX 
 
 Contemporaneous French. 
 
 The majority of his subjects are farmyard scenes, 
 with chickens in the foreground, treated in a broad, 
 bold manner. In the Paris Salon of 1874 and 1875 
 he received medals, and in 1891 was declared Hors 
 Concourt. 
 
 ANTHONY DE JONG 
 
 Very promising artist, who received a royal sub- 
 sidy of the Queen. Member of the celebrated Art- 
 ists’ Society in The Hague. 
 
 NARCISO VIRGILIO DIAZ DE LA PENA 
 
 Born 1808. Died 1876. 
 
 Among all the painters who composed the group 
 of the Barbizon men, none had a more curious his- 
 tory, and few possessed greater individuality than 
 the French-born Spaniard, Diaz. Left to his 
 mother’s care by a recreant father, he was brought 
 up in great poverty by an energetic mother who had 
 a hard struggle and died when the lad was ten years 
 of age. Adopted bya Protestant clergyman at 
 Bellevue, near Sévres, close to Paris, he was left to 
 wander pretty much by himself, and at thirteen lost 
 one of his feet through the poisonous bite of an in- 
 sect. Later he worked in the porcelain works at 
 Sevres, leaving to go with Francois Souchon, an his- 
 torical painter, but he could never stand restraint, 
 and soon he went his own way, painting that which 
 pleased him. He made small panels of cupids, 
 nymphs, and gaily dressed men and women, finding 
 a ready market for his work at modest prices, and 
 finally he drifted down to the forest of Fontaine- 
 bleau, where he met Rousseau. There he painted 
 landscape after nature and in his studio. His color 
 is unique and his originality most engaging. 
 Whether in the figure or landscape, one must admit 
 his genius, wayward at times, it is true, but there 
 is ever to his most unimportant panel that genuine 
 artistic touch so rare and so valued. It was his in- 
 timate friend, Jules Dupré, who said, with a sigh, 
 
 17 
 
as he stood at the open grave of Diaz: “The sun 
 has lost one of its most beautiful rays.’ Medals: 
 1844, 1846, 1848; Legion of Honor, 1851; Diploma 
 to the Memory of Deceased Artists, Universal Ex- 
 position, 1878. 
 
 JULES DUPRE 
 Born 1812. Died 1889. 
 
 With Rousseau, Jules Dupré was one of the moy- 
 ing spirits who started the famous Fontainebleau 
 School far back in 1830, and, curiously enough, he 
 was the only one of the group who lived to see the 
 work of the school fully appreciated. Dupré had a 
 melancholy strain about him, as may be seen by his 
 pictures, which breathe a tender sentiment, touched, 
 perhaps, by a poetic sadness that is most effective. 
 He was a deep student and lover of nature, and he 
 enjoyed all through his life a very fair measure of 
 prosperity, for he, almost alone of his comrades liy- 
 ing in the splendid woods of Fontainebleau, found 
 patrons, and never wanted for money. He enjoys 
 a reputation as a painter of the sea quite as much 
 as of the landscape, and all he did bears a strong 
 personal mark, characteristic of the man and his 
 nature. His color was always good, his touch virile, 
 and, above all, he painted with passion. Medals: 
 1833, 18607; Legion of Honor, 1849; Officer of the 
 Legion of Honor, 1870. ; 
 
 “A Riverside.” 
 Shes Mann= Yard 
 
 LEON Y ESCOSURA 
 
 Spanish. Born in the Asturias. Commander of 
 the Order of Isabella the Catholic. Chevalier of 
 the Order of Charles III. of Spain and of Christ of 
 Portugal, etc. Pupil of Gerome, Paris. Granted by 
 amateurs and critics to have been one of the best 
 genre painters the world has ever produced. 
 
 18 
 
J. H. FRAGONARD 
 Born 1732. Died 1806. 
 
 Genre and decorative painter and engraver. Pupil 
 of Chardin and Boucher. In 1752 obtained the 
 Grand Prix de Rome for his Jeroboam, now in the 
 Ecole des Beaux Arts. In Italy studied especially 
 Tiepolo. After his return received into the Acad- 
 emy in 1765. He treated the same class of subjects 
 as his master, Boucher, with surprising fidelity and 
 unbridled license. 
 
 HErencock 
 
 Born Providence, R. I. Member Munich Seces- 
 sion, Paris Society of American Artists, and Vienna 
 Academy of Artists. Honorable mention, Paris, 
 1887; gold medal A. A. A., New York, 1887; gold 
 medal Universal Exposition, Paris, 1889; gold medal 
 Berlin Academy, 1896; Dresden Academy, 1897, and 
 Vienna Jubilee Exhibition, 1898. Represented in 
 Chicago Art Institute, Detroit Art Museum, and 
 Dresden Gallery, Imperial collection. Medal 
 World’s Fair, Chicago, 1893. 
 
 FERDINAND BERNARD HOPPE 
 
 Marine and landscape painter. Born 1841. Stud- 
 ied at the Academy of Dusseldorf, Germany, under 
 Prof. Carl Ludwig. Awarded two silver medals. 
 Represented in celebrated collections in Germany 
 and Holland. 
 
 GEORGE INNESS, JR 
 
 Son of the great master of American landscape 
 painting. George Inness, Jr., was born at Paris, 
 France, January 5, 1854, and became a pupil of his 
 father, at Rome, from 1870 to 1874, afterwards work- 
 ing in Paris at the schools there. It was, of course, 
 impossible that so strong an art personality as that 
 possessed by the older man should not impress itself 
 strongly upon the son, and while this is admittedly 
 so, the younger artist has preserved an individuality 
 of his own which, despite the technical leanings he 
 
 19 
 
has toward those of his father, is manifest through- 
 out his work. Of a thoughtful, analytical nature, 
 full of enthusiasm and youthful spontaneity, George 
 Inness, Jr., works with a delight in his profession, 
 and is generally represented at the current exhibi- 
 tions with pictures quite his own and in excellent 
 color, as well as interesting in composition. He has 
 a studio in New York and is a member of the Na- 
 tional Academy of Design and other art bodies. 
 
 CHARLES EMILE JACQUE 
 Born 1813. Died 1895. 
 
 Jacque, who is high in rank among the painters of 
 landscape and animals, and who excelled in both, 
 harmonized the two with true feeling. Like Millet, 
 for a time he sought elegance in style, but abandoned 
 it to give to the figures of his rural scenes only the 
 look natural to them. After leaving school Jacque 
 entered the office of a notary; at seventeen he began 
 to study engraving, leaving that to join the army, 
 where he remained seven years. Again he went to 
 engraving and worked for two years, beginning in 
 1845 to paint. Later he turned his attention to etch- 
 ing, in which medium he became one of the most 
 distinguished masters of his time. It was not until 
 1861 that his work in oil received official recognition. 
 He was one of the Barbizon-Fontainebleau painters, 
 indeed the last survivor of that group. As a painter 
 of sheep and barnyard fowl he was famous, and the 
 landscape part of his work is no. less remarkable, 
 time having somewhat refined and mellowed his 
 color, which at the first was inclined to be heavy. 
 It is interesting to note that the sale of his studio 
 collection of pictures and sketches, after his death, 
 produced the remarkable figures of 600,000 francs. 
 Medals: 1861, 1863, 1864, 1889; Legion of Honor, 
 1867. 
 
 FREDERICK W. KOST 
 
 Born 1861 in New York. Studied in the school 
 of the National Academy, and later in Paris and 
 Munich. Associate member N. A. Member of 
 Society of American Artists, the Society of Land- 
 scape Painters, and the Artists’ Fund Society. 
 
 20 
 
135 
 
 MAUV 
 
 A. 
 
CORNELIS KUYPERS 
 Landscape painter. Born 1864. Pupil of his 
 father, Jan Kuypers. 
 
 JEAN FRANCOIS MILLET 
 Born 1814. Died 1875. 
 
 Millet, the painter of the laboring peasants, was 
 born at Gruchy. As a youth he worked with his 
 father on the farm, spending his leisure in drawing, 
 until at last a family council was held and he was 
 permitted to take lessons from two painters in Cher- 
 bourg. After three years’ labor a subsidy from the 
 municipality of Cherbourg, augmented by the sub- 
 scriptions of private individuals, enabled him to go 
 to Paris, where he entered the studio of Delaroche. 
 Such discipline as he encountered there was not for 
 one so full of what he himself desired to,do. He 
 found the master’s pictures “huge vignettes; theatri- 
 cal effects without any real sentiment.” For a time 
 he tried to support himself by painting little genre 
 pictures such as he thought the public seemed to 
 want; but they were unsuited alike to his method 
 and taste, so that at length he dared to hearken to 
 the “cry of the soil,” with which he used to say he 
 was haunted, and produced the “Winnower.” The 
 sale of this picture encouraged him, and hearing from 
 Jacque of the Barbizon colony, he determined to 
 join it. In June of 1849, when Millet was thirty-five, 
 the two painters, with their wives and children, set 
 out, and by evening reached the spot with which 
 their names will be forever associated. Several years 
 of grinding poverty ensued, and it was 1863 before 
 the artist was in a position to buy a little house in 
 Barbizon. By this time his reputation was no longer 
 in doubt. At the Universal Exposition of 1867 he 
 was represented by nine pictures and received the 
 Grand Medal, and two years afterward was on the 
 Hanging Committee at the Salon; and he lived to 
 see his “Woman with the Lamp,” for which he re- 
 ceived a hundred and fifty francs, sold for thirty- 
 eight thousand five hundred. “Ah,” he said, “they 
 begin to understand that it is a serious picture.” 
 He lies buried near Rousseau, in the churchyard at 
 Chailly, on the edge of the forest, and the heads of 
 the two masters are recorded side by side on the 
 Barbizon stone by Chapu. 
 
 aI 
 
Be LAGUNA 
 
 Born Amsterdam, Holland. Painter of Dutch in- 
 teriors. Resides at Laren, Holland. A very prom- 
 ising artist. The old man in the picture by this 
 artist has posed for many of the celebrated pictures 
 by Mauve, and also for J. Maris. 
 
 ANTON MAUVE 
 Born 1838. Died 1888. 
 
 Born at Zaandam, Holland, Mauve was a pupil 
 of Pieter Frederick Van Os, and subsequently be- 
 came a member of the Dutch Society of Arts and 
 Sciences, as well as of the Belgian Water Color 
 Society. He was one of the most distinguished of 
 the modern Dutch painters, both in oil and water 
 color, and obtained many honors, having been made 
 a Knight of the Order of Leopold and receiving 
 medals at Philadelphia, Amsterdam, Vienna, Ant- 
 werp, and Paris. His works are in many of the 
 principal museums of Europe and America, and in 
 late years, since his death, his fame has greatly in- 
 creased. He delighted in the tender sentimental ef- 
 fects of evening, in which he introduced cattle or 
 sheep, and his works have nearly always a poetry 
 and feeling entirely personal and always charming. 
 
 FRANCOIS PIETER TER MEULEN 
 
 Landscape, with animals, painter. Born 1843. 
 Pupil of J. van de Sande Bakhuijsen. Awarded sil- 
 ver medal International Exhibition, Amsterdam; 
 gold medal Annual Exhibition, Munich, 1891; gold 
 medal International Exhibition, 1892. His works 
 to be found in celebrated collections in Europe and 
 America. 
 
 GEORGES MICHEL 
 Born 1763. Died 1843. 
 
 Landscape and genre painter. Pupil of Taunay. 
 He was an excellent copyist, and was employed in 
 the restoration of the pictures of Cardinal Fesch. 
 Though he had but little reputation in his day, his 
 pictures are now much sought after. 
 
 22 
 
J. FRANCIS MURPHY 
 
 The high rank that J. Francis Murphy has taken 
 in the later landscape development of American art 
 is not the result of sudden favor, or of anything but 
 steady, logical progress, for he has been a serious 
 worker, a devoted student of nature, and from the 
 beginning he has steadily advanced, to-day fulfilling 
 the promise of his early work. He was born in 
 Oswego, N. Y., in 1853, and has made his way 
 without schools or instructors, being entirely self- 
 taught. Though he has spent some time abroad, it 
 was after he had established a reputation, and he 
 has changed little since the beginning, his style re- 
 maining personal and his time being devoted en- 
 tirely to a better, clearer, and more poetic interpre- 
 tation of nature. Maturing, refining, and endeavor- 
 ing to secure always an intelligent notion of the 
 ways and means of expression, he has forged ahead 
 quite legitimately. A member of the National Acad- 
 emy of Design, the Society of American Artists, the 
 American Water Color Society, and other organiza- 
 tions, he has been awarded the Webb, Hallgarten, 
 and Evans prizes, and his pictures are in most of 
 the American collections. At the Evans and Clarke 
 sales, his canvases brought large prices and attracted 
 attention in a company of works where there were 
 few indifferent examples. 
 
 FRANK MURA 
 
 Comparatively unknown four years ago, his pic- 
 ture in the International Exhibition in London 
 brought him into public notice, and his works are 
 now in demand by dealers and amateurs whenever 
 shown. 
 
 ALBERT NEUHUYS 
 
 Painter of Dutch interiors with figures. Born in 
 1844. Pupil of G. Craeyvanger, Utrecht, and of the 
 Antwerp Academy. Represented in the principal 
 museums in Holland and European and American 
 collections. 
 
 23 
 
PEPPERCORN 
 
 Properly called the Daubigny of England. 
 Through many years of struggle he has fought his 
 way to recognition, and at every exhibition of his 
 works his pictures are now readily taken. 
 
 BERTRAM PRIESTMAN 
 
 A young English artist of strong, broad work, 
 whose paintings are in almost every important ex- 
 hibition and are owned by the most prominent public 
 and private galleries in England. 
 
 JEAN FRANCOIS RAFFAELLI 
 
 There was an exhibition in Paris, along back in 
 the early eighties, of quaint little scenes in the 
 houses of the bourgeoisie of France, thoroughly 
 original in idea, and executed with a naiveté that 
 impelled instant attention. Indeed, the display at- 
 tracted much popular favor, and was the talk of the 
 town. Later came other work from the man, of the 
 lower sort of inhabitants of the great metropolis, 
 rag-pickers, laborers drinking, coal heavers and the 
 like, and in each work there was always the same 
 originality, the careful observation and the artistic 
 quality that lifted it away above the ordinary. They 
 were by Raffaélli, who, though Italian in name, was 
 a true Parisian. With the years, he has left this 
 more hopeless, dreary humanity, and given himself 
 up rather to pictures of the more fashionable, or at 
 least the more prosperous life of the city, and he has 
 made a specialty of painting the bright, gay streets 
 and boulevards, filled with sparkling color, well- 
 dressed people, and the joy of life. And he has 
 painted portraits and pictures of beautiful young 
 women. He made a visit to this country some years 
 ago, and held an exhibition in New York, making 
 the acquaintance of many of our collectors, and to- 
 day he is well known in America. He was born in 
 Paris, received a gold medal at the Exposition Uni- 
 versalle of 1899, and is a Chevalier of the Legion of 
 Honor. 
 
 H. W. RANGER 
 Well-known New York artist. 
 
 24, 
 
JULIAN RIX 
 Regecaate American landscape artist. 
 
 WILLEM E. ROELOFS, JR. 
 
 Painter of still life and landscape. Born 1874. 
 Studied at the Academy at The Hague. Awarded 
 honorable mention, 1900, Paris. Represented at the 
 Museum of the Academy of St. Louis. 
 
 ALBERT ROELOFS 
 
 Painter of portraits and figure subjects; also land- 
 scape and still life. Born 1877. Studied at the 
 academies at The Hague and Brussels; also with his 
 father, William Roelofs, and Fritz Jansen. Award- 
 ed medal, 1900, Paris, World’s Fair. Is represented 
 by portrait work in important collections. Also in 
 the Museum of the Academy of St. Louis 
 
 THEODORE ROUSSEAU 
 Born 1812. Died 1867. 
 
 Rousseau was born in Paris, his father being a 
 tailor. As a boy, he is said to have been very fond 
 of mathematics, and when he began to learn to 
 paint it was in the studio of the classicist, Lethieére. 
 But from the window of his home overlooking the 
 roofs of Paris, he was even then beginning to study * 
 the facts around him, and in the summer rambled 
 in the country around Paris, making little landscapes 
 of nature as he really saw it. His first excursion to 
 Fontainebleau occurred in 1833, and the following 
 year he painted his first masterpiece, the “Cotés de 
 Grandville,” for which he received a medal of the 
 third class. But after this his pictures were refused 
 at the Salon for fifteen years, and it was only when 
 the Revolution of 1848 had upset the Academic 
 Committee as well as the king, that his pictures ob- 
 tained official recognition. In the meantime he had 
 had a hard struggle for a livelihood, and even after 
 1848, people, accustomed to brown landscapes, were 
 repelled by the greenness of his. At the Exposition 
 of 1867, although he acted as the president of the 
 International Jury, his services were not rewarded, 
 as is the usual custom, by an officership in the 
 Legion of Honor, and his chagrin over the insult is 
 supposed to have hastened his death. 
 
 2 
 
POE ARUDELL 
 
 Born in Grand Rapids, Mich. Painter of land- 
 i scape, marines, lake views with coasting craft. One 
 | of the American artists admitted to the Paris Salon 
 ' of 1885. Obtained medal in the Academy Exhibi- 
 
 “oy. “cn (tion in New York in 188r. 
 
 ADOLP SCHREYER 
 Born 1828. Died 1goo. 
 
 Probably one of the best painters of horses the 
 ‘world ever saw. He acquired his intimate knowl- 
 ' edge of the anatomy and pose of a horse and rider 
 
 by long and arduous travel through Hungary, Wal- 
 lachia, and Southern Russia, and accompanying the 
 Austrians on their march through the Danubian 
 principalities in 1854. Was member of Antwerp and 
 Rotterdam academies. Medals: Brussels, 1863; 
 Paris, 1864, 1865, 1867; Munich, 1876; Order of 
 Leopold, 1866; court painter to Duke of Mecklen- 
 burg, 1862. 
 
 LOUIS W. VAN SOEST 
 
 Landscape painter. Born 1867.  Self-taught. 
 Awarded gold medal World’s Fair, Brussels; 
 World’s Fair, Paris, 1900. His work exhibited at 
 the World’s Fair, Paris, 1900, has recently been 
 bought for the museum, Luxembourg. 
 
 HENDRIK VALKENBURG 
 
 Deceased. Painter of Dutch interiors and land- 
 scape with figures. Born 1826. Died 1896. Pupil 
 of the Antwerp Academy. Awarded silver medal 
 1847; bronze, 1871, Luik; gold medals, Amsterdam, 
 1874 and 1888; The Hague, 1872; London, 1884, sil- 
 ver medal; honorable mentions, Paris, London, Ber- 
 lin. Represented in museums of Holland and in 
 Dutch and foreign celebrated collections. 
 
 26 
 
HENRY VAN INGEN 
 
 Amaerican artist and instructor at Vassar Colleg 44 
 Born in Holland 1833. Died 1898. 
 
 CORNELIS: ANTHONIJ VAN WANING 
 
 Painter of town and river views. Born in 1861. 
 Pupil of G. Bosboom. Awarded honorable mention, 
 1892, Scheveningen; silver medal 1898, Barcelona. 
 Represented in the celebrated Mesdag and other pri- 
 vate collections. 
 
 HORACE VERNET 
 
 French; 1789-1863. Member of the Institute 1820. 
 Director of French Academy at Rome 1828. Grand 
 officer of the Legion of Honor, etc., etc. His greater 
 works are in the Palais Versailles. 
 
 J. Mc NEILL WHISTLER 
 
 Born in Lowell, Mass., in 1834. Figure and por- 
 trait painter. Educated at West Point. Pupil for 
 two years of Gleyre in Paris. Settled in 1863 in 
 London. Is as well-known by his etchings as by 
 his works in oil. Elected in 1886 president of the 
 Society of British Artists. 
 
 ADOLPHE YVON 
 
 Born at Eschwiller, Lorraine, February 1, 1817. 
 History and portrait painter. Pupil of Delaroche. 
 Went to Russia in 1843 and was sent to the Cri- 
 mea to paint the incidents of the war. 
 
 27 
 
FELIX ZIEM 
 
 Born 1821. Contemporaneous. . 
 
 Ziem’s name will ever be associated with pictures 
 of Venice, for he has, so to speak, become tlhe pic- 
 torial historian of that beautiful city. He was born 
 at Beaune, Cote d’Or, and studied at the art school 
 at Dijon. Much travel in the east gave him delight 
 in gorgeous color schemes and he brought back with 
 him souvenirs of Constantinople and has since 
 painted many pictures of that place. His fame as 
 a painter of Venice is world-wide and his pictures 
 are in most of the important collections in Europe 
 and America. Medals: 1851, 1852, 1855, 1878; offi- 
 cer of the Legion of Honor. 
 
 W. H. P. J. DE ZWART 
 
 Landscape painter. Born 1862. Studied with 
 Jacob Maris and at The Hague Academy. Awarded 
 gold medals, Munich, Antwerp, Chicago, and Arn- 
 hem, 1901; honorable mention, Paris. 
 
CATALOGUE 
 
CATALOGUE 
 
 I 
 
 WILLEM E. ROELOES, JR. 
 THE PASTURE 
 
 A picture full of vivid coloring and charm. The 
 rich greens of the meadows are such as only can be 
 seen in Holland. The hot simmer of a mid-summer 
 day is suggested in the coloring of sky, and the shafts 
 of light which throw up the darker tones and shades. 
 The brilliant color effects are given with rare skill 
 and feeling. Bought from the artist. 
 
 114 x 18. 
 
 2 
 
 DE BOCK 
 TOWER IN AMSTERDAM 
 
 The artist has given here a vigorous little bit, bold 
 in outline against a heavy sky, powerful though in a 
 dark, gloomy tone, and much after the manner of 
 
 Jacob Maris, who was his confrere. 
 714 x0. 
 
 3 
 
 VAN SCHAICK 
 THE TROUBADOURS 
 
 Lounging on a garden seat, three troubadours while 
 away the time with music, song, and laughter. The 
 delicate coloring of the gowns, the refreshing 
 
 greenness of the trees, the graceful pose and the hap- 
 piness of youth all lend a charm to the scenes. 
 19 X31. 
 
 31: 
 
4 
 fA P. E. RUDELL 
 A FOREST GLADE 
 
 A lovely little bit of luxuriant growth, full of 
 poetry and charm. The late summer greens and 
 yellows of the glade are brightened by a spot of blue 
 sky peeping through the trees. The detail work is 
 broadly handled. 
 
 10 x 14. 
 
 5 
 CC; KUYPERS 
 A LANDSCAPE 
 
 A tender little landscape full of atmosphere and 
 feeling. A few touches of green in the foreground, 
 the last traces of summer, contrast against the bare 
 limbs of the trees, and an old woman is busily en- 
 gaged picking up the fallen twigs. One can feel the 
 crispness of the Autumn Day. Bought from the 
 
 artist. 
 18 x 13. 
 6 
 WM. BEAUQUESNE 
 if arom AT BAY 
 
 Representing a cellar scene in Paris during the 
 Franco-Prussian War. 
 
 22x 18. 
 
 7 
 os LOUIS SVAN SOEST 
 
 ee sch EVENING 
 
 Tenderly poetic and thoroughly artistic rendering 
 of a difficult subject, showing great promise of future 
 achievements. 
 
 1034 X 1334. 
 
8 
 
 ALEXANDER DEFAUX 
 LE CONFERENCE 
 
 Chicken piece, representing a cock perched upon 
 a rock haranguing a motley crowd of his own species. 
 13% xX 25. 
 
 9 
 JACQUE 
 CLOUDY DAY 
 
 This is a sketch showing a sheep flock, dark, lurid 
 clouds being over the horizon almost obliterating the 
 sky. One patch of brilliant blue shows that the com- 
 ing storm will be but transitory. A personal interest 
 is attached to this strong little bit by the dedication 
 in the corner “a mon ami Robert.” 
 
 9x 13. 
 
 Io 
 BLOMMERS 
 ON THE SEASHORE 
 
 Peasant mother and child walking on the seashore, 
 children playing and bathing in the distance. This 
 is a sunny bit of the well-known Watering Place of 
 Schevingen near The Hague, and a very strong 
 characteristic picture of the artist. 
 
 19x 16%. 
 
 It 
 ALBERT ROELOES 
 TOWER OF DORDRECHT 
 
 This is a masterly reproduction of the Tower 
 which Jacob Maris has made so famous, faithfully 
 depicted with clever technique. The coloring is 
 pleasing and the brush work wonderfully strong. A 
 radiant blue sky, modified with clouds of white and 
 gray, form a pleasing blackground. Bought from the 
 artist. 
 
 16 x 13. 
 
 ao 
 
12 
 
 nn _ -V. BAUFFE 
 So POOLS NEAR GOUDA 
 
 This represents the low-lying lands of Holland. An 
 old boat is lying idle in the marsh. A little islet of 
 emerald hue and a narrow stretch of land on the 
 horizon enlivens the drab dullness of the pools. The 
 sky, although free from color, is singularly full of 
 atmospheric light. Bought from the artist. 
 
 : 16x 254. 
 
 13 
 
 JULES DUPRE 
 A VILLAGE SCENE 
 
 A little work bearing the strong personal mark of 
 the artist, depicting a group of his favorite old cot- 
 tages and trees. The picture breathes a tender senti- 
 ment, the coloring is good, and the touch virile. 
 
 6x7. 
 
 14 
 A. NEUHUYS 
 DUTCH CHILDREN AT PLAY 
 
 It depicts two children at play seated in the corner 
 of a peasant’s cottage. The daylight streams through 
 the small window into the dark room, resting on the 
 children. The picture shows the artist’s tender sym- 
 pathy with child life and is full of his usual strength. 
 Bought from the artist. 
 
 15 x 10. 
 
 ne 1s 
 200 A. MAUVE > 
 ee THE WILLOWS 
 
 An exquisite bit of coloring and shows the masterly 
 brush work of the artist. It is a study in green; a 
 tow of willows on the bank of a stream, the brown 
 
 34 
 
trunks and brown mold of the field in the back- 
 ground affording a contrast, and a burst of sunlight 
 in the corner lighting up one patch into vivid color- 
 ing. 
 
 12% x16. 
 
 16 
 A. BROEDELET 
 
 MAN WITH GAME 
 Water Color. 
 
 A three-quarter length man in shooting costume 
 returning home with a brace of ducks slung over his 
 shoulder. The soft white down and the pearly 
 shades of the wings are thrown into strong contrast 
 by the dark background. The birds are faithfully 
 portrayed and the painting has the unction and mel- 
 lowness of a great painter of still life. From Dr. 
 Tilsingh collection. 
 
 Beexa2o 
 
 7 
 RANGER 
 CANADIAN LOWLANDS 
 
 An interesting water color, quite strong in treat- 
 ment. Everything is wet and sodden with the recent 
 rain, and a woman is making her way homeward to 
 the farm in the distance. The picture is full of 
 moisture, and the quiet of approaching evening is 
 given with artistic appreciation. Water color. 
 
 174 x 23. 
 18 
 AKKERINGA 
 
 WASH DAY, 
 
 In the corner of a Dutch garden a woman is 
 busily engaged hanging up the snowy linen. A house 
 in the background is almost hidden with a wealth of 
 apple blossoms and the tender green of the Spring 
 leaves. There is much detail, yet an artistic quality 
 of breadth in the conception. Bought from the 
 artist. 
 
 14 x 1034. 
 35 
 
oe 
 COROT 
 STUDY OF A TREE 
 
 This is a study of a tree, and shows in every stroke 
 the master-hand. The dark-green overhanging 
 branches are vigorously painted and the brush work 
 is characteristic. 
 
 Tix 8: 
 
 20 
 C. VAN WANING 
 DORDRECHT 
 
 Looking up the river the city of Dordrecht is seen 
 on either side. The tall masts of the idle boats are 
 silhouetted against the sky; big clouds of black and 
 grey are just relieved by splashes of white and one 
 little patch of blue. The strength of this young ad- 
 vancing artist is seen in every stroke of the brush. 
 Bought from the artist. 
 
 19 X 24. 
 
 21 
 
 DAUBIGNY 
 APPLE TREES IN BLOOM 
 
 This delicate little bit of Spring is more character- 
 istic in treatment than in subject, although the artist 
 has painted several on the same general lines. In the 
 centre of an orchard stands a blossom-laden tree, the 
 delicate pink making a charming combination with 
 the young green grass and the sober trees in the 
 background, which have not yet thrown off their 
 Winter mantle. 
 
 9x 10. 
 
 22 
 
 F, A. BRIDGMAN 
 DAY DREAMS 
 
 A pleasing bit of color, suggesting Summer. Two 
 girls, lightly clad in floating draperies, are lying at 
 
 36 
 
COGR BET: 
 
ease beside a brook watching it fairly dance along 
 over the little falls. A tender light breaks through the 
 trees, glinting the brook and resting on the fair 
 dreamers. An extremely desirable convas. 
 
 26 x 35%. 
 
 23 
 
 BERNARD HOPPE 
 NEAR THE LEIDSCHE DAM HOLLAND 
 
 A shallow pool reflecting the willows on one side 
 and on the other flat, marshy ground, on which cattle 
 are grazing under a group of magnificent trees 
 through which the red-tiled roofs of the dam are 
 gleaming. A grey sky full of pink opalescent tints 
 throws a soft radiance over this pleasing work. 
 Bought from the artist. 
 
 12x 16. 
 
 24 
 
 F. HOWLAND 
 THE FLOWER GATHERERS 
 
 ‘ A lovely little cabinet picture, full of warmth. 
 
 Two women in evening attire are seated in a bower 
 
 of roses. The rich red and pure white of the gowns 
 
 serve to accentuate the translucent flesh tints and the 
 
 dark greens of the bower form a fitting background. 
 8 x6. 
 
 25 ; 
 LAGUNA 
 DUTCH INTERIOR 
 
 Tired from the labor of the day an old Dutchman 
 comes home and sits at his favorite seat in the corner. 
 He is Jighting his pipe preparatory to a well-needed 
 rest. Everything in the cottage is characteristically 
 Dutch, rather sombre, perhaps; but the delicious 
 green of the foliage seen through the window light- 
 ens it up and affords a contrast to the picture of old 
 age within. This same old man has been the favorite 
 model of Mauve and Maris for many years. Bought 
 from the artist. 
 
 Ig x 15. 
 
 37 
 
VAN BOSSE BILDERS 
 IN THE DUNES, HOLLAND 
 
 The artist’s love of the beauty and art in land- 
 scape painting is here depicted by. the sandy dunes, 
 sparsely covered with the vivid green of Holland. 
 There is a greyish sky quite luminous. The treat- 
 ment is broad, but effective. From Dr. Tilsingh’s col- 
 
 lection. 
 6x 12%. 
 
 27 
 of A CHARLES JACQUE 
 GIRL AND SHEEP 
 
 2) A bold little sketch, representing a young girl 
 al knitting and attending a flock of sheep. A tender 
 glow of yellow light permeates the whole; one feels 
 the charm which this artist always adds to scenes of 
 rural simplicity. 
 G5x ©) 
 
 28 
 f 
 4 ff B. PRIESTMAN 
 A 
 CATTLE 
 7 A fine work from the brush of this well-known 
 English artist. Two sleek cows, one black and white, 
 are standing patiently under the trees of the meadow, 
 which is a symphony in greens. The cattle are 
 grouped to the best advantage and the simplicity and 
 naturalness is well expressed. 
 20 x 20. 
 29 
 Ni N. DIAZ 
 
 FIGURE GROUP 
 
 An early work, high in color and of great purity. 
 From one of the most important collections ever dis- 
 
 tributed. 
 10x 12%. 
 
 38 
 
30 
 BRUCE CRANE 
 
 WINTER 2 
 
 A snow-covered road, showing the rut of wheels. 
 A man in the far perspective. On one side the bare 
 trees of a little copse and on the other a fenced-in 
 cottage. The beautiful whiteness of the snow is in- 
 tensified by the warm evening light. Little flecks of 
 pink clouds are dotted over the blue-green sky, and 
 the vanishing sun leaves behind him golden rays 
 which pierce the gray clouds on the horizon. This 
 picture is considered the chef d’ceuvre of the artist. 
 
 25 x 30. 
 
 31 
 WILLIAM DE ZWART 
 CATTLE MARKET IN HOLLAND 
 
 A beautiful little cabinet picture of exquisite color- 
 ing obtained directly from the artist. In the yard of 
 a Dutch farm some men are looking over the points 
 of a sleek black and white cow. Everything is per- 
 fect in detail and yet strong and vigorous, showing 
 the great artistic talent of this young but promising 
 aitist. 
 
 5x8y. 
 
 32 
 YVON 
 CARDPLAYERS 
 
 One of the best portrayals of soldier life executed 
 by this artist. A number of soldiers grouped around 
 a table are deeply interested in a game of cards, 
 whilst two of their comrades sleep. A lantern on the 
 wall affords them light and throws into deeper 
 density the darkness of the farther corner of the 
 room. The work is strong and color good and the 
 light and shade very effective. 
 
 1434 x 18. 
 39 
 
PEPPERCORN 
 A GREY DAY 
 
 This landscape is treated in this English artist’s 
 usually broad style. The sky expresses a feeling of 
 low-toned radiance, in contrast to the otherwise 
 dreary meadow, in which cattle are browsing. The 
 brush work is strong and the exquisite tones of grey 
 aud dark greens are in the artist’s purest style. 
 Bought from the artist. 
 
 12x 18. 
 
 34 
 
 GEORGE HITCHCOCK 
 THE FLAG OF HOLLAND 
 
 The picturesque colors of the National Flag and 
 flowers are presented in this dexterously painted 
 picture. Beds of red, white and blue hyacinths and 
 tulips extend far back and in the distance can be seen 
 the Dutch’ town of Alkmaar, with its usual wind- 
 mills. The perspective carries well, the brush work 
 is strong and the picture is full of color. Bought 
 from the artist. 
 
 12x 10. 
 
 35 
 
 are LEON ESCOSURA 
 (CAG LES. AMATEURS D’OBJETS D’ART 
 
 This is a most exquisite example of the work of 
 the artist, representing three men examining a bronze 
 in which one of them is showing the merit of the 
 piece which he is offering for sale. 
 
 10 x8. 
 
 36 
 L. APOL 
 NAL’ NEAR GONDA, HOLLAND 
 
 This is one of those wintry landscapes which have 
 made the artist’s reputation. Towards evening a boat 
 
 40 
 
is slowly gliding up the canal. The ground is slightly 
 covered with snow; everything that meets the eye is 
 restful and fills the mind with composure. The 
 setting sun dyes the horizon with pale purple and 
 golden rays and a flight of birds are hurrying to 
 their nests before night throws its sombre aspect over 
 all. Bought from the artist. 
 1644 x 124. 
 
 37 
 PoE RUDELE é ] 
 A SEPTEMBER DAY bean! 
 
 Quite a refreshing Autumn scene, full of atmos- 
 phere. A pool in the foreground reflecting sky and 
 trees abruptly turns and wends its way through the 
 meadows into the distance. The trees almost bared 
 of their Summer dress, with here and there touches 
 of brown, stand out severely against a sky of fleecy 
 white and blue. 
 
 16 x 20. 
 
 28 4 sf ft 
 
 MURA Se 
 PEASANTS’ HOME ]¢2y. 
 
 This splendid example represents the outside of a 
 house in Holland. One woman in a Dutch costume 
 is seated by the open lattice window and another is 
 drawing water from a well. From a charming bit of 
 sky in the corner a light is shed upon this scene of 
 rural simplicity. The work is strong and vigorous 
 and the coloring soft and mellow. From the well- 
 known Dr. Tilsingh collection in The Hague. 
 
 12x 18. 
 
 39 AES, 
 MAUVE es 
 WOOD INTERIOR 
 
 An exquisite bit of landscape showing the mar- 
 vellous handling of light and shade. An old peasant 
 woman in the middle of a forest picking up sticks; 
 
 41 
 
the sun’s rays strike through, throwing light and 
 shade around and relieving the general low tone of 
 the work. The tender green of the trees suggests 
 the Spring and adds to the beautiful coloring. 
 
 14x 10. 
 
 40 
 He VWs & 
 
 ON THE GREAT SOUTH BAY 
 
 A quite unusual effect of color, showing the bril- 
 liant sunset over the green waters of the Bay. Some 
 fishing craft with sails full set are close to shore, 
 and their contents are being transferred to a wagon, 
 while the horse stands ready to begin his task. 
 
 22 x 28. 
 
 41 
 VALKENBURG 
 
 GIRL KNITTING 
 
 In the foreground a girl half sitting on a fence 
 knits away with a will. The deepest interest in her 
 work is shown on her face. Behind her is the beau- 
 tiful radiant green of the grass and trees of the 
 garden of her home. This is an excellent bit of color 
 from the same neighborhood of the village of Ooster- 
 beek, where the artist, with his dear friend Mauve, 
 painted some masterpieces which will live forever. 
 
 24 x 18. 
 
 42 
 RAFFAELLI 
 WINTER 
 
 The poetry and charm which this artist always sees 
 in nature shows itself in this simple little landscape. 
 A roadside with red-tiled cottage in the background, 
 slightly flecked with snow in fine delicate clear 
 touches, delightful to the eye and beautiful in its 
 purity. 
 
 T2ealOs 
 
43 
 COURBET 
 
 LA VAGUE 
 
 A mighty wave towering over the beach, the sun- 
 set line on the horizon adding richness :to this fine 
 marine. After painting this original study the artist 
 made a much larger copy, which now hangs in the 
 Louvre. 
 
 16 x 18. 
 
 44 
 CHARLES JACQUE 
 
 BARN YARD 
 
 A canvas thoroughly portraying the barn yard of a 
 French farm, rich in color, broad in its treatment, and 
 showing all the qualities of the artist in his best 
 efforts. 
 
 Q x 13. 
 45 
 A. ROELOFS 
 THE PATH TO THE MILL 
 
 A piece of strong harmonious coloring. A thatched 
 cottage at one side and from it a pathway leading to 
 the mill in the background, which stands out in re- 
 lief against the grey sky. The atmosphere is full of 
 moisture and the vivid green of the grass reminds one 
 of the damp climate of Holland. Bought from the 
 artist. 
 
 Ty Se Gy 
 
 46 
 VAN INGEN 
 LANDSCAPE WITH CATTLE 
 
 A typical Dutch scene by this interesting painter 
 shows two cattle standing in the marshy meadow. 
 A shallow pool reflects the white clouds which radi- 
 ate light and the picture is bathed in a mellow tone. 
 The marshy ground is of almost opalescent tint and 
 the whole has the sentiment of a poetic work. 
 
 14% x 21. 
 43 
 
 ee 
 
i J. F. MURPHY 
 we LANDSCAPE 
 
 A beautiful landscape rich in coloring. The green 
 of the low-lying pasture seems to contradict the 
 autumnal foliage of the trees. The sun tries to per- 
 meate the grey skies. One rain storm has passed, but 
 another is coming. A little shallow pool reflects the 
 one bright spot in the sky; everything is effective, 
 strong and pleasing to the eye. 
 
 16% x 124. 
 
 ha . 48 
 
 SCHREYER 
 RUSSIAN PEASANT TEAM IN STORM 
 
 The quality of this picture shows conclusively that 
 it was painted when the artist was doing his best 
 work. A team of horses, urged on by the drivers, 
 are forcing their way knee-deep through a snow 
 drift. The battle with the elements is portrayed in 
 every detail; the horses show the strain which they 
 are undergoing. The artist has imbued this little 
 piece with true strength and feeling. This picture 
 came from the Murietta collection, which was one of 
 the most famous in Europe. 
 
 734 x 18. 
 
 49 
 
 JULES: DUPRE 
 THE FARMYARD 
 
 « 
 
 This is a characteristic example of the artist, the 
 j ‘ old farmyard with buildings in the background be- 
 ing painted with charming simplicity and fidelity, yet 
 with wonderful effect and skill. The sky, with its 
 blue tones and white clouds, is in the artist’s hap- 
 piest vein. The trees give picturesqueness and the 
 detail shows the masterly touch of this distinguished 
 French landscapist. 
 
 104 x 17. 
 
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 J. 8), Wager 
 
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Saray 50 
 WILLIAM DE ZWART 
 THE TEA GARDEN 
 
 A party of Hollanders are grouped around tables 
 in a tea garden, enjoying a rest under the trees which 
 form a splendid bit of color, the dark greens relieved 
 by lighter shades and one little patch of blue seen 
 through the dense foliage. The brush work is 
 masterly and the whole is a finished composition. 
 Bought from the artist. 
 
 104 x 18%. 
 
 51 
 
 CONSTABLE ) if 
 SOMERSET HOUSE 
 
 This depicts Somerset House before it was re- 
 stored. A number of boats lie at the water’s edge 
 and in the distance the lights are gleaming. The 
 work is in this master’s usually vigorous tone and the 
 lurid briiliancy of the sky is wonderfully expressed. 
 From the collection of the grandson of the artist. 
 
 8 x I0. 
 
 52 
 DAUBIGNY 
 SUNSET NEAR BARBIZON 
 A free treatment in the rich tones so much affected 
 by this artist, verging in this particular canvas on a 
 golden tone, two peasants, the woman riding a 
 donkey, are anticipatory of the period of rest, which 
 
 is the keynote of the picture. 
 : 7x21. 
 
 53 
 
 ANTONIE DE JONG 
 MOONLIGHT NEAR LOOSDUINEN 
 
 A poetic little landscape, lighted up by the phos- 
 phorescence of the moon. The sky occupies the 
 larger portion of the picture and although the moon 
 
 45 
 
is not visible, its illumination is cast over every- 
 thing. The masterly touch of the artist is felt and 
 the coloring elicits admiration. In the window of a 
 house in the background a lamp glows, throwing out 
 in almost startling contrast the white light of the 
 moon. The clouds are also touched with the phos- 
 phorescent light. Bought from the artist. 
 
 1534 x 12. 
 54 
 TER MEULEN 
 } LANE NEAR THE HAGUE 
 
 A large wooded landscape, somewhat after the 
 style of Corot, done in the best manner of the 
 artist. It is fuil of atmosphere and the broad and 
 vigorous brush work is full of expression and vitality. 
 A burst of opalescent grey in a dark sky illumines 
 the background and the contrasts of light and shade 
 are splendid. This work was painted especially for 
 Mr. Cole by the artist. 
 
 31 X 40. 
 
 oo 
 F,. BRANGWYN 
 PLEASURE PARTY IN SPAIN 
 
 The artist qualities are fully shown in this canvas; 
 his work is of a character that shows marvelous tech- 
 nique, both in the handling and treatment of his sub- 
 ject. His brother artists are always enthusiastic over 
 his craftsmanship, independence, and subtlety of 
 drawing in color. 
 
 40 x 51. 
 
 56 
 
 MADAME VAN BOSSE BILDERS 
 TREES WITH CATTLE 
 
 A peaceful little spot in the low-lying Nether- 
 lands. Cattle browsing on the rich meadowland, 
 under the trees which cast their shadow on the ver- 
 dant pasture. The white clouds seen through the 
 dense foliage lightens up the whole. 
 
 12x 18. 
 
 46 
 
57 
 GEORGE INNESS, JR. “ 
 IN THE STABLE a 
 
 A wonderfully strong picture by this artist, al- 
 most Millet-like in feeling. The brush work is vigor- 
 ous, the light and shade marked, and the coloring ad- 
 mirable. A man in white coat and blue overalls is 
 engaged in brushing out the stall of a sleek red and 
 white cow. The brush work is masterly and the 
 whole composition is in the artist’s strongest vein. 
 
 BAIS AS). 
 
 58 PL 
 C. VAN WANING 
 AMSTERDAM 
 
 A magnificent Holland sky full of dampness and 
 moisture, which almost threatens to envelope the 
 “Ei” of Amsterdam. The broad stretch of channel in 
 the foreground reflects the greyness of the sky, the 
 little waves almost make one feel the gentle rise and 
 fall of the many crafts whose masts are silhouetted 
 against the sky high above the low-lying city. One 
 can hardly believe this is not from the hand of the 
 master, Jacob Maris. Bought from the artist. 
 
 22x 354. 
 ve 
 59 
 JULIAN’ RIX Lh 
 LANDSCAPE a 
 
 A masterly work, showing a stretch of land in the 
 Jersey Uplands. Verdure clad hills rise high on one 
 side and on the other the undulating plain is lost in 
 the distance. The coloring is vigorous and an 
 eloquent sky of black and white clouds is painted in 
 the artist’s strongest manner. 
 
 35 X 50. 
 
 47 
 
60 
 y: A. ROELOFS 
 SKATING SCENE IN HOLLAND 
 
 A splendid example of this young, strong master of 
 the Dutch school. A mixed crowd are taking a day’s 
 pleasure on the ice. The men on skates are carrying 
 long poles. In one corner a tent has been erected, 
 around which some men are seated, partaking re- 
 freshments. In the foreground a little girl is pa- 
 tiently standing whilst a boy adjusts her skates. Her 
 red coat and bonnet makes a bright spot and relieves 
 the dullness of the grey sky. Bought from the artist. 
 
 194 x 27%. 
 
 61 
 COROT 
 
 w 
 
 TREES 
 
 A strong sketch by this eminent poet painter. A 
 group of trees in early Autumn tints, with hill and 
 plain in the perspective; a soft grey sky, which sheds 
 a tender light over the whole. 
 
 84 x 164%. 
 
 62 
 
 LOUIS VAN SOEST 
 LANDSCAPE IN HOLLAND 
 
 A flock of sheep are being driven home across 
 the purple-brown heather. Some beautifully shaded 
 green trees stand out clear against the storm-swept 
 sky. Great clouds of grey illuminated by under- 
 clouds of paler shade threaten to break into storm 
 before the shepherd and his flock reach shelter. AI- 
 though there is a wealth of detail, the painting is kept 
 unusually broad and vigorous, and the whole is a 
 poetic work of much distinction. Bought from the 
 artist. 
 
 24% x 19). 
 48 
 
CH. JACQUE. 
 
63 at 
 COURBET eo te 
 THE INCOMING TIDE 
 
 A vigorous and realistic marine by this celebrated 
 master. A fishing craft, high and dry on the shore, 
 is waiting for the angry sea to subside. A dramatic 
 sky is painted with masterly force. A luminous grey 
 with pearly pink shades breaks through the density 
 of the thunder clouds and lightens up the waves 
 which are dashing themselves with angry force upon 
 the beach. The painting is a vigorous interpretation 
 by this great painter. 
 
 23% x 42. 
 
 64 
 
 BERNARD HOPPE 
 CANAL NEAR DELFT, HOLLAND 
 
 A pleasing example of this rising young artist’s 
 work. A corner of the canal is shown and at the 
 side a picturesque Holland house. In the distance is 
 the city of Delft. Great clouds of grey and white 
 cover up the sky, leaving only one little peep of de- 
 licious blue. Bought from the artist. 
 
 28 x 3514. 
 65 
 J. McNEILL WHISTLER 
 A WOMAN IN GREY 
 (Water Color.) 
 
 From the Goupils of London. Recently repainted 
 and signed by the artist, with his characteristic sym- 
 bol. Thoroughly representative of his recent period. 
 
 66 
 TH. ROUSSEAU. 
 AN AUTUMN DAY 
 
 A vivid impression of Autumn expressed with rare 
 happiness. The warm shades of leaves and bracken 
 
 49 
 
are intensified by the warm evening light and con- 
 trasted with the dark greens of tree and shrub. The 
 work has a freedom of handling not to be mistaken. 
 8 x Io. 
 
 67 
 MAUVE 
 LANDSCAPE WITH CATTLE 
 
 Two cows, faithfully depicted, stand in the imme- 
 diate foreground; they have turned away from the 
 coming wind storm; a sullen sky with a narrow band 
 of light near the horizon; a barren patch throws into 
 contrast the verdant pasture, and over it all is the 
 wonderful luminosity of this Dutch master, whose 
 
 ’ works are in such demand. 
 
 10 x 25. 
 
 68 
 JEAN FRANCOIS MILLET 
 MERCURY, I0 AND ARGUS 
 
 It is from the Sansier Collection and resold in the 
 Picot Collection. A very striking work representing 
 the mythological story of Mercury, who wished to 
 possess the Goddess Io, who had been turned into a 
 white cow and given into the care of Argus of the 
 many eyes. In order to do this, Mercury played on 
 his pipe till. Argus slept, then cut off his head and 
 led the prize away. The picture is in a low tone, but 
 the coloring rich, the light soft and tender and the 
 whole composition characteristic of the master hand. 
 
 1714 x 2534. 
 69 
 ZIEM 
 VENICE 
 
 This artist’s usually brilliant color effects are 
 shown, and it can be readily seen was painted in his 
 best period. Its luminosity is best shown in a very 
 subdued light when the atmosphere is marvellously 
 translucent. A glorious sweep along the Grand 
 Canal extends along the foreground, reflecting the 
 sky and buildings. The shadows of evening have 
 subdued the water tints and the facade of the palace, 
 but a soft bluish haze rests upon the housetops and 
 the golden rays illumine the campaniles which tower 
 clear out against the blue sky. 
 
 13 x 204. 
 
 50 
 
7O 
 J. H. FRAGONARD 
 DEATH OF ABEL 
 
 From the collection of the Marquis Trevise. This 
 canvas is representative of the period of those by 
 the same artist now in the Louvre. 
 
 7i 
 N. DEAZ 
 INTERIOR WOODS, FONTAINEBLEU 
 
 A study from nature. Strong and positively in- 
 dicative of his perfect sense of color. It was pur- 
 chased at the sale of his pictures and so stamped. 
 
 124 x 17. 
 
 72 
 JULES DUPRE 
 STILL LIFE 
 
 An unusual subject from this master’s hand, but 
 treated with all of his peculiar strength and breadth 
 of treatment. 
 
 20 X 24. 
 
 73 
 
 DAUBIGNY 
 LE COMMENCEMENT DE CREPUSCLE 
 
 A good example of this noted artist’s work. A 
 dark stream showing the reflection of a sunset sky, 
 the river surrounded by trees, with cattle browsing 
 at the edge. A well-balanced, colorful, and thor- 
 oughly artistic treatment of a companionable sub- 
 ject. It is a picture to live with. 
 
 74 
 HORACE VERNET 
 TURCO-GRECIAN WAR 
 
 This painting was the original design painted by 
 the artist at the order of King Louis Phillipe as the 
 original for a central panel of certain mural decora- 
 tions illustrative of events in that war. 
 
 124 x 16. 
 
 51 
 
75 
 
 CHARLES JACQUE 
 AU CROISSE 
 
 A strong representative example by a great artist. 
 A girl driving a flock of sheep allows them to drink 
 at a shallow ford under the shade of a large tree, and 
 the dog patiently looks on. In this example the 
 artist is singularly free from his often embarrassment 
 of color and has obtained a harmony of tone such as 
 only a master intelligence can produce. The picture 
 is low in key, but full of light, and while broad in 
 treatment, is a highly finished picture. 
 
 20 x 16. 
 
 76 
 GEORGES MICHEL 
 AUTUMN TWILIGHT 
 
 A masterpiece of this famous artist. The quality, 
 luminosity and tonal qualities of this canvas fully 
 justify the reputation of this artist. A large picture 
 in subject and treatment. 
 
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