SN ea a Ae : . 4 ats 2 ‘ y x : * ot Soni \ i % oe a ree i eas See Ss es Peete itera fete st tie *} ’ . {, Zee: | 47 ED VEEC nlm hed, hv Whether, . Mier tlap ay tow | | eee : | PR \ ee Merk te mae Len ee i SEAN a hae Ne ba wh “ Ane howe’ p Fs Waa ok ———— ES RP 2 7 " Be a : <2 HILTON PICTURES SOLD. (EIGHTY-TWO PAINTINGS BKOUGHT $56,465 LAST EVENING. _ Fairly Active Bidding at the Opening Ses- sions of the Sale—Isidor Wormser, Jr., Paid &9,000 for a Dupre, the Largest Price of the Evening—List of Chief Sales. Picture buyers bid $56,465 in Chickering ' Hall last evening for eighty-two paintings from the late Henry Hilton’s collection, Thomas E. Kirby being the auctioneer, acting for the; Ameriean Art Association, managers of the) sale. The balance of the collection, eighty- ‘five paintings, will be sold at. the! same place this evening. The sale of Judge Hilton’s ceramics and ‘miscellaneous bric-a- | -brac was begun yesterday afternoon at the American Art Galleries and realized $7,561, - which, with the proceeds of the evening sale, makes $64,026 as.the total for the first day. |. _The bric-a-brac sale will continue to-day. to- morrow and Friday, in the afternoon, at the galleries, Chickering Hall was comfortably filled last | “a * “evening and the bidding was ready, although; three or four times persons, apparently not accustomed to Mr. Kirby’s celerity as well in closing a sale as in crying a bid, called an ad- =e Rae vanced bid after the gavel had fallen. There were more individual buyers{tthan jdealers | in the audience. A number of the paint -ings sold go out of the city. H. 8. Arnold of Boston was the successful bidder on twelve of them, and S. P. Shotter of Savannah; Ga., got | _— six of them. é a - Isidor Wormser, Jr., paid the highest price of; the evening, $9,000, for Dupré’s “Landscape and Sheep.” John D. Crimmins took Mun- ‘kaesy’s “Visit to the Baby” for $6,100. The bidding on the Dupré went from $500 to) e500 at a jump, then to $3,000 and to $5,000. and on to the selling price. The Munkdecsy | — ‘started at $1,000 and the next bids were $1,100, ; | $1,200, $2,000 and $3,000. Vibert’s “Cardinal Composing a Letter,” fairly ran from $500 to $1,000 and on to $2,500, and from $2,700 the | bk bids advanced by $25 at aaall. The picture | ae sold at $3.000. Hugh J. Grant paid $4,100 ror Jules Worms’s “Spanish Dancer.” There was a lively little seramble of the people who like story pictures for Karl Kron- berger’s “The Lost Night-key,” which went for $400. Frank W. Savin appeared again asa / buyer, taking Firmin-Girard’s ‘Paris Flower Market” for $200. “The Stirrup Cup” o Lucien Alphonse Gros brought out biddine as lively as that for “The Lost Night-key,” the bids running $100, $200, $500, and on to $600 | more slowly. “Vhe Game of Bowla” went Banierly. jumping from $200 to $500 and The paintings which brought $400 and above were the following: - “Ihe Lost Night-key,’’ Karl Kronberger; George nF Opes si aadag ae lesa me MeuoLanel ey $400 | “The Stirrup Cup.” L.A. Gros: H, Springer. 600 “The Game of Bowls,’ J.. 0. Meissonier: ' Re Webasle yn) ix loci {ae W ca ky ol Sean 685 | “Scene in Holland,’ R. W.. Van Boskerck; | Bi lore VOR... stunt Eco aan ne Se ete 500. “In the Park,’’ J. R. Goubie; Henry Selig- Pigs | eat De oes re eee nes eh dting ee cans othelies eaten gas 580. Murical Crit. ts, Luis Jimenez; KE. 0, Qonverse. 2.2.2.0... Spieaien AR 3 Pt ens 925 | Gos doerks iit, auas e Madrazo; HS fg 1,125 om AL Goupil; ‘Dp. RP. ie Oswald Ach- Pa pte 800 6. Ee Delorts L. et G25 1 950. * gf ees: John BL eee ES OS OE AA gaa a 6,100 e Prinés of Conde,’ a ree A ee one 510. 825 “Vaeria Broa: a / 2,800 R. De adraso: H.S.arnold "850 ( hoice,”’ 0, E. DeBeaumont: Ra ee > Eu rope, Paris,” Jean Boraud; 3 PE TISPRENC chatensscn chy, Sas 3 stb de ave eters crise 410 Madame du. Berry,” Don Luis Jo pe Mor _, 540 ster,’’ Saher "Max: i ea: Seenugen RS HF oes ee ee rere wees ar tesserae eeaees — 410 oon sale of miscellaneous bric- ‘galleries where the ceramics and ne hundred and win -six lots were vot for $7,561. pees ranged haa eard nay ihn wl gay vases resembling | 0 for a Doulton jardiniere, A platinum, catalogued as “French hn, Sévres pote-tendre style,” sold for "wo vases of Royal Vienna porcelain 00 each. Royal Worcester, epee yalport, Wedgwood. Carlsbad talogue of the afternoon’s offerings, cent glass. ers made their purchases with mani- dence in Judge Hilton’s judgment, bids were ne aceordanee. Mr. Kirby, as eld the bidders to a degree of prompt- ' eons him to clear the catalogue in | rder. but there was singular briskness, e bidding for a pair of Hindu anklets, of. bas silver, with three rows of bells, which sold for $33. A walrus tusk thermometer, nine’ inches tong, sold for $20 and an ivory tusk ther-_ mometer, twenty-three inches Digh, . for $50. Ao edgwood reproduction of the Portland vase | n tt e South h Kensington Museum went for The continuing interest in eenanerty a feemed to be reflected in the hbidd ing on an ivory miniature of the Corsican ue Durieux, pina was sent up from $20 to $102.50, A | re sereen in ormolu, with portraits of o $330 for a | V., Louis XV. and Louis XVL., sold at | . id arearied an attendance that filled one | eo ects came under the auctioneer’s | n ases in kine’ s blue glaze, embossed in | cloisonne productions were frequent | re’s English faience, French faience | + BT | “Sheep in the Woods’? ‘Brings | - —The Afternoon | Sale of Bric-a ~ Bighty-seven paintings of the. -eollee | made by the late Henry Hilton were. sol Chickering Hall last evéning for $62,250. | was the second and last evening’s sale of Ji “Hilton’s pictures, conducted — by Thomas. ‘Kirby as auctioneer for the American Art Asso= ciation. managers of the sale.. The collection | of 169 paintings offered brought $118,715. The buyers were ready with their bids on al evenings. Dealers took a goodly share of last evening’s offerings. The highest price of the / evening and of the sale was paid by J. W. Gates, who got Meissonier’s “L’Aum@6ne” for $18,300, | after some lively bidding, which. carried the ‘price up from $5,000, the starting ee ‘ - The painting was purchased by A ewart | for $24,000. It is well known and has’ been. often reproduced. A horseman has halted on a narrow road, foliage full of light on either side of it,a little sky visible where the trees. open above and back of the horseman, who is. handing some money toa peusant woman by the roadside; shadows of the, group fall to the foreground. Mr. Gates was in-the sale for ‘Meissonier only, and bid up the painter’s small | -water-color portrait of himself from $500 te $1,700, The portrait was painted for A. al | Stewart and given him by the artist. Jacquet’s “Head ofa Young Girl,”’ which dite fers a good deal from some of.-the artist’s work | familiar here, was bought by a member of | Judge Hilton’s family for $1,100,as were a. number of other pictures, including Jacque’s “Sheep in the Woods,” for which the buyer. paid $7,800; Madrazo’s ‘The Album.” Be- reaud’s “Condolences,” de Beaumont’s “Tomb > ‘of Philippe Pot,” and Boldini’s ‘In the Garden.” *J; H. Flagler bought Bruneri’s “Canal Scene in | Venice” for $270, and E. Thalmann Willems’ 8 ' “Dressing the Bride” for $210. W, A. Clark, it | ' was said, was represented among ihe bidders, LS Arno)d of Boston, who bought at me on ‘day evening’s sale, was a purchaser of some the smaller pictures last night. The second afternoon’s sale, of the four af-- ere oons allotted to the disposition of Judge | ton’s bric-a-brac, took place hc pltegs a _ the American Art Galleries, and during a P | of the time the auction Beg uacry was crow ed. The sale brought $22, 75, which with the $7,561 proceeds of ey first afternoon mak : the total for the bric-a-brae so far $29,725.7 - Adding the $118,715 fetched by the pictures, the proceeds of the sale to date are $148,-. 440.75. A Sévres dinner service, the smaller picees of which were, however, made outside | e300 and 2° sold at $1,225, Another went at Oandasimilar breakfast service at $330. pair of tall Sévres vases, of lapis lazuli gare one of which is fire-cracked, sold for A pair of high, soft paste, ovoid’ vases | with turauoise glaze, went at $1,200. A pair. _oft Sévres vases, turquoise-blue, mottled glaze, | ef ela te form, elbs inches high, went at SALE AT CHICKERING HALL TUESDAY AND WEDNESDAY EVENINGS FEBRUARY 13TH AND I4TH, AT EIGHT O'CLOCK ART COLLECTION OF THE LATE HENRY HILTON AND AT THE AMERICAN ART GALLERIES TUESDAY, WEDNESDAY, THURSDAY AND FRIDAY AFTERNOONS FEBRUARY 13TH, I4TH, I5TH AND I6TH, AT 2.30 O'CLOCK “wo pate-tenar eR ‘inches h high, which came from the oes. said to have cost origin N bought.by Mrs. HJ. Chisholm for 81.470" ey Sevres jardiniere of amphora shape ‘sol a 0, a similar one of different co lor warlb Ut -and another at $725. Two Sdvres bleu-de-rot ovoid vases, fourteen inches tall, sold. Hes aa Seven Sévres cups and saucers so oy at 50 8 ch, andeighteen others at $15.50 each. - Napoleon’ dinner service in Sevres went oe Bighteen Crown Derby dinner plates sold at $15.50 each. S. P. Shotter of Savannah “was among the buyers, and it was reporte ooo purchases were made for WwW. Aa lar ollowing are the paintings which sold at | or more, each, last evening: “Tn the Garden,”’ G. Boldinisto asus Pa SARS aN $628 “In the Trenches,’ E. P.: 1 ae ee L. C. Delmonico.. “The Learned Monk, CS Meissonier; ‘Ba: Bt) | ‘ward Weston. . a WHS Os a “The Evening Meal, i H. Zugel: “A. F. Eno... ee Fs a | “The Empty Cradle,” G. Geets; P. H. Dugro... 475 “The Chocolate Party,” A. Casanova, ....... 1,500 Pas Fugitives,” G. Hi. Boughton; A. “Treasure Room: of Baron Rothschild, >, 4) Capobianchi; Edward Weston.. Sass bie ees ey OER ee “On the Seine,”’ K.P. Daubigny; R. C. Vose.. 610. “Tomb of Philippe Pot,’’ C. E. De Beaumont. - . 500— | “Christmas Time,’’ Bruck-Lajos; George J. HERP OOBOUL WT ce ves dicierccls wins oie ¥ La Wee lee oes aleitat mare 500, | “L’Aum6nd,” J. L. E. Meissonier; J. - W, Gates,18, 300 “Portrait of Meissonier by Himeelf,” J. L. EB. » Meissonier; J. W. Gat ise ties ist sis Wah aye eiceeene - 1,700) ‘Head of a Young Girl,” J. G. Jacquet.......... 1,100 “Blind . Man’s Butt,” ron Baugniet; M. E. SOLON CEMNED. fasts aol cuiddwckilemie owes - 670) “The Little Sufferer,’’? W. A. Bouguereau; ‘Mrs. Charles Boughton Wood. . cistene dean k ea eee **Condolences, eds Beraud.. pet st APR AE "475 “Sheep in the ‘Woods,’ CH. Jacaue, sess s-- «:- 1,800 “La Plage d'Yport,” (Seine Inférioute):?* By *. Toudoze; F. W. Savin. 750 | “The Cardinal’s Reception, Don ‘Luis ‘Alva- : rez; Edward Weston..... Biches ie Ue sig eee tpehatan ratte 4,85. “Overlooking the » Bosphorous,’’ F. Zeim;-< _ Adolph. Lewissohn.. 2.50. 0.000 0 2e0 008 1,500 “Thoughts of the Absent,’’ J.: M. ‘AG. Ferrier; PTB ROA TN OLE Ceri ee Oe ian seo di Sans lee a a 6425 “Trying the Falcons,”’ V’ P. Huguet; L.. C. elmonico. Soak cuigceS Oe “The Old® Old Story,” ‘Firmin-Girard; 0. M. SOA ' Atkins . 525) “The Oroquet Party, 2 Pp HS “Kecmimerer M. ceed E. Bernheimer. . Ue ~ 600. | “The Game of Cards, an a Lesrel; Pci. date Kavanagh......... PEPE RE A A cS 420 “The Toilet, ** EH. A. Piot; George Thompson... 400 “The Album,” 1 Rs De Madrazo. eC oreceseeos oocee 800 cee ATALOGUE OF MODERN PAINTINGS, STATUARY, BRONZES, CERAMICS AND OTHER ARTISTIC PROPERTY COLLECTED BY THeeeATe HENRY HILTON TO BE DISPOSED OF AT ABSOLUTE PUBLIC SALE BY ORDER OF THE EXECUTORS ON TUESDAY AND WEDNESDAY EVENINGS FEBRUARY 13TH AND 14TH AT EIGHT O’CLOCK AT CHICKERING HALL FIFTH AVENUE AND EIGHTEENTH STREET AND ON THE AFTERNOONS OF FEBRUARY 13TH AND THREE FOLLOWING DAYS AT 2:30 O’CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE, SOUTH WHERE THE ENTIRE COLLECTION WILL BE ON EXHIBITION FROM WEDNESDAY, FEBRUARY 7TH, UNTIL THE FIRST DAY OF SALE, INCLUSIVE THOMAS E. KIRBY AMERICAN ART ASSOCIATION AUCTIONEER MANAGERS NEW YORK so 1900 .S”. Q SAS Ree CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and, there- fore, in his judgment, likely to affect the Sale injuriously. *3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase- money, 2f veguired, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The lots to be taken away at the Buyer’s Expense and Risk wpon the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery ; in default of which the undersigned will not hold themselves responsible if the Lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible Jor the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot; and make no Warranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Paint- ing or other Work of Art ts not what it is represented to be, use every efforton their part to furnish proof to the contrary, fail- ing in which, the object or objects in question will be sold sub- ject to the declaration of the aforesaid expert, he being lable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. THE AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E, KIRBY, Auctioneer. Pes > 4 : 3 , 2 ve a in a a as ! ARTISTS REPRESENTED ACHENBACH, O., On the Quay ADAN, L. E., L’Eté de St. Martin The Arrival at the Chateau ALVAREZ, Don LuwIs, Toilette of Madame du Barry The Cardinal’s Reception ANDERS, J. E., Young Woman Reading A Brunette ANSDELIL, R., Water Carriers ATALAYA, E., Love Laughs at Locksmiths BACHEREAU, VIcTor, CATALOGUE NUMBERS 60 55 82 78 147 18 98 161 167 Soldiers of Henry II in One of the Halls of the Louvre 39 La Veille d’un Mariage au XVI™ Siécle 79 BALLAVOINE, J. F., Take Care BAUGNIET, C., The Engagement Ring Blind Man’s Buff Wintertime IOI 118 139 149 BEAUMONT, C. E. DE, The Difficult Choice Tomb of Philippe Pot BERANGER, A. E., The Bouquet Girl BERAUD, Jean, La Place de l’Europe, Paris Condolences BERNE-BELLECOUR, E. P., In the Trenches BEROUD, Louts, La Place St. Sulpice BEYLE, P. M., Une Partie de Dames BOLDINI, G., In the Garden BOMBLED, CHARLEs, Visiting the Outposts Arab Videttes Wagons in Snowstorm BOUGHTON, GeorceE H., English Landscape Huguenot Fugitives BOUGUEREAU, W. A., Timidity The Little Sufferer BRETON, Leon, The Morning Ride BRICHER, A. T., Coast of Maine BRILLOUIN, L. G.,, Three Cronies The Critics CATALOGUE NUMBERS 72 125 87 77 141 89 159 75 88 49 123 128 57 115 43 140 170 93 86 107 BROZIK-VACSLAV, NOMBEES The Presentation 70 BRUCK-LAJOS, Christmas Time 129 BRUNERI, F., Canal Scene in Venice 116 BURGERS, H. J., On the Bridge 20 CAPOBIANCHI, V., The New Robe 67 Treasure Room of Baron Rothschild 120 CASANOVA, A., Waiting 34 The Chocolate Party 114 CASTIGLIONE, G., Near the Garden Gate IIO CHANET, H., The Birthday 150 SLAnKIS, G:, Pendant le Repos—Grandes Manceu- vres 47 COMPTE-CALIKX, F. C., On the Way to Market 6 COOMANS, J., A Greek Girl 16 CORTAZZO, O., Unsuccessful gI DAUBIGNY, Karz P., On the Seine 121 DELACROIS, F., Harvesting 119 DELORT, C. E., eens Arrival of the Cardinal 61 DOLPH, J. H., Head of Cat 84 A Pug Dog 85 DUCKER, E., Leaving Port 104 DUPRE, JULEs, Landscape and Sheep 51 ENRIQUE, J., On the Terrace go ERDMAN, OrTOo, Love in the Pantry 102 ERNST, R., The Letter 38 FALERO, Luts, Egyptian Dancing Girl 92 FAY, J., Italian Peasants 126 FERRIER, J. M. A. G,, Thoughts of the Absent I51 FIRMIN-GIRARD, The New Novel I Paris Flower Market 5 Fishing 117 The Old, Old Story 153 FRAPPA, Jos, Is it Raining ? 9 GALOFRE, B., The Bird Charmer 163 GARIDO, E. L.,- In the Luxembourg Garden 103 4 CATALOGUE GEETS, G., nates The Empty Cradle 10g GEROME, J. L., The Mosque of Borurssa 63 GOUBIE, J. R., In the Park 29 Sourit, J. A., The Interesting Book 59 GOUPIL, L. L., Head of a Young Girl 10 GROs, L, A., The Stirrup Cup 8 Prisoners of War 81 GRUTZNER, E., Painting In 40 Painting Out 4I HAGBORG, A., On the Beach 28 HUE, Cuar.es D., The Betrothal 97 HUGUET, V. P.,; Trying the Falcons 152 HUMBORG, A., Testing the Vintage 25 Monks Preparing for a Feast 155 HUNTEN, Emi, French Prisoners in the Rear 53 INGOMAR, G., Weary 19 INNOCENTYI, G., The Brigand 92 ee _ JACQUE, C. E., Sheepfold Sheep in the Woods FACOQUET, J. G., Head of Young Girl JANSSEN, J., Landscape in Ardennes JIMENEZ, Luts, Musical Critics KAEMMERER, F. H., Going to Church The Croquet Party KIESEL, Konrap, Bertha KLINKENBERG, J. C. K., Courtyard of a Cloister KOWALSKI, A. von W., Scene in Poland KRONBERGER, K., The Lost Night-key KUHL, G., Courtship LAMBINET, E., On the Seine LASSOW, HEINRICH, Mother and Child LAUPHEIMER, A., State Secrets LE GRAND, R., Cornered LEISTEN, J., Grandma’s Birthday 6 CATALOGUE NUMBERS 52 142 137 144 105 127 31 22 LELOIR, A. L., 7 oe At the Rendezvous 56 LEON vy ESCOSURA Presenting a Bouquet 23 LESREL, A. A., Baptism of the Prince of Condé 68 The Game of Cards 156 LEYENDECKER, P., Moliére Reading before Ninon d’Enclos 54 L,HERNAULT, J., Visit to the Fortune-teller 112 LOUSTAUNAU, L. A. G., The Amateur Artist 95 MADRAZO, R. DE, The Memorandum 58 After the Ball 71 The Album 168 MAKART, Hans, The Unwelcome Salutation 69 MARCHETTI, V., |The Siesta 15 MASO, F., In the Boudoir 124 MASSANI, P., In the Wine Vault 113 MAX, GABRIEL, Brother and Sister 80 MEISSONIER, JEAN CHARLES, The Game of Bowls 26 The Learned Monk 94 MEISSONIER, J. L. E., L’Aumé6éne 132 Portrait of Meissonier by Himself E34 lod / MOREAU, CHARLES, Waiting for his Luncheon MULLER, Cuar.es L., Maiden Meditation MUNKACSY, MIHALY DE, Visit to the Baby OUTIN, PIERRE Moorish Waitress PALMAROLI, Don VICENTE, The Day after the Début The Welcome Address PARTON, ARTHUR, Milford on the Delaware PERALTA, F., The Proposal PICART Fab. Une Affaire Jugée PIEEZ AO; Courting PINCHART, E. A., Chrysalis Feeding the Birds PLOW eat. The Toilet PROTAIS, P. A., Troops Marching in a Rainstorm RAFFAELLL, J. F., In a Moorish Garden RIBOUV ALG, Mending his Pen RICHET, Leon, In the Woods CATALOGUE NUMBERS. 37 114 64 13 50 Io0o 122 162 33 44 12 30 ’ CATALOGUE Rico, MARTIN, NUMBERS Fleet in Venice 45 SAINT-CYR, H. Govuvion, Ophelia 83 SHADE, W. A., Teasing 145 SHOUTEN, HEnry, Cattle and Landscape 160 Cows in Pasture 164 SIMONETTHI, C. A., The Forbidden Book 21 BUCA TELLI, A., Street Scene in Rome 14 ges.) boy. [., Summer Hours 14 TOUDOUZE, E., La Plage d’Yport (Seine Inférieure) 146 TOULMOUCHE, AucusreE, Admiration 96 Confidential Revelations 131 UNKNOWN. Tasso Entering the Monastery 169 VAN BOSKERCK, R. W., Scene in Holland 27 VANDENVOS, T., Spanish Interior III VANDER-SSYP, A., Nathalie 17 VIBERT, J. G.,, A Cardinal Composing a Letter 46 VIRY, Pauvt, The Duet 62 On the Terrace 157 WAGNER, F, eee Gathering Flowers 135 WAHLBERG, ALFRED, Sunset after the Storm 65 WALKER, J., French Cavalry Officers II WEEKS, E. L., é The Gate of a Fondak 66 WERNER, F., Consulting the Map 106 WILLEMS, F., The Portrait : 134 Dressing the Bride 143 WORMS, JULEs, Spanish Dancer 42 YEWELL, Grorce H., Turkish Carpet Bazaar 130 ZIEM, F., View on Grand Canal, Venice 35 Overlooking the Bosphorus 148 ZUGEL, H., Sheep and Shepherd 24 The Evening Meal 99 Io 7) ees) ae S og pe Pees ss CATALOGUE FIRST EVENING’S SALE Tuesday, February 13, 1900 AT CHICKERING HALL BEGINNING AT EIGHT O’CLOCK 7 The favorite pupil of Gleyre, was born at Poncin in _ 1838. Under his master’s suggestion, he adopted astyle of light genre subjects which he treats with freshness of color and remarkable refinement. ‘The Flower Girl,” sold at the dispersion of the Stewart Collection, is remembered as a picture which, to quote one of Firmin- Girard’s admirers, ‘‘has placed his reputation on an enduring basis,” J — The New Novel Two ladies have found a secluded nook in the woods and have brought their camp-stools and needle-work to pass a quiet hour together. While one in pink is sew- ing, the other in gray reads to her the latest novel. Pretty in color arrangement and an excellent example. Signed at the left. Dated, 1874. Height, 14 inches ; width, 9% inches. 13 FIRMIN-GIRARD oY 4 haat | | | | f | j % ee [se KONRAD KIESEL : KARL KRONBERGER eege47 Among other genre subjects painted by Kronberger and owned in this country are: ‘‘ Law Proceedings,” ‘‘Raree Show,” “ Politicians,” and ‘‘ Theft Discovered Too Late.” He was born at Freystadt, in Upper Austria, in 1841, and became a pupil of the Munich Academy under Anschiitz and Hiltensperger. 2 — The Lost Night-key A good bourgeois in coat of dark green, with his red handkerchief sticking out of his tail pocket, has dropped his night-key in the deep snow just before the door of his house. A street lamp outside of the picture casts its yellow light on the walls and snow, and casts a dark shadow from the figure. Truthful in effect and interest- ing in subject. Signed at the right. Height, 16 inches; width, rz inches. tt Oe Though for a time a pupil of Paulsen, in Berlin, Kiesel belongs to Diisseldorf. He was born there in 1846, and studied, after his return from Berlin, with Wilhelm Sohn. 3 — Bertha A head of a beautiful girl of blond type. Her hat is adorned with a sweeping white plume, and her neck is encircled by a ruff. A bow of pink ribbon, and the black satin of her quilted bodice form other notes in the color scheme. Signed at the right. Height, roinches ; width, 8 inches. 14 Bere. OTTO PILTZ A. Qreer Oe Excellent characterization and good quality of color, both in his genre subjects and in his portraits, have given Professor Piltz a high position in contemporary German art. 4 — Courting A peasant maid of the Tyrol, in a corner of the kitchen, drops her knitting while she smilingly listens to a country gallant seated near her, who thrums his guitar and talks to her. A pretty bit of genre. Signed at the right. Height, 12 inches; width, zo inches, Dera FIRMIN.GIRARD -“2<<070 & Sev The favorite pupil of Gleyre, was born at Poncin in 1838. Under his master’s suggestion, he adopted a style of light genre subjects, which he treats with fresh- ness ofcolor and remarkable refinement, ‘‘ The Flower Girl,’ sold at the dispersion of the Stewart collection, is remembered as a picture which, to quote one of Firmin-Girard’s admirers, ‘“‘has placed his reputation on an enduring basis.” 5 — Paris Flower Market The florist, with her white cap, sits on the sidewalk overlooking the Seine, behind her éfalage of bouquets, cut flowers, and plants, while a lady stops to make a purchase. In the background are one of the bridges, the line of trees on the quay across the river, and the buildings that line it. Signed at the right. Dated, 1877. Height, 18 inches ; width, 12 inches. 15 O /8 FRANCISCO PERALTA es FRANCOIS CLAUDIUS COMPTE-CALIX The reproduction of many of his works by engraving and lithography has increased the reputation of Compte- Calix as a painter of genre subjects. He was born at Lyons in 1813, and died at Chanzay-d’Azergues in 1880, 6 — On the Way to Market An Italian peasant-girl of the Campagna, painted in full length as she stands with her basket resting beside her on the ruin of an aqueduct, and her two jars of butter on the ground. Behind her an evening sky with the sun setting, and a stretch of country with a river. A fine piece of color and an excellent example. Signed at the right. Height, 21 inches ; width, rs inches. fhe After studying under Federico Madrazo in Madrid, Peralta visited Paris and then settled in Rome. He was establishing a good reputation, when, through the de- falcation of his banker, he lost his fortune. Broken in health, he returned to Seville, his native city, and died there in 1896. 7 — The Proposal The lady seated in her great chair is coquettishly screening her face with a small fan, while the cavalier who sits at her side extends his hand to draw it away. Cleverly composed and bright in color. The costumes are of the time of Henri II. Signed at the left. Height, 18 inches; width, 13 inches. 16 ole pend bs ful s ae 7 600 27? JOSE FRAPPA <-C- Meissonier was the master of Lucien Alphonse Gros, and the genre pictures of the pupil are well drawn and full of character. 8 — The Stirrup Cup A horseman in Louis XIII. costume has stopped at a wayside inn for a drink. The man whois serving him stands at the door holding a ewer of wine, which the cavalier has just tasted from a glass, and is now in the act of holding it up before him, as he looks through what is left of it, to judge of its clearness and quality by letting the sunlight fall through it. The road winds into the picture through a wood, where a peasant is seen trudging along to his work. Signed at the left. Dated, 1876. Height, 20% inches; width, 17 inches. A pupil, successively, of Pils, Comte, and Dangin, José Frappa was born at St. Etienne, and has gained an enviable reputation by his treatment of genre sub- jects. 9 — Is it Raining? An elderly priest, in white robe with cape and cloak of black, is coming out of a stone doorway, and holds up his hand to see if any rain is falling. In the other hand he grasps a large red umbrella. One of Frappa’s favorite subjects, very cleverly depicted. Signed at the left. Dated, 1878. Height, 13 inches; width, 10 inches. 17 LUCIEN ALPHONSE GROS St. ae aie | —————————EE———eEeEeEeEeEeEeEeEeeEeEeEeEeee—eeeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeeeeEeEereeeeeeeeeeeeeeee eee y? Hy. sl LEON-LUCIEN GOUPIL Like his elder brother, Jules, Léon-Lucien Goupil was a pupil of Ary Scheffer. In addition to the paint- ing of historical and genre subjects, he has secured reputation as an engraver, JO — Head of a Young Girl A pretty face in profile. The head is crowned by a wide brimmed black velvet hat with feather trimming. The bodice is of black velvet with pink satin lapels. The golden hair is bound with a net and headdress of gold and silver. A charming example. Signed at the upper left. Height, 12% inches ; width, 9% inches. ae J. WALKER 4 felOhe™ A Parisian painter of military subjects. JJ — French Cavalry Officers A young officer on a bay mount is listening to a trooper astride:a fine black horse as he points to a de- tachment of their division which has just forded a stream inthe valley below. Men and horses, as well as the landscape, are painted with almost microscopic finish. This picture is well composed and very agree- able in general effect. Signed at the right. Dated, 1878. Height, 19 inches; width, 15% inches. 13 i ¥ Jee F. RIBOT SS. Sho F. Ribot has won frequent honors, including a medal of honor at the Exposition Universelle of 1878, in which year he was awarded the Legion of Honor, J2 — Mending his Pen An old schoolmaster, with a blue bonnet on his head, and his long black coat-tails hanging down to the floor, sits at his table, where he is writing, and is in the act of putting a point on his quill pen. The figure is a good ' study of character, and the general effect of the picture is pleasing to a degree. Signed in initial at the left. Height, 17 inches; width, r2 inches. Ge PIERRE OUTIN @.~ éy This genre painter was a pupil of Lecointe and Cabanel and won his first medal in the Salon of 1883. 13 — Moorish Waitress Coming through the doorway of a Moorish house, where, on the threshold, is a pair of red slippers, is a young girl with engaging face and charming figure. She carries a platter with coffee pot and cups in one hand and an enormous pipe inthe other. Attractive in color and general effect. Signed at the left. Height, 15% inches; width, 12 inches, 19 ig While a pupil of the Academy of St. Luke’s in Rome, Tiratelli studied sculpture and won no less than fourteen medals. He wasthirty-one years old when, in 1873, he took up painting. His genre subjects and landscapes have been awarded medals in Rome and Vienna. 14 — Street Scene in Rome A steep, narrow passage-way, rather than a street, with steps between tall buildings, and a group of three women seated before one of the doors busy with their knitting. A good little piece of color. Signed at the right. Height, 13% inches; width, 7 inches, i fan we V.MARCHETTI 4.4" | A leader in the modern school of Italian picturesque realism, Marchetti early in his career established his studio in Paris. He has won many medals, and isa Chevalier of the Crown of Italy. 15 — The Siesta A Turkish beauty, with diaphanous draperies and a gold-embroidered jacket, reclines on a couch, with a great cushion under her head and shoulders. On a ledge above her, where a curtain is drawn back, stands a Moorish vase with a plant. There are other acces- sories, and the general aspect of the picture is bril- liant. Signed at the right. Height, 19 inches: width, 14 inches. 20 AURELIO TIRATELLL Ying” bf! el 3 AE ro JOSEPH COOMANS 9 7 ™ Joseph Coomans is best known by his paintings of sub- jects drawn from antiquity, the “ Last Days of Pompeii,” for example, and the “ Poet’s House in the Last Hours of Pompeii.” This bent of his mind was determined by the visit which he paid to Italy in 1857, when the Pompeian paintings and the mystery and beauty of the exhumed city made a profound impression upon him. Previously to this visit he had travelled in Italy, and even through Turkey, Greece, and the Crimea, also accompanying the French army into Algiers, where he resided several years. He was born in Brussels in 1816, studied with Hasselaere at Ghent, and afterwards became a student at the Antwerp Academy under N. de Keyser and Wappers. 16 — A Greek Girl Head of a beautiful young woman in full face, whose black hair is dressed in curls and ornamented witha golden open-work cap. Lovely in type and expres- sion, Signed at the right. Dated, 1878. Height, 21 inches; width, 16 inches, LA oa ARMAND VANDER-SYP 6.0 47°” Modern Dutch school. 17 — Nathalie Head of a young woman, with blue velvet hat orna- mented with a long feather and brooch, and bodice of dark blue and gold. Signed at the upper right. Height, 13% inches ; width, roinches, 21 ° J. E. ANDERS _#/7S- A painter of the Diisseldorf school, in good repute for his genre subjects. 18 — Young Woman Reading Seated in a great armchair, upholstered in blue, with heavy fringes, is a young woman ina white satin gown, reading in a small book bound in crimson. Her slip- pered feet rest upon a stool before the fireplace, and at her side is a small table on which are a vase of flowers and a silver casket. The surroundings are rich and luxurious, and everything in the picture is carefully and deftly painted. Signed at the left. Dated, 1878. Height, 20 inches; width, 15 inches. fide The genre pictures of this Brussels painter have secured for him a recognized position among his compatriots. oo G.INGOMAR @. 19 — Weary A little girl in blue in a room with blue furniture. She has thrown down her battledore and shuttlecock, and her skipping rope, and lies wearily in one of the great armchairs. A poll parrot in a red cage looks on from the background. Signed at the left. Dated, 1875. Height, 12 inches ; width, ro inches. 22 Po HJ, BURGERS 4.4% 7 This Dutch painter, who was a pupil of Royer, re- ceived the cross of the Legion of Honor in 1878. 20 — On the Bridge A rustic bridge over a stream, with a young mother in white summer costume holding up her baby so it may see the ducks swimming and diving in the water below. Background of green foliage, and tree trunks illuminated by sunlight. Signed at the right. Dated, 1875. Height, 15 inches ; width, 7 inches. fo - ne rt ee CAVALIERE ATTILIO SIMONETTI A native of Rome, Simonetti had the good fortune to be a pupil of Fortuny, which he turned to such good account that he was in time appointed a professor at the Naples Academy. His genre pictures have secured many admirers. 21 — The Forbidden Book From a shelf high up in her red Japanese writing- desk, a pretty young woman in gown of green is tak-_ ing down a book that she has hidden away from prying eyes. Excellent painting of textures, and an attractive scheme of color. Signed at the left. Dated, Rome, 1875. Height, 20% inches ; width, 13% inches. 23 HEINRICH LASSOW /#? ft" A Munich painter of domestic genre, 22 — Mother and Child A German interior, with a young mother in Charles Quint costume of crimson velvet, with white neck-yoke and. headdress, stands near a window with her babe in her arms. A very carefully painted and good piece of historical genre. Signed at the left. Height, 14 inches ; width, 9 inches. 0 J4 LEON Y ESCOSURA This painter, whose almost invariable preference was for garden scenes and interiors in which are disposed historical personages of the seventeenth and eighteenth centuries, was born at Oviedo in Spain, and on reaching Paris entered the studio of Gér6me. Among the honors he has received are the orders of Isabella the Catholic, of Charles of Spain, and of Christ of Portugal. His pictures hang in many of the private collections of America. 23 — Presenting a Bouquet Two ladies seated on a divan in a corner of their elegantly furnished apartment are receiving the visit of two gentlemen. One, in a pink coat, bends forward to offer a fine bouquet of roses, and the other carries a jewel case, Signed at the right. Dated, 1878. Height, 15% inches; length, 20 inches. 24 : 7 (80 HEINRICH ZUGEL Lapeer After a course in the Art School at Stuttgart, Ziigel became a pupil in Munich of Anton Braith, the cattle painter. The master’s influence determined his career. He sought his subjects chiefly in sheep, which he painted with close attention to detail. Then he visited Paris, and, studying the works of Troyon and of Rosa Bonheur, developed greater breadth of manner and depth of color, including cattle also in his subjects. In his particular line he is highly esteemed in Germany, 24 — Sheep and Shepherd A flock of sheep coming down a hill-side roadway, with a shepherd boy and his dog accompanying them. A gray sky with a burst of sunlight. Signed at the left. Dated, Munich, 1880. Height, 1514 inches; length, 214% inches, me - s Sas 2Le A. HUMBORG th fetet A Munich painter. 25 — Testing the Vintage Two monks in the convent cellar are about to enjoy a bottle of wine. One is complacently seated, glass in hand, but the other, who is pulling the cork, is not so happy, for it does not draw easily, and he makes a grimace as he exerts his full strength on the handle of the corkscrew. Signed at the right. a Height, 16 inches ; width, 12 inches, 25 68F bow. JEAN CHARLES MEISSONIER Son and pupil of the great Ernest, Jean Charles Meissonier is favorably known by his eighteenth cen- tury scenes executed in the manner of the old Dutch masters. 26 — The Game of Bowls A party of monks in brown habits, a priest and a bourgeois visitor, are enjoying a game of bowls in the alley near the convent. A wall capped with herbage on the left and a row of palm trees on the right frame in the scene of their pastime. Well composed, excellent in sunlight effect, and especially good in drawing. Signed at the left. Dated, 1876. Height, 23 inches; width, x8 inches. a a ROBERT W. VAN BOSKERCK R.c.Ue A pupil of Alexander Wyant, Robert W. Van Bos- kerck was little influenced by his master’s poetic tem- perament. He puts upon his canvas what he sees rather than what he feels ; yet his choice of subject is invari- ably so happy, his method of treatment so fresh and joyous, that his landscapes are very pleasing. 27 — Scene in Holland The canal leads into the picture from the foreground through the fields dotted with low-roofed buildings and windmills. On the right, a farmhouse and haystack. At the left, a road bordering the canal, with a cart with a white horse. The sky, partly filled with white clouds, is good incolor and atmospheric. Signed at the left. i Height, 16 inches ; length, 26 inches, 26 4 : . 3k A native of Gothenburg, Sweden, this genre and landscape painter began his art career at the Stockholm Academy, proceeding afterwards to Paris, where he studied. under Palmaroli. His ‘Springtide in La Manche” was purchased for the Luxembourg. 28 — On the Beach A young woman in an elaborate summer costume of white, with a black lace wrap, is seated on a chair at the seaside. Her greyhound looks questioningly up in her face, his attitude betraying his desire to be up and off. The sky is filled with gray clouds. Signed at the right. Dated, Paris, 1878. Height, 23 inches ; width, 19 inches. With a style that is spirited and a choice of subjects always interesting, this genre and animal painter was a pupil of Géréme. He was born in Paris in 1842. 29 — In the Park A young French officer of Chasseurs and a lady are just trotting into a by-roadin the park, and turn slightly in their saddles to bow to a young woman who is driv- ing a spanking team along the highway in the middle distance of the picture. The landscape shows that the scene passes onachilly November morning. An excel- lent example. Signed at the left. Dated, 1879. Height, 15 inches; length, 18% inches. 27 AUGUST HAGBORG ya 9 Geer“ nee ~ LEON RICHET Lig Richet was born at Solesmes and studied successively under Diaz, Lefebvre, and Boulanger. He received honorable mention at the Salon of 1855, 30 — In the Woods A young woman and a little girl holding on to her arm are advancing toward the spectator in a woodland path. Their baskets and aprons are filled with wild flowers. Like the work of Diaz in general treatment. Agreeable in color and composition. Signed at the left. Dated, 1879. Height, 24 inches; width, 17 inches. A fot tl * *» ~*~ The influence of his travels in the East, in Algeria, and Holland can be traced in the landscapes of this painter, who, beginning his career as a pupil under Boiselier, subsequently studied with Drélling and Horace Vernet. jg EMILE LAMBINET 3f — On the Seine A scene on the River Seine on a summer’s day, with a man poling a punt to the shore. On the right are some well-drawn tall trees, and on the left and in the distance the roofs of a hamlet and hills. The sky is filled with white clouds, save for a streak of blue in the middle portion, A representative example. Signed at the left. Dated, 1877. Height, 18 inches; length, 29 inches. 28 pe LUIS JIMENEZ BC Cote In 1875 Jimenez joined the group of Spanish painters in ‘Paris. His native place was Seville, where he was born in 1845, and his master was Eduardo Ceno. 32 — Musical Critics The scene is in the audience chamber of a Spanish Academy of Music. The judges are sitting in their stalls or about a table at the left, and the young man who has come to play before them stands at the right in the large apartment before a music stand, playing the violin. The costumes are of the time of Louis XVI. The composition is very effective, and the color scheme, with notes of scarlet, crimson, light blue, and ivory white, in contrast to the sombre carved woodwork and tapestries on the walls, is extremely pleasing. Signed at the right. Height, 1834 inches ; length, 28 inches. ffl g o* PAUL ALEXANDRE PROTAIS A Parisian painter of military subjects. 33 — Troops Marching in a Rainstorm A detachment of French infantry marching along a highway inadriving rain. The officers have the hoods of their cloaks turned up over their heads, and the soldiers are plodding along in step through the mud. In the distance are seen artillery wagons on another road and a line of trees almost blotted out by the sheets of rain. Signed at the left. Height, 18 inches; length, 25 inches, 29 27% Law ANTONIO CASANOVA Y ESTORACH Scenes of court life in the seventeenth century repre- sent Casanova’s most important works, though he is probably more widely known by his pleasant satires on the priesthood, full of suggestiveness and humor. He was born at Tortosa, Spain, in 1847. Many years of poverty and struggle, during which he studied at the Barcelona Academy under Lorenzale and later with Federico Madrazo at Madrid, were terminated by his winning the Prix de Rome. Four years afterward he visited Paris and exhibited a picture. It was well re- ceived, as was a second one, so that in 1877 he settled there, producing in successive years, ‘‘ Van Dyck at the Court of Charles,” ‘‘ Marriage of a Prince,” and “ Héros de la Féte.” The good impression which they made was confirmed by his large canvas, ‘‘ Sword and Gown,” exhibited in 1882. 34 — Waiting A tall blond young woman, in Empire gown of fig- ured blue material, stands with her right hand resting on the back of a cushioned armchair, her head turned to look into the adjoining room, from whence she seems to expect a visitor to arrive. A representative work, with a pretty scheme of color. Signed at the left. Dated, Paris, 1879. Height, 18 inches ; width, 15 inches. 30 jpse FELIX ZIEM In the earlier stages of his career, Ziem painted many fine pictures of French, Dutch, and Turkish scenery ; but it was in Venice that he discovered the true bent of his genius, While Rico has painted Venice in the broad glare of sunlight, Ziem has translated into paint the sun-risings and evening light upon the lagoons with - a wealth of color and splendor of imagination that have won him world-wide reputation. A native of Beaune, where he was born in 1821, he passed through the art school at Dijon, and began to develop his power by wanderings in the south of France. A Dutch scene secured him his first medal in the Salon of 1851, and views of the Golden Horn and of the Piazza of St. Mark in 1857 were rewarded with the Legion of Honor. He was made an officer of the Legion in 1878. 35 — View on Grand Canal, Venice Gondolas and sailboats in the water, which fills the foreground. On the right, some buildings, with walls - of pink and gray, and steps leading down to the canal. In the middle distance, the quays with the Campanile, St. Mark’s, and the Doges’ Palace. The sky is delicate blue, with misty pale gray at the horizon. A character- istic example of Ziem, with a very delicate scheme of color. Signed at the right. Height, 21 inches ; length, 30 inches, 31 ote JFe ALFRED VON WIERUSZ KOWALSKI A pupil in the Academy of Warsaw, his native city, then in the academies of Dresden and Munich, and finally studying under Alexander Wagner and Joseph Brandt, Kowalski is favorably known by his historical and genre subjects, which have gained several medals. His ‘“‘ Hunting” at the Morgan sale in New York was purchased for $2,500. ak ve Le pre 36 — Scene in Poland | On a rainy day before the freezing weather has set in a conveyance, with the driver on the front seat and two travellers well wrapped up in the back, is plodding © over the road almost swamped in water. There are three horses hitched abreast, and other teams are seen following in the background. Beyond lies a town, with a windmill on a hillock at the left. A gray sky and bare trees indicate the cheerlessness of the season. Signed at the right. Height, 171% inches; length, 29 inches. Charles Moreau was born at Chateau-Renard and works in Paris, following the line of domestic genre. 37 — Waiting for His Luncheon The good grandmother, sitting by the table, is spread- ing jam on a generous Slice of bread, and a little boy, standing before her with a basket on his arm, holds out his hand in readiness to take it. A simply painted piece of genre with effective notes of blue. Signed at the left. Height, 17 inches ; length, 21 inches, 32 CHARLES MOREAU yi Beaacnld Leng ee /b0 RUDOLF ERNST £2 °7** This German painter has sought his happiest subjects in the Orient, rendering them with considerable richness of color and with a skilful treatment of textures and architectural details, by 38 — The Letter A young girl in a dress of black velvet, with gold brocade sleeves and front, is sitting with a letter in her hands, looking downward in thought. Back of her isa painted-glass window. A soberly rich piece of color. Signed at the right. Dated, 1880. Height, 30 inches ; width, 23 inches. 280 ME Meenthee VICTOR BACHEREAU-REVERCHON Favorably known as a painter of animals, Bachereau has also obtained repute for his treatment of historical genre, which he has represented with fidelity to the characteristics of the period and with much spirit and imagination. He was born in 1843. % 39 — Soldiers of Henry II in One of the Halls of the Louvre Some of the soldiers are in a group at the left, clean- ing their armor. Others are at the right, throwing dice at atable. Two noblemen are before the fire in the great chimney in the background. The large room is lighted by a window on the right, near which sits a min- strel playing the lute. An authentic picture of life and manners, well composed and agreeable in color. Signed at the right. Height, 22 inches; length, 28 inches. a3 j Boe 75° pt A pupil of Piloty and of the Munich Academy, of which he afterwards became a professor, Griitzner showed a preference for humorous genre, and at once attained a great success with his scenes from Shake- speare. Later he occupied himself with the amusing side of monastic life and the hunting-field. EDUARD GRUTZNER 4 40 — Painting In One of two companion pictures. An artist monk perched on a stool on a rude scaffolding is absorbed in his work of painting the figure of a saint on the wall in avaulted chamber. His paint-pots, other materials and © tools, and his cartoons are strewn abouthim. Excellent in character and able in execution. Signed at the left. Dated, 1877. Height, 24 inches; width, 19 inches, 7 ge 4{ — Painting Out LHS ch 7 4 Companion to the preceding. An old monk with a long-handled brush and pail of whitewash has already given a preliminary rub or two with his instrument of effacement on a large fresco pic- ture in the convent, and stopsto take a pinch of snuff before continuing the work of destruction. Agreeable in tone, like the companion picture, and ably executed. Signed at the right. Dated, 1877. Height, 24 inches; width, 19 inches. 34 i a | JULES WORMS ye fag’, Gf tye Born in Paris in 1837, of a Jewish family of shop- keepers, Jules Worms was made an errand boy to a draughtsman and fruit-seller, under whom, at odd hours, he picked up the rudiments of his art. Eman- cipated from the shop, he commenced to earn his living as a designer for L’///ustration and other periodicals, studying and painting in his leisure, chiefly under Lafosse; and in 1859 he made his début at the Salon with success. Though a traveller in many countries, the majority of his pictures show his special fondness for Spain. With Vibert and others he was one of the founders of the French Water Color Society, and his own pictures in water color are highly esteemed by connoisseurs, 42 — Spanish Dancer A numerous company of men and women, crowded | together in picturesque groups in the shady courtyard, are playing guitars and tambourines and keeping time by clapping hands for a beautiful dancer who, on a table in the right centre of the composition, dances the steps of the captivating ‘‘El Vito.” The dancer is dressed in light blue, short skirt, and low-cut bodice, and forms the predominant note in the color scheme as well as the central attraction in the happy pastime. This is a rarely fine example of Worms, and in subject is extremely attractive. Signed at the right. Height, 22% inches; length, 31 inches. 35 jor WILLIAM ADOLPHE BOUGUEREAU Though known to art-lovers as the painter of children and dainty girlhood, Bouguereau is a man of iron reso- lution and indomitable will. While a store-keeper’s assistant in his native city of La Rochelle, he spared two hours a day to attend the art-school in Bordeaux, ~* and with such success that in 1842 he won the prize of the year. This decided him to bean artist ; and, throw- ing up his employment, he went to live with his uncle, a priest in Saintonge, where he painted portraits of the townsfolk for a few francs. Having saved a little capital of nine hundred francs, he proceeded to Paris, entered the studio of Picot, and later was admitted to the Ecole des Beaux-Arts. He lived by incredible shifts, finally receiving some small help from his family, until in 1850, at the age of twenty-five, he won the Prix de Rome. This was the turning-point of his fortunes. After four years’ stay in that city he returned to Paris, and at once secured recognition. Among other works, important commissions for mural paintings in public buildings were intrusted to him, as, for example, the decoration of the foyer of the theatre at Bordeaux, in which he executed Apollo andthe Muses. In the face of the reaction against classicalism he has remained a classi- cist, and his technical knowledge is so profound, his skill so masterly, that he has been able to survive the onrush of the naturalistic tide. With inflexible determination he has stood his ground in the midst of the critical battle that has been fought over him, and has established his reputation for being one of the greatest draughtsmen of the nude that ever lived. 43 — Timidity pl dw A picture of a sweet-faced little child, nude, seated with knees drawn up:and -hands folded over its breast in a corner, where a blue velvet curtain lined with white satin affords acosy resting place. The faceand shoulders are in shadow. Signed at the right centre. Dated, 1878. Height, 25 inches; width, 18 inches. 36 AG hie af aT JEAN FRANCOIS RAFFAELLI Every one acquainted with the art of Jean Francois Raffaélli knows that up to a certain time it was clouded with pessimism and has since become happy. The painter-himself attributes the change to the influence of his first visit to America some six years ago. A Parisian first and always, the outset of his life was embittered by family misfortunes, and his entrance into art by the blight which the terrible results of the war of 1870-71 cast upon the young and impressionable men. Consequently he painted with bitterness, and his art was sombre, violent, hopeless. Then came recogni- tion, moderate affluence, and finally his first visit to America. There he discovered, as he says, ‘‘an unend- ing hope for all men who have confidence in their own powers.” Raffaélli had no need to distrust his own, and returning to Paris, he threw himself with renewed ardor into subjects which have ‘‘beauty, grace, elegance, poetry, tenderness, and the sweetness which could not flourish during many years of hardship.” Whether in his earlier or his later mood, he stands unrivalled in his own individual manner of impressionism, seen most characteristically in his inimitable studies of the streets of Paris; so vivid in their actuality, artistic in treat- ment, and above all individual. One of them gained the -silver medal at the Pittsburg International Exhibition last November. The honors paid to him in Europe are numerous, and from many countries. 44 — In a Moorish Garden Five or six Oriental women, clad in rich stuffs, are seated on rugs laid on the grass in a garden walled in with tiles of blue and white. Some black female slaves are in attendance. Three of them are. making music to while away the hours; a fourth, who is a bird- charmer, exhibits her talent with her little feathered pets; and a fifth serves the ladies with coffee. In the distance, the walls and roofs of Algiers and the blue sea. A very colorful picture, carefully painted, very interesting in itself and as an early example of the work of Raffaélli. Signed at the left. Dated, 1877. Salon number, 1754. Height, 23% inches ; length, 36 inches. 37 I ¢ ope Though a Spaniard by birth, Rico has worked out for himself an almost entirely original development. A cavalry officer gave him his first lessons in drawing, from whose hands he passed to the Madrid Academy, maintaining himself meanwhile by drawing and engrav- ing on wood in his leisure hours, On the small savings of his labors he would wander off on foot during the summer, studying nature and living among the gypsies and herdsmen. In 1862 his unremitting industry secured its result. He won the first Prix de Rome awarded for landscape, and being allowed the choice between a sojourn in Paris or in Rome, chose Paris. Here his compatriot Zamacois took him in hand, and Meissonier and Daubigny gave him help. His brilliant and personal style soon secured him popularity and success. Even in his prosperity he has not lost his simple tastes, and it has been remarked of him that with a guitar and a bundle of cigarettes he could make a journey round the world. 45 — Fleet in Venice Three steamers are drawn up in perspective line in the centre of the composition. On the right are build- ings fronting the water, and gondolas tied up at the landing places. The effect is in sunlight, with a blue sky. A characteristic example. Signed at the right. Height, 16% inches; length, 27 inches. 38 MARTIN RICO PF 2 ee" poe Sd flowin i Joa? Co -* - JEHAN GEORGES VIBERT A noted wit, brilliant with pen as well as brush, Vibert is one of the strongest personalities among the artists of Paris. Picot and Barrias were his masters, but he owes less to them than to his own active intelligence, which directed him to a métier of his own. His good- humored satires on the hypocrisy and self-indulgence - of monkish and ecclesiastical life did much toward advancing his popularity. He was decorated with the cross of the Legion of Honor at the age of thirty. But he was not content with triumphs in oil alone ; spurred on by the exploits of Fortuny in water color, he began in it a series of experiments that have placed him among the first aquarellists of the world. 46 — A Cardinal Composing a Letter The young cardinal standing at his desk in his study ‘ has a difficult letter or state paper to compose, and closes his eyes in thought as he touches his forehead with the shaft of his quill pen. Torn and crumpled pieces of paper on the floor testify to several unsatisfactory efforts to accomplish his task, and ancient volumes piled up on the chair, with marks between the leaves, show he has been consulting the authorities on knotty points. On the wall above his head hangs a richly framed portrait of a gentleman in scarlet coat, who is probably one of the cardinal’s ancestors. A very superior ex- ample, in Vibert’s most complete manner. Signed at the left. Height, 27 inches; width, 16 inches. 39 , 0 Hl? GASTON CLARIS A pupil of Meissonier and E. Giraud, Claris has ex- hibited successfully in the Salon pictures more or less related to the humorous or pleasant incidents of military life, 47 — Pendant le Repos—Grandes Ma- noetivres A troop of cuirassiers fills the narrow village street in front of a tavern on the left, where a group of officers, about a table outside the door, are studying a map and discussing plans of campaign. A scene such as may be seen at any time in France when the ‘‘ grandes manceu- vres” are taking place, and in this case a composition pleasantly depicted. Signed at the left. Dated, 1879. Height, 23 inches; length, 31 inches. Y go alr” FREDERIK HENDRIK KAEMMERER Many collections in America possess examples of the work of this landscape and genre painter, who was a pupil of Géréme, and gained his first Salon success in 1874. 48 — Going to Church At the door of a fine mansion a hand-sleigh is ready for the beautiful lady who, covered with a gray satin, fur-lined cloak, descends the steps, with a footman be- hind her carrying her muff and prayer-book. The lackey who pushes the sleigh stands ready for the start, hat in hand. One of the most charming of all of Kaemmerer’s works. Signed at the left. Height, 31 inches; width, 21 inches. 40 I a7” CHARLES BOMBLED ¢ /¢"”" te 4 Born at Amsterdam and a pupil of Schmidt, Chawles Bombléd is best known by his military subjects, espe-— cially of the French army. 49 — Visiting the Outposts A party of French cuirassiers wearing long gray riding-cloaks, with their horses in the foreground. At the right, in the middle distance, a single cavalryman on sentinel duty. Snow covers the ground and the cloudy sky shows the red glow of sunset at the horizon. Signed at the right. Salon number, 270, Height, 25 inches; length, 31 inches. a DON VICENTE PALMAROLI There is something of Fortuny, and not a little of Meissonier, in Palmaroli’s style. He was a pupil of Federico Madrazo and of the San Fernando Academy, continuing his studies in Rome. Then he became director of the Spanish Academy, and has since won many medals, both in Paris and in his native city of Madrid. 50 — The Day After the Début A beautiful actress in a robe of soft white material is | seated on a divan in her morning room, and has been | reading in the /zgaro and other journals the criticisms of her performance the night before. A heap of bouquets with their white paper envelopes, a beribboned wreath, a palm and other floral testimonials, are in evidence as souvenirs of what was probably a successful appearance. Skilfully painted and charming in color, Signed at the right. Height, 29 inches; width, 24 inches, 41 Mlisgeccear; 0 co Le JULES DUPRE It is one of the marvels of biography that a little boy of Nantes, taught the knack of porcelain decoration, should become without any aid from teachers a master of landscape at the age of eighteen, and live to be rec- ognized as one of the founders of the modern school of French landscapists. The contributing causes were his constant and unwearying love and study of nature; later, his study of the masterpieces of the Louvre, and, finally, his meeting with Rousseau and their life-long friendship. Both were attracted by the grandeur, mas- siveness, and harmonious color of nature; but, while Rousseau revelled in its sunshine and wealth of color, Dupré was the poet of its sterner moods. Whether painting the ocean or the woods of Fontainebleau, it was the sombre view that stimulated his imagination. Yet he was of an even disposition, and when the little band of Barbizon painters had been recognized by the world, and fortune and honors came his way, he bore his successes with the same equanimity that had marked his conduct in the face of early struggles and reverses. 51 — Landscape and Sheep A tall oak fills the right of the composition, and at the left there is a stretch of meadow and plain framed in by low-lying hills. In the foreground a flock of sheep advances along a grass-grown lane, the shepherd bringing up the rear. The sky is composed of turbu- lent white clouds, with a few patches of deep blue, striking in general effect. Signed at the right. Height, 35% inches; width, 28 inches. 42 CHARLES EMILE JACQUE His early training as an engraver of maps may have given Charles Emile Jacque his accuracy of drawing, as his love of poultry, pigs, and sheep and of rural scenes was certainly the reason of his intimate knowledge of these subjects ; but the poetic feeling which made him a worthy compeer of the rest of the Barbizon-Fontaine- bleau school was a gift more inspired. His skill as an etcher also contributed to his power in composition, in texture, and the massing of light and shade; for his etchings won him reputation before his paintings, and to- day his fame rests securely on both mediums, Though born in 1830, it was not until 1861 that his painting first won recognition at the Salon, butafter that his popularity grew steadily until, in the later part of his career, it was almost phenomenal. Yet he never yielded one iota of his art ideals to pamper this popularity ; his pictures, though homely in subject, are never prosaic—his treat- ment is always guided by a fine artistic feeling, Their popularity, therefore, besides being a triumph for the painter, has been a tribute to the judgment and taste of his patrons. He died in 1893, wealthy and honored, and the sale of his studio collection in Paris produced the noteworthy return of 600,000 francs, 52 — Sheepfold In the sombre interior a shepherd appears in the background with a bundle of hay, In the foreground are two sheep and some chickens. A square pillar, on which the light falls, supports the roof, and with its warm white tone makes a note which balances the com- position. A good example, with rich color quality. Signed at the right. Height, 24 inches; width, 20% inches. 43 is EMIL HUNTEN ¥g é. Ge Though born in Paris, and for a while a pupil of Flandrin, Emil Hiinten settled in Diisseldorf. The beginning of this transition was, no doubt, his study under Horace Vernet, from whom he caught the con- tagion of better subjects. After a period of work at Antwerp under Wappers and Dyckman, the fame of Camphausen drew him to Diisseldorf, and the campaign into Schleswig in 1864 gave him the chance to accom- pany his master into the field. A few years later he visited the battle-fields of the Franco-German War. 53 — French Prisoners in the Rear A number of French prisoners in various uniforms are grouped on a bank at the right, while two Russians —one mounted—are on the road at the left. In the dis- tance, a burning village. : Signed at the right. Dated, 1877. Height, 20 inches; length, 26 inches. ‘ 3° PAUL LEYENDECKER We Sod Character studies in eighteenth-century costumes are favorite subjects of this pupil of Géréme. 54 — Moliere Reading before Ninon d’Enclos Moliére, in black velvet, stands at the right of the composition, manuscript in hand, declaiming his verses, while his audience, composed of la belle Ninon, a lady companion, and half a score of gentlemen, are grouped at the left in a salon hung with tapestries. Carefully painted and exact in historical detail. Signed at the left. Dated, Paris, 1874. Height, 23 inches ; length, 31 inches. 44 Jre _ LOUIS EMILE ADAN <<. ¢-#rer— A pupil of Picot and Cabanel, Adan has consistently pursued his early choice of historical and genre subjects. He was born in Paris in 1839. 55 — L’Eté de St. Martin On a white garden-bench, in the shade of the trees, a pretty young woman is seated reading a book, while an elderly man, in Louis XVI. costume, sitting at the other end of the settee, strokes his chin as he looks at her admiringly. Itis Indian summer for him, while the young girl as certainly symbolizes the smiling month of May. Excellent in color notes, and very cleverly painted, this is a work of very attractive aspect. Signed at the right. Height, 23 inches ; width, 37% inches. a v Ql. Fleth Joo ALEXANDRE LOUIS LELOIR A son and pupil of Auguste Leloir, Louis Leloir attained in his genre pictures considerable distinction. They are ingenious in composition, with excellent color, and, in his later style, not unlike Meissonier’s. He won many rewards, including the Legion of Honor, and is well represented in this country. 56 — At the Rendezvous A voluptuous young woman in a Turkish jacket, and her skirt drapery composed of clinging figured stuffs, is leaning gracefully against a balustrade with roses climb- ing the pillars. She holds a flower in one hand and waits with confident assurance the coming of her lover. A well-drawn figure, depicted in an agreeable scheme of color. Signed at the right. Dated, 1877. Height, 30 inches; width, 19% inches. 45 owe" LO GEORGE H. BOUGHTON, N.A,RA. | Born in England in 1834, Boughton three years later was brought to this country by his parents, who settled in Albany, N. Y., where, as a boy, he began to instruct himself in art. He opened his studio there in 1850, the old American Art Union being almost his first patron. It was on the proceeds of its patronage that he went to Europe to study, returning several years later and making his first appearance at the National Academy Exhibition in 1858, with ‘“‘ A Winter Twilight.” The following year he returned to Europe, residing first in Paris, and then finally settling down in London. He has painted a wide range of subjects, and gained rep- utation for landscapes as well as his better known studies of the Knickerbocker, Puritan, and Huguenot periods, 57 — English Landscape A pastoral scene in England, with a stream crossing the foreground. On the path which borders it are two milkmaids, One trudges along at the left with her two well-filled pails, but her companion has stopped to talk to ayoung farmer. In the middle distance, a red-roofed farm-house and clumps of trees. A graysky, with warm. evening light at the horizon. Signed at the right. Dated, 1877. Height, 16 inches; length, 36 inches. 46 oe : eis pen HEE — ‘ RAYMUNDO DE MADRAZO A Spaniard living in Paris, Madrazo has been claimed by both France and Spain, and yet contrived to be independently himself. He was born in Rome in 1841, and baptized in St. Peter’s. His father, Federico, the head of the Madrid Academy, was his first in- structor; and when he died in 1859, the son proceeded to Paris to become a student of the Ecole des Beaux- Arts, and later to place himself under Léon Cogniet. His first appearance at any exhibition was in the Salon of 1878, when his work received a first-class medal and the ribbon of the Legion of Honor, Since then “he has permanently impressed his students, variously ut- tered his aims as a modernist of power, and charmingly invested his life in his friends,” 58 — The Memorandum A three-quarters-length figure of a lady in modern costume of dark red, with a white mousseline neck scarf. She wears a hat of the same material as the dress, trimmed with a pheasant’s wing. In her gloved hands she holds a pocketbook and a tiny lead _ pencil with which she is about to jot down an address or other memorandum. The face is attractive in type and ex- pression, the figure graceful, and the costume smart. An excellent example in every way. Signed at the upper right. Height, 31% inches ; width, 21 inches, 47 J 425 for spe pil 4 JULES ADOLPH GOUPIL Born in Paris in 1839, Goupil became a pupil of Ary Scheffer. He has painted portraits, but is best known by elegant genre pieces, slight in subject but carefully _ drawn and bright in color. 59 — The Interesting Book A lovely girl with dark hair, clad in a Directory costume of wine-colored satin with broad silver-gray sash, is in profile to the spectator, seated ata table read- ing a book. The figure is very charming in pose and expression, and all the accessories are admirably painted. A splendid example. Signed at the left. Height, 25 inches; width, 17% inches. OSWALD ACHENBACH / yn hed { Born at Diisseldorf in 1827, Oswald Achenbach studied art under his brother Andreas. He gained medals in Paris at the Salons of 1859, ’61, and 63, and in the last year was elected to the Legion of Honor, 60 — On the Quay The scene is in an Italian seaport, with a ruined castle on a point of land in the middle distance. In the fore- ground on the landing is a group of fishermen, women, children, and a city youth, while nearby, standing on a rock, is a holiday-maker in the person of an elderly man whose eccentric costume consists of white trousers, a pink shirt, and a black top hat. He has stopped fishing to look at the group of people, who are evidently dis- cussing some question that, for the moment, interests them deeply. Signed at the right. Dated, 1878. Height, 26 inches; length, 39 inches. 48 4 CHARLES EDOUARD DELORT ‘of LS AL Ilo This genre painter, born at Nimes in 1814, became a pupil of Gleyre and Géréme. His first medal was won at the Salon of 1875. 61 — Arrival of the Cardinal The courtyard of a Spanish inn. The Cardinal, ac- companied by gentlemen, almoners, and servants, is coming forward toward the stone stairway at the right, and the host, holding his saucepan and white cap be- hind his back, bows low in obsequious greeting. The red robes of the Cardinal form the central note in the color scheme, with which are effectively contrasted the greens, blues, browns, and purples of the costumes of the cavaliers and the trappings of the sumpter-mules, A remarkable piece of historical genre by a celebrated artist. Signed at the right. Height, 24 inches; length, 39 inches. 450 PAUL VIRY ad yee | Delicacy of tone and elaboration of detail characterize the genre subjects of Paul Viry, who was a pupil of Picot. 62 — The Duet A man in an elegant Louis XIII. costume of gray and white satin, with long buff leather boots, is sitting on a bench tuning a lute, while a lady opposite him gives him the pitch with a tuning-fork. A greyhound lies at their feet. The background is composed of the walls and towers of a great chateau, with a tree and some flower- ing vines. Very highly finished, well drawn, and quiet in color. From the Salon of 1876, Signed at the right. Dated, 1876. Height, 28% inches; width, 24 inches. 49 wo a a eS Rg tes, a ee oe a a : er ® q ic JEAN LEON GEROME Géréme was twenty-three years old when his picture « The Fighting Cocks” was skied in the Salon of 1847. But it was discovered by Théophile Gautier, who wrote, the following day, in La Presse: ‘Let us mark with white this lucky year, for unto us a new painter is born. He is called Géréme. I tell you his name to-day, and to-morrow it will be celebrated.” Gautier was right. The picture gained for the young artist his first medal, and since that day every official honor that France can bestow upon a painter has fallen to his brush. He was the pupil of Delaroche, whom he followed to Rome half acentury ago. After visiting Russia and Egypt, he pro- duced his popular canvas ‘‘ Duel after a Masked Ball,” followed by the ‘‘ Death of Cesar,” and in 1855 by that powerful work of history and allegory, ‘‘ Le Siécle d’Au- guste,” which secured him the “red ribbon.” Soon afterward he paid a second visit to Egypt, from which he returned with increased precision of observation and a fuller sense of color. At the close of the Salon of 1874 he was awarded the grand medal, thus reaching the zenith of a career that is still in the ascendant. 63 — The Mosque of Borurssa The mosque, with its blue dome and minarets, fills the right half of the composition. The view at the left overlooks the roofs of the city and the distant hills be- yond. Over all, a high sky of blue with some straggling white clouds. The foreground is occupied by the graveyard with ruined headstones, and ascore of the wild dogs that infest the city are seen stretched on the grass asleep. At the left three veiled women are seated on a carpet smoking hookahs, and a eunuch guardian in black, with a red and yellow headdress, stands near them. Signed at the right. Height, 24% inches; length, 39 inches, 50 Michael Lieb by actual parentage, Mihaly de Munkacsy in the name by which the world knows him, conferred honor upon the little town of Munkacs in Hungary, where he was born in 1846. Six years were served in apprenticeship to a carpenter before he was able to devote himself to art, which he commenced to study with a portrait painter, Gyula. Then he became a pupil of the Vienna Academy, passing on to Munich, where, under Franz Adam, he made rapid progress and won three first prizes. Thence, in 1867, he went to Disseldorf, and, following the advice of Knaus and Vautier, gave himself up to genre subjects. In 1869 his reputation was at once established by the appearance of ‘‘ The Last Day of a Condemned Man”; one of the scenes in the popular life of his native country. His moveto Paris in 1872 proved a turning-point in his career. He began to choose his subjects from the life around him, and then in 1878, with his ‘‘ Milton Dictating Paradise Lost” (now in the Lenox Gallery, New York), entered upon a fresh field and a different method of color. Among the honors paid him were a medalof honor at the Exposition Universelle, 1878 ; Officer of the Legion of Honor the same year ; the crossof the Order of Francis Joseph and the title of an Austrian Baron in 1882. The pathetic circumstances of his end are within immediate memory. 64 — Visit to the Baby A richly furnished interior, with the young mother in light blue peignoir seated in large arm-chair at the right of the composition. On the left, a group composed of two ladies and the nurse, who holds up the baby for admiring inspection. The pink and gray gowns of the ladies, the nurse’s apron, the salmon-colored table cover, and the mother’s robe of blue form the light notes in the color scheme. The tapestries on the walls, the furniture, screen, and rugs, are warmly tinted and make up a setting for the figures of great luxury. A very important example. Signed at the right. Dated, 1879. Height, 43 inches; length, 59 inches, BI / é MIHALY DE MUNKACSY View 2 E ——— Se a mr iT i a me om a, ee ee Se Te la ee ee en ae 0° y FS ‘ALFRED WAHLBERG /f, cL Alfred Wahlberg’s evolution was from the Stockholm Academy, by way of Diisseldorf, to Paris, where he en- joyed the assistance of Corot and Daubigny. His land- scapes have won him the highest honors, both in the city of his adoption and in his native country. 65 — Sunset after the Storm A river with its banks, on the right, fills the fore- ground, Inthe middle distance, a hill and clumps of trees. Over all a strong sky, with troubled clouds, and the sun sinking behind the hill in a rich glow of color after the storm. A fine representative example. Signed at the right, Dated, 1878, Height, 24 inches; length, 38 inches. Few American painters can show a longer list of for- eign honors than Edwin Lord Weeks. Boston produced him, but he is a citizen of the world and an indefatigable traveller : noted particularly for his pictures of Eastern life, painted in Cairo, Jerusalem, Damascus, Tangiers, or India. 66 — The Gate of a Fondak A street scene in Cairo, with elaborately ornamented Moorish architecture in sunlight effect. In the fore- ground, a negro with two camels. At the right, a fountain with a water-carrier and a dog. Other figures and horses at the shop on the left and in the background. Signed at the left, Dated, 1879. Height, 27 inches; length, 35% inches. 52 a Y an! L.G- be EDWIN LORD WEEKS This Roman painter is known by dainty little genre subjects, in which light.and air are well depicted. 67 — The New Robe A tall lady with dark hair stands in a finely furnished boudoir, while a friend as elegantly costumed as herself kneels on the floor beside her and arranges the folds of her yellow satin skirt. Brilliant in color and clever in execution, Signed at the left. Dated, 1875. Height, 30 inches; width, 18% inches. ; tasers J7@ ADOLPHE ALEXANDRE LESREL ee A pupil of Géréme, Lesrel has painted historical subjects, and been successful also in portraiture, but is chiefly popular for his genre pictures of the Renaissance period, with rich costumes and accessories, 68 — Baptism of the Prince of Condé EFT OPO CL I eg me The scene shows the banqueting festivities at their height, the parent prince and princess seated at the table under a canopy of gold and crimson in the middle of the composition. At the right a young girl, in a peasant’s costume of the richest possible description, holds the infant prince, while the godmother and little brother and sister are standing beside her. On the left, a company of musicians. Cardinal Richelieu is seen in the background leaning over to speak to the princess’ mother. Painted with careful attention to detail and very rich in general aspect. Signed at the left. FOS OLLIE ILI OO, LARS SIGN ea PES Ee | i Height, 33 inches; length, 46 inches. 53 (os _ HANS MAKART LET For a few months Hans Makart was a pupil at the Vienna Academy under Ruben, but, dissatisfied with the prevailing methods, set out on foot to return to Salzburg, his native city. Through the help of the Prince-Archbishop Maximilian von Tarnoczy he pro- ceeded to Munich; first studying under his relative, the landscape painter Schiffmann, and later at the Academy with Piloty. After six years spent in visiting Paris, Italy, Rome, and Vienna, he settled down to historical painting in the last-named city by invitation of the Emperor Francis Joseph, who caused a sump- tuous studio to be prepared for him and in 1876 conferred upon him the title of Professor. The honors which he _ received both from Vienna and Paris were numerous, officer of the Legion of Honor being awarded in 1884, the year of his death, 69 — The Unwelcome Salutation Descending the steps of a chateau is a young woman in richly embroidered costume, who turns her head to look indifferently at a young man in crimson who re- moves his hat in salutation as she passes. A roll of papers in his hand indicates that he is probably a poet. At any rate, the lady seems dete Very striking and rich in color. Signed at the left. Height, 4134 inches ; width, 30% inches, 54 ae 43° VACZLAV BROZIK Brozik’s ‘‘ Embassy of Ladislaus of Bohemia to Charles VII. of France,” painted in 1878, hangs in the National Gallery at Berlin. It is a characteristic example of this historical painter, himself a Bohemian, having been born in 1852 at Tzemoschna, near Pilsen. After being for a time a student at the Prague Academy, he became a pupil of Piloty in Munich and later of Munkacsy in Paris, where he established his residence in 1876, 70 — The Presentation A rich family in the time of the Renaissance have about finished dinner, which has been served in a splendidly furnished apartment, and the lord of the mansion, a portly elderly man in black, has risen to ‘receive a young cavalier, finely dressed in velvet and laces, who has come in. The seigneur is in the act of presenting his guest to the ladies grouped about the table. One young woman, the daughter of the house apparently, is standing up and occupies a central posi- tion in the composition. The color scheme is opulent and the story is well told. Signed at the left. Dated, Paris, 1879. Height, 38 inches; length, 58 inches. a ae ee ti ee oo ei epee ae + ~ ind is 25 Sal a a Gp ras ea mrp Entei FBG Tn RE IPT TO yA a 55 p50 C54 RAYMUNDO DE MADRAZO A Spaniard living in Paris, Madrazo has been claimed by both France and Spain, and yet contrived to be independently himself. He was born in Rome in 1841, and baptized in St. Peter’s. His father, Federico, the head of the Madrid Academy, was his first in- structor ; and when he died in 1859, the son proceeded to Paris, to become a student of the Ecole des Beaux- Arts, and later to place himself under Léon Cogniet. His first appearance at any exhibition was in the Salon of 1878, when his work received a first-class medal and the ribbon of the Legion of Honor. Since then ‘‘he has permanently impressed his students, variously ut- tered his aims as a modernist of power, and charmingly invested his life in his friends.” 71 — After the Ball A street scene in Paris at night. Cabs are standing at the entrance of the old Bal Valentino in the Rue St. Honoré, and some of the last revellers are issuing from the brilliantly lighted doorway. A page of Paris life in the seventies, very truthfully depicted. Signed at the left. Height, 19 inches ; length, 31 inches, 56 CHARLES EDOUARD DE BEAUMONT It was as a landscapist, with subjects drawn from the neighborhood of Cernay and Senlis, that de Beaumont first obtained notice, in the Salons of 1838, 1839, and 1840. Later he turned to genre painting and the oc- casional illustration of books. He was born in Lan- nion, France, in 1821, and became a pupil of Boise- lier. 72 — The Difficult Choice In the courtyard of an inn in the country, a party of soldier-cavaliers have seated themselves to drink while a meal is prepared for them. In the foreground mine host, a portly figure, is looking over his flock of geese, which issue from their pen at his call, trying to decide which ones he shall choose for the spit. He wears a white apron, a bunch of keys dangles on one side of his waist, and a butcher’s knife at the other; but he also wears arapier. This is in keeping, perhaps, with the customs of the time, when every man had to guard him- self and his belongings, A fine example of genre work by a talented painter. Signed at the left. Height, 20% inches; length, 33 inches. 57 4 Mati Paes CR 4 550 GUGLIELMO INNOCENTI 445-7 Born in Rome, and a pupil of the Academy in that city, Innocenti has made his home in Paris. 73 — The Brigand A life-sized figure, almost full length, striding up a mountain path with his gun in his hands, and his head turned to look backward on the watch for his pursuers. The figure, in Italian peasant costume, is relieved with fine effect against the sky and is strongly painted. Signed at the right. Height, 59 inches ; width, 39 inches. re 7 J. JAMES TISSOT Zy oar q During the last fifteen years Tissot has been busy with his paintings and drawings illustrating the Life of Christ. Before that he was known as a clever painter of Parisian scenes, and during his stay in London of studies drawn from the life around him. Born at Nantes, he was a pupil of Flandrin and Lamothe, in- fluenced in no slight measure also by the Dutch masters. 74 — Summer Hours A young woman with an intelligent and very at- tractive face is seen seated on a couch at a window through which appears a lawn in sunlight. A striped awning screens the glare and causes the figure to be enveloped in diffused light. The young woman is dressed in a pretty summer gown of white trimmed with straw- colored ribbons. This is a thoroughly artistic picture by a painter whose reputation in similar subjects was made in Paris and London before he took up his great work of illustrating the Life of Christ. Signed at the upper left hand. Height, 33% inches; width, 23 inches. 58 Set r yo! “e ty? 5 3 te Oe lies ive : iS Wie Sh ee GSE PIERRE MARIE BEYLE > Lyons claims Pierre Marie Beyle as a son. He be- gan his career as a house painter, but, meanwhile, studied art, and, encouraged by the designer Philippon, sent his first picture to the Salon in 1867. His first medal was awarded in 1881. He is known chiefly as a genre painter, but subjects in connection with the sea have also come from his brush. 75 — Une Partie de Dames Here are four prettily dressed women in a setting of landscape with willow trees and astream. Two are in a boat and two on the landing on the bank. One of the latter, as she bends over to speak to her friend who is sitting in the bow of the punt, holds up her gown a bit and discloses dainty buckled shoes and red stockings. Attractive in color arrangement and agreeably com- posed. Signed at the right. Height, 36 inches ; width, 25 inches. aad ‘EMIL AUGUSTE PINCHART SPI AE ert Born at Cambrai, a pupil of Géréme, this painter has divided his time between history, genre, and portraits, which on several occasions have been awarded medals. 76 — Chrysalis A young woman in fanciful costume of blue, white, black, and yellow, seated on a semicircular stone bench in a garden, is looking at a butterfly which a cupid before her has caught and holds up for her admiration. Fine decorative quality of color and clever execution. Signed at the right. Dated, 1875. Height, 3134 inches; width, 23 inches. 59 a JEAN BERAUD her Js q Born in St. Petersburg of French parents, and a pupil of Léon Bonnat, Béraud made his first successes by spirited and truthful rendering of every-day scenes for the illustrated journals. Pictures involving similar subjects followed, as well as portraits, which obtained him a good standing. In 1882 he won his first medal at the Salon. His latest and most distinguished man- ner has been the painting of Scripture subjects, set in modern surroundings. They have aroused controversy through their tendency to sensationalism, yet they display such remarkable technicalskill and power of character- ization that the impression made by them was too strong to be gainsaid. 77 — La Place de l'Europe, Paris A street scene in a fashionable residence quarter in Paris, where the Chemin de Fer de l'Ouest passes under a great square. A number of promenaders are seen in the foreground, and two cabs are passing. In the dis- tance are the railway station and other buildings, illu- minated by the late afternoon sun. Sober in color and cleverly painted. Signed at the right. Height, 18% inches; length, 28 inches. 60 Ts al DON LUIS ALVAREZ Born at Madrid in 1841 in narrow circumstances and early left an orphan, Alvarez contrived to secure entrance into the Academy, and, encouraged by his master, Federico Madrazo, made his way to Rome, though almost penniless. His first picture, exhibited in Florence in 1861, obtained a medal, and was purchased, when he brought it to Madrid for exhibition, by Queen Isabella, who also gave him a pension to enable him to continue his studies. Returning to Rome, he received } royal favor and government commissions, and has been one of the most influential men in shaping the present : Spanish school of art, : 78 — Toilette of Madame du Barry furnished boudoir, arranging a lock of her powdered hair as she looks into a mirror held before her by a young abbé on bended knee. A maid offers her a bon- bonniére of sweets and two ladies look on, while a small i white poodle sits on the floor and gazes fondly at his . mistress in the hope of being favored with a bit of candy. Elaborately finished in an attractive scheme of color. Signed at the left, Dated, Rome, 1876. Height, 21 inches; length, 27 inches. i The Duchess sits in a gilt chair in her magnificently | ! 61 tle ae dar ght VICTOR BACHEREAU-REVERCHON Favorably known as a painter of animals, Bachereau has also obtained repute for his treatment of historical genre, which he has represented with fidelity to the characteristics of the period and with much spirit and imagination, He was born in 1843. 79 — La Veille d’un Mariage au XVIee Siécle The noble cavalier at the left, who is to be the bride- groom of the morrow, has just signed the marriage contract, and, with the quill pen still in his hand, bows low over the hand of his future wife, who, accompanied by her ladies, is just leaving the great salon where, on a table, the wedding gifts are displayed. The company of guests is forming in procession to follow. The cos- tumes are rich and elegant, and the work shows an authentic picture of life and manners in the sixteenth century. Signed at the left. Dated, 1879. Height, 30 inches; length, 43% inches. | 62 wre ctf GABRIEL MAX The most distinguished work in Germany to-day is being done by individual painters, each pursuing methods peculiar to himself. Prominent among them is Gabriel Max, painter of historical and genre subjects. He was born in Prague in 1840, being a son of the sculptor Josef Max. He studied, successively, under Engerth at the Prague Academy, under Blaas at Vienna, and with Piloty at the Munich Academy, of which last he eventually became a professor. But it is less by following the traditions of the German schools than by relying on his own personality that he has built upa steadily increasing fame. 80 — Brother and Sister This group of two figures exhibits a fine study in pink and wine color. The costumes of the brother and sister give these two paramount notes in the color scheme. The brother, with a lute in one hand anda twig from a vine in the other, reclines with his head on his sister’s lap. She is reading to him from a book. The background shows a stretch of landscape. Signed at the left. Height, 42% inches ; width, 33 inches. 63 JJ LUCIEN A. GROS 4 Meissonier was the master of Lucien Alphonse Gros, and the genre pictures of the pupil are well drawn and full of character. 83 — Prisoners of War The time is the period of Louis XIII. In an immense building with stone pillars and great oak roof-beams, the commander of the soldiers is seated in an arm- chair, while the prisoners of war are being brought up before him for judgment. One, whose clothes have been almost ripped from his body, is on his knees in supplica- _ tion, while his keeper, a tall figure in crimson, stands by, holding the rope which binds the prisoner’s hands. This spirited composition is crowded with figures, and is very effective in the arrangement of the groups and the disposition of the masses of light and shadow. The bright hues of the soldiers’ costumes form agreeable notes of color. | Signed at the left. Dated, 1871. Height, 84% inches; length, 61 inches. 64 Pr LOUIS EMILE ADAN yy pdf A pupil of Picot and Cabanel, Adan has consistently pursued his early choice of historical and genre subjects. He was born in Paris in 1839. 82 — The Arrival at the Chateau A party of people are just arriving at the great door- way of a chateau with paved court, and the host and hostess have come down the steps to greet them. The central group consists of the young hostess and a lady visitor, who are kissing each other, a young gallant standing by as he draws off his gloves, and a little boy who pulls the arm of the hostess to remind her of his arrival also, Beyond the pillars of the porch at the right is a postilion, and two porters carrying in the trunks and boxes to the side-door of the chateau. The period is the latter part of the reign of Louis XVI. A sterling work, a very pleasing subject, and a fine piece of quiet color. Medal at the Salon of 1876. Signed at the left. Height, 29 inches; length, 45 inches. Y HENRI GOUVION SAINT-CYR “Ophelia,” exhibited in the Salon of 1880, is a charac- teristic example of the painter, who was a pupil of Leloir. 83 — Ophelia A beautiful life-sized figure, Ophelia is blond, and wears a splendid court costume of white with gold em- broideries. Her arms are full of flowers and a wreath of pink blossoms crowns her pale golden hair. Rich in color and attractive in general effect. Signed at the right. Salon number, 1676. Height, 86 inches; width, 58 inches. ; 7-4 7+ ferght ot Sale TEES = be SECOND EVENING’S SALE Wednesday, February 14th AT CHICKERING HALL BEGINNING AT EIGHT O'CLOCK J. H. DOLPH, N.A. Although a painter of the figure and of cattle, it is for his dog and cat subjects, especially the latter, that J. H. Dolph is best known. He was born at Fort Ann, N. Y., in 1835 ; studied under Louis van Kuyck in Ant- werp, and has been identified with the art life of New York for many years. He was elected an Academician in 1898. 4 84 — Head of Cat Ws 7 Picture of a cat, with a wide, starched, lace-trimmed collar around her neck. Painted in this artist’s inimi- table manner. . Signed in initia] at the left. Dated, 1877. Height, 6% inches ; width, 5% inches. 85 — A Pug Dog yy: Picture of a pug dog, with a stiff white ruff around his neck. A fine bit of animal painting, with a touch of humor. Companion to the preceding. Signed in initial at the left. Dated, 1877. Height, 61% inches; width, 5% inches. 66 LOUIS GEORGES BRILLOUIN A pupil of Droélling and Cabot, this painter was born at St. Jean d’Angely in 1817. His figure subjects were awarded frequent medals at the Salon, oO We. 86 — Three Cronies Three elderly men, in costume of the Restoration, sitting on a bench chatting and taking snuff. The cen- tral figure in the group wears a suit of red, and makes the principal color note in a quiet scheme of tints har- moniously arranged. Signed at the left, and with the inscription, ‘ A Madame J. Janin, homage respectueux.” Dated, 1878. Height, 8 inches; length, 1o inches. ANTOINE EMILE BERANGER Born in 1813 at Sévres, where his father Antoine was connected with the Royal Porcelain Works, the younger Béranger learned his art and followed it for many years as adecorator. Later he developed into genre pictures, finding his favorite subjects in young women of the working classes in pretty costumes, which he rendered with avery agreeable freshness and purity of color. } e 87 — The Bouquet Girl The pretty flower-girl in Directory costume stands at the entrance of a house offering her nosegays with a graceful gesture. Within are seen several figures gathered about atable. Highly finished and attractive in color. Signed at the right. Dated, 1878. Height, 11 inches; width, 8 inches, 67 GIOVANNI BOLDINI Son of a painter of saints, Giovanni Boldini was born in 1845 at Ferrara, Italy. Six years of his early life as an artist were spent in Florence, Since 1872 he has made his home in Paris. Fortuny, writing to a friend in 1874, says: ‘‘I should also like to see something by Boldini. Judging from what little I have seen, he knows what he is about.” So when the Spanish painter came to Paris, it was natural that he and Boldini should be drawn to each other; indeed, so strong was the sym- pathy between them that of all the band who came under the influence of Fortuny’s brilliant personality none caught more of his dash and swing of movement than Boldini. A love of sunshine, of the clarity and sentiment of light and its action upon different surfaces, the latter has always had. One may see it in his genre pictures and in the landscapes, wherein the sunlight is rendered with much fidelity and with a sense of joyous- ness that is communicated to the spectator. In his portraits he displays extraordinary intensity and con- centration, rendering the personality of the sitter with an actuality and a brilliancy of technique that is fairly we amazing, 64S ; - | 88 — In the Garden LY. Sireng v One of Boldini’s marvellous bits of painting, repre- senting a gentleman in a garden with his greyhound, pausing in his walk to look at the sculptured figures on a great flower-vase. His costume is pink and crimson, and the notes of color thereby given are admirably set off by the green of the parterres and trees and the blue of the sky. A captivating little picture and a fine ex- ample. Signed at the left. Dated, 1876. Height, 8% inches; width, 6% inches. 68 ETIENNE PROSPER BERNE-BELLECOUR At the age of nineteen, Berne-Bellecour, who was a native of Boulogne, became the pupil in Paris of Picot, supporting himself meanwhile by photography, in which his experiments were so original that he was awarded a recompense in this department at the Universal Exposi- tion of 1867. Up to this time he had been known at the Salon as a landscapist, but in 1868 the painter Vibert, who had become his brother-in-law, induced him to abandon photography and devote himself continuously to painting. He adopted the advice, abandoning land- scape also, and taking to figure subjects of a military character, in search of motives for which he visited Algiers. Recalled by the outbreak of the Franco-Prus- sian War, he served in a regiment of Franc-tireurs, receiving a medal for gallantry under fire. This fixed his determination to be a painter of military subjects, and the experience he had gained gave to his pictures, which followed in quick succession after his retirement from the army, an actuality and interest that were rec- ognized by the award of medal after medal. He trav- elled in England; resided in Russia as the guest of Alexander II.; practised with success as a sculptor and etcher, and in 1878 was granted the cross of the Legion of Honor. As a military painter he ranks with De Neuville and Detaille in the estimation of the French nation, and the reproductions of his pictures have added an international reputation. 89 — In the Trenches Lb Ge closets A French officer of Chasseurs leaning on a rampart, glass in hand, and looking steadily at the action in the distance. Excellent in character, well painted, and fine in drawing. Signed at the left, Dated, 1877. Height, 13 inches; width, 8 inches. 69 1G o /60 J. ENRIQUE A Parisian painter of light genre, — 90 — On the Terrace henge fer / A group ofa score of ladies and gentlemen in costume Louis XIII. on a terrace, listening to three musicians and actors, who are amusing them. The figures are very small and the execution is almost microscopic. Bright and pretty in color. Signed at the right. Dated, 1388. Height, 6 inches; length, r4 inches. ORESTE CORTAZZO Among the many examples of this Italian painter of genre subjects which are owned in this country are: “The Interrupted Sitting”; ‘‘The Geographical Stu- dent”; ‘Teasing the Poet 9" tariness eager “Crowning the Bride”; “The Judgment of Paris”; and “ Amateurs of Bric-a-Brac,” 91 — Unsuccessful Here is a gentleman in cocked hat and satin breeches, sitting disconsolately at the foot of a flight of steps lead- ing from a terrace above, who has been writing verses. But his achievement has not equalled his inspiration, and his ink-bottle is overturned and crumpled scraps of paper are strewn about him. Two ladies nearby are looking at him in his plight, and a third, behind him, tickles his ear with a straw to rouse him from his reverie. Signed at the right. Dated, 1875. Height, 13 inches; length, 21 inches. 70 ued. Bed Lg Z, | ; ‘ LUIS FALERO This Spanish painter, who early in his career settled in Paris, won a medal of honor at the Exposition Uni- verselle, 1889. . {7 4 92 — Egyptian Dancing Girl A A275 A young woman with headdress of sequins, the torso nude, and a piece of figured stuff draped about the lower part of her figure, seated on a landing place in a Moor- ish stairway. Good in color and execution, and attrac- tive in aspect. Signed at the left. Dated, 1878. Height, 10 inches; width, 7% inches. ALFRED THOMPSON BRICHER, A.N.A. Nature has been A. T. Bricher’s sole teacher, and with characteristic loyalty he has devoted himself to the reproduction of those scenes with which he has been familiar since boyhood. A native of Portsmouth, New Hampshire, where he was born in 1839, he has found his subjects in the landscapes and coast scenes of New England, rendering them in water color as well as in oils. He began to paint in 1858, and ten years later sent his first picture to the National Academy Exhibition. His election as Associate of the Academy occurred in 1879. 93 — Coast of Maine ae The sea rolls in, breaking on the rocky beach, and a ; great mass of rock rises up at the right. In the distance a headland and ships on the horizon. ‘Signed at the left. Dated, 1881. Height, 20 inches; length, 39 inches. 71 JEAN CHARLES MEISSONIER Son and pupil of the great Ernest, Jean Charles Meissonier is favorably known by his eighteenth cen- tury scenes executed in the manner of the old Dutch masters. 94 — The Learned Monk An ascetic-looking monk is seated at a table with a green baize cover and piled up with books, making notes from a large volume spread open before him. The light falls from a shuttered window at the right.. Sober in color and excellent in drawing. A fine little genre work. . Signed at the right. Dated, 1877. Height, 1534 inches; width, 10 inches. LOUIS AUGUSTE GEORGES LOUSTAU- NAU Spirited and humorous subjects, painted in a strong, broad manner and carefully finished, are the char- acteristics of Loustaunau, who was a pupil of Vibert, F. Barrias, and Géréme. 95 — The Amateur Artist &. e A venerable cardinal with artistic tastes has been try- ing his hand at painting a picture. While he stands, mahl-stick and palette in hand, before it, a young man sits in an armchair and critically looks at the picture through his hand used as a light-screen. The episode takes place in a room in the cardinal’s palace. Signed at the left. Salon of 1878. Height, 21% inches; width, 28 inches. 72 Lt? Mest! AUGUSTE TOULMOUCHE Piquant scenes from daily life, executed with much vivacity and great skill inthe renderings of satins and velvets, have occupied the brush of Auguste Toul- mouche. He was born in Nantes, 1829, became a pu- pil of Gleyre, and has gained many medals, as well as the red ribbon of the Legion of Honor, 96 — Admiration . Gorgon A three-quarters-length figure of a young woman in a pretty costume of light and dark blue and a white waist, hand on hip, looks admiringly, and with good reason, at her face reflected in a hand mirror which she holds up before her. An engaging figure skilfully painted. Signed at the right centre. Dated, 1878. Height, 16 inches ; width, 9% inches. 4 CHARLES D. HUE A pupil of Fleury and Caraud, Charles D. Hue is seen at his best in genre and character studies. L Bee be 97 — The Betrothal fey Megf— A group of nine or ten persons in costume of the latter part of the reign of Louis XVI. in a finely furnished salon. The central figures are a young couple who, in the presence of their elders, are being formally engaged to be married. The young man respectfully kisses the hand of his future wife. Signed at theright. Dated, 1875. Height, 12% inches; width, 20% inches, ie i vi A2E J. E, ANDERS A painter of the Diisseldorf school, in good repute for his genre subjects. cA: 7 é . Y/, / 98 — A Brunette KE. 4 CORT A head in three-quarters view of a young woman with dark hair. Her bodice is cut square at the neck, and she wears a string of pearls. Excellent in color and charming in character. Signed at upper left hand. Dated, 1878. Height, ro inches ; width, 8 inches. H. ZUGEL After a course in the Art School at Stuttgart, Zigel became a pupil in Munich of Anton Braith, the cattle painter. The master’s influence determined his career. He sought his subjects chiefly in sheep, which he painted with close attention to detail. Then he visited Paris, © and, studying the works of Troyon and of Rosa Bonheur, developed greater breadth of manner and depth of color, including cattle also in his subjects. In his particular line he is highly esteemed in Germany. 99 — The Evening Meal Vi ie eae 4 A flock of sheep in the fold are eagerly crowding to an open door, barricaded with a railing, where the shep- herd will soon appear with their provender. He may be seen in the shadows of the stable within, and, mean- while, his dog looks over the bars at the sheep and ad- monishes them, so to speak, to be patient. An excel- lent picture of sheep, with an agreeable golden tone. Signed at the right. Height, 181 inches ; width, 26 inches, 7+ DON VICENTE PALMAROLI There is something of Fortuny, and not a little of Meissonier, in Palmaroli’s style. He was a pupil of Federico Madrazo and of the San Fernando Academy, continuing his studies in Rome. Then he became director of the Spanish Academy, and has since won many medals, both in Paris and in his native city of Madrid. oe. 100 — The Welcome Address A benevolent-looking old priest in robe of white with black cape is sitting in the salon of a fine house where he has come to make a visit, and before him stands his hostess, with her little daughter in front of her, who reads a composition from a large double sheet. A maid peeps in at the doorway on the left. A pretty subject, charm- ingly interpreted. Signed at the right. Height, 19% inches; length, 28 inches. JULES FREDERIC BALLAVOINE A Parisian, born and bred, and pupil of Pils, Balla- voine is favorably known for his representation of his- torical and genre subjects. > a~ J0{ — Take Care! EO: FemnelC A lady sitting in a wicker chair on a terrace over- looking the sea makes a warning gesture with her left hand to her little girl, who has climbed up on the wall and is in danger of falling. Attractive in color and skilfully painted. Signed at the left. Height, 23% inches; width, 17 inches. 75 LO i tn aac 2 NAN rai i ica Perea Oa Ee GEA x fe ETE RST) taints ney eN sar es ee So =a {4A OTTO ERDMAN Still another to whom the charm of Diisseldorf proved irresistible is the genre painter Otto Erdman. Born in 1834, he first studied art at the academy in his native city, Leipsic, later continuing his studies in Dresden and Munich. {02 — Love in the Pantry 42.74 A | The butler, with powdered wig and long gray coat with pink shoulder-knot, is passing into the dining-room with a tray and a pile of plates, just as the waitress comes out with the soup tureen. He finds a way to carry his burden and at the same time to blow a kiss from the tips of his fingers to his pretty sweetheart. An excellent piece of genre of the German school. Signed at the left. Dated, Diisseldorf. Height, 22 inches; width, 16 inches. EDOUARD LEON GARIDO Garido excels as a painter of the women of his own country. He was born at Madrid, and learned his art under Palmaroli. Ob far el 103 — In the Luxembourg Garden The scene is in the great garden, with the walls of the palace to which it belongs in the distance. In straw chairs at the side of the smooth gravelled walk two ladies are seated chatting, while two little girls are at play before them. Beyond is a nurse holding in her lap a child she has taken from its low-swung carriage. A pretty episode charmingly depicted. Signed at the right. Height, 14 inches; length, 18 inches, 76 EUGEN DUCKER Eugen Diicker was born at Arensburg, in the isle of Oesel, Livonia, in 1841. He studied at the St. Peters- burg Academy, being awarded in 1862 the great gold medal. After extensive travel and study in Germany, Holland, Belgium, France, and Italy, he finally settled down in Diisseldorf, becoming a professor of its academy in 1872 and devoting himself to the painting of land- scapes and marines, 104 — Leaving Port MA Goriege— A side-wheel steamer with smoke pouring from its funnel has just left a landing place on the Baltic, which appears in the right foreground. A sunset sky with orange-tinted clouds. Signed at the right. Dated, 1877. Height, 1334 inches; length, 20 inches, JOHANNES CHRISTIAAN KAREL KLINKENBERG This painter of views of city scenery, more especially of the charming features of The Hague, was born there in 1852, became a pupil of Christoffel Bisschop, and set- tled down to live and work there. 105 — Courtyard of a Cloister A Gleiepe An architectural study, painted with rich but sober color. The figures of three nuns, with black robes and white collars, contrast effectively with the dull red, gray, warm yellow, and slate color of the buildings. Signed at the right. Height, 14 inches; length, 2114 inches, Th FRITZ WERNER The most talented pupil of Menzel, and a student under Meissonier also, Fritz Werner shows the influence of both masters. In the elegant treatment of stuffs and accessories he followed the great Frenchman, while in conception and coloring he has successfully imitated the style of Menzel. AS 106 — Consulting the Map oe Finny ‘ A group of three men in a room with woodwork and doors painted green. One, an elderly man, is pointing out a place on a map to a young man in black costume, while a soldier leans comfortably back in his chair awaiting the result of their discussion and smoking his pipe and drinking his beer. Signed at the right centre. Dated, 1871. Height, 15 inches; length, 18 inches. LOUIS GEORGES BRILLOUIN A pupil of Drélling and Cabot, this painter was born at St. Jean d’Angely in 1817. His figure subjects were awarded frequent medals at the Salon. Liv 107 — The Critics aes) Povrebe The portrait of a man in peruke and red coat is on the easel in the studio, and the original stands beside the canvas in the attitude in which he is depicted. Before the picture are two friends and the spectacled painter. The latter looks questioningly at the critics, awaiting their verdict on the success of his work. Signed at the left. Dated, 1878. Height, rg inches; length, 24% inches. 78 RENE LEGRAND Born in Paris, a pupil of Pils. 108 — Cornered C2. wae | A comfortable-looking old priest sits in a big arm- chair at one side of a table on which is a checker-board, and opposite him is his young assistant, black-gowned and black-capped, like himself, who is scratching his head in despair as he considers the dilemma he is facing in the game. A fat tortoise-shell cat sits on the floor, and on a low stand there is a tray with a bottle and glasses. The room is severely bare, but a porcelain stove in the corner gives out its gentle heat and the scene shows a pleasant picture of life and manners, Signed at the left. Height, 15 inches ; length, 18 inches. GILLAUME GEETS A distinguished painter of the modern Flemish school, and director of the Academy of Malines, Geets made his first success with his picture entitled ‘‘ Tout n’est que Fumée,” which was followed by ‘ Exorcisme de Jeanne de Folle.” 109 — The Empty Cradle vi &- Begpre A young mother in purple velvet and a white head- i dress sits beside the empty cradle of her baby, who has i been taken away by death. With her chin resting in her hand, she looks sadly into space. The costume and ; the furniture of the interior are German, of the time of the Emperor Charles Quint. Signed at the right. Dated, Machelen, 1876. Height, 15 inches; length, 23 inches. 79 Vika /S0 GIUSEPPE CASTIGLIONE Visitors to the Philadelphia Exposition of 1876 may remember Castiglione’s two pictures, ‘‘ The Warrant” and “ Visiting the Cardinal Uncle.” The latter, as well as his ‘Soldiers of Cromwell at Haddon Hall,” was shown at the Paris Exposition two years later. Both his genre pictures and his portraits reveal the joint influ- ences of his Italian origin and Parisian training and environment, 410 — Near the Garden Gate 4 Ge Three ladies are grouped about a bench in the park near a gateway which leads to a garden where tropical plants are seen in pots in a row along the-border of the pathway. The foreground is in shadow, and through the great trees of the park the sunlight is seen flooding the garden beyond. Signed at the right. Height, 15 inches; length, 21 inches. T. VANDENVOS A genre painter, with a predilection for Spanish sub- jects. S Gutman p beyflort J{1 — Spanish Interior 7 A man with embroidered jacket and Catalan scarf about his waist sits on one side of a table on which are a flagon of wine and a water-jar, talking to a young girl on the other side, who strokes a cat and manceuvres coquettishly with a fan, Signed at upper right hand. Height, 14% inches; length, 21 inches. 80 CHARLES BOMBLED Born at Amsterdam and a pupil of Schmidt, Charles Bombléd is best known by his military subjects, espe- cially of the French army. es bhat offen 128 — Wagons in Snowstorm Two covered wagons are caught in a driving storm which drifts over the wheels and forces the horses to turn their backs to the cutting wind. The drivers are busy trying to make everything as snug as possible during their enforced halt. Signed at the right. Dated, 1877. Height, 19 inches ; length, 27 inches. BRUCK-LAJOS The genre pictures of Bruck-Lajos are the product or | varied and extensive study. He was born at Papa, in Hungary, in 1846, and began his art career as a student in the Vienna Academy. From 1869 to 1872 he studied in Italy, especially at Venice, where he was for a short time in the schools of the Academy. Later he became ‘ ¢ {29 — Christmas Time — ee (ae : n watching A Hungarian interior with a party of childre a young girl who is building on a table a house of cards. At the left, in the corner of the room neara window, are a man and a woman reading a letter. A characteristic example of a celebrated pupil of Mun- kacsy, who has made a high reputation for himself as a painter of genre and scenes of peasant life. Signed at the left. Height, 3134 inches ; length, 39 inches. gO eee /59 1 f aes GEORGE HENRY YEWELL, N.A. This American painter of landscape and still-life was born in Havre de Grace, Md., in 1830. After studying for a while with Thomas Hicks, he proceeded to Paris and placed himself under Couture, afterward residing for several years in Rome. He was elected an Acade- mician of the National Academy in 1880, 130 — Turkish Carpet Bazaar Three rug-merchants in a Moorish courtyard, where their wares are spread about on the benches and flag- ging. Warm in general tone, with careful study of archi- tectural forms and ornament. Signed at the right. Dated, 1878. Height, 25 inches; width, 18 inches. AUGUSTE TOULMOUCHE Piquant scenes from daily life, executed with much vivacity and great skill in the renderings of satins and velvets, have occupied the brush of Auguste Toul- mouche. He was born in Nantes, 1829, became a pupil of Gleyre, and has gained many medals, as well as the red ribbon of the Legion of Honor. 131 — Confidential Revelations Two young women, one in blue and the other in white morning costume, are walking through the gar- den of a chateau, the walls and windows of which are seen on the left. They seem to be exchanging con- fidences, and are taking their promenade arm-in-arm. Signed at the right. Dated, 1877. Height, 26 inches ; width, 18 inches. oI 4, 4 Ht Moe fern haces al. /Ede? JEAN LOUIS ERNEST MEISSONIER Only fifteen years old when he arrived in Paris, Meis- sonier, after a few months’ study with Léon Cogniet, turned to the study of the old masters, especially the Dutch, whom he learned to surpass in skill of detail, although he never became their equal in color. With- out poetic temperament or large pretensions towards the ideal, he won his way to fame by conscientious, in- cessant toil. He had, as Albert Wolff has said, ‘‘the sincerity and wonderful determination of a man who leaves nothing to chance; who never loses sight of nature, and who makes no account of time when it be- hooves him to carry on a work to the pitch of perfec- tion which the artist desires.” Yet, while untiring in his accurate rendering of the material part of his pic- tures—the costumes, architecture, bric-a-brac—he re- veals also the very spirit of the scene, with a wonderful power of establishing a central motive in his pictures which strikes the eye at once and holds fast the imagi- nation. And these qualities are as noticeable in the smallest panel as in those large compositions treating the epic of the First Empire, of which ‘The Retreat from Russia in 1814” is the masterpiece. He was the recipient of the highest honors in his own country; a member, also, of the Munich Academy, and honorary member of the Royal Academy in London, and of others. He died January 31, 1891. 132. Annee ae Mi baked A horseman with white waistcoat, snuff-colored coat, buff breeches, black leather boots, and cocked hat, mounted on a fine bay horse, has stopped on a narrow country road which passes through an orchard to put his hand in his pocket and give a coin to a poor bare- footed woman with a baby in her arms. One of the few pictures by Meissonier in which a woman is de- picted, and a well-known and very remarkable ex- ample. Signed at the right. Dated, 1874. Height, 24 inches; width, 18 inches. 92 (Water Color) The famous cabinet portrait painted in water color by Meissonier for the late A. T. Stewart. It shows the great artist in full face, with his divided, flowing white beard and the bust covered by a loose coat of brown velvet. An admirable likeness and a historical picture. Signed at upper right. Inscription, “a M. Stewart Souvenir Affectueux.” Height, 8% inches ; width, 61%4 inches. FLORENT WILLEMS It was by the study of the old Dutch masters that Florent Willems formed himself, and to such purpose that he attracted attention as early as 1840, when only seventeen years old. Four years later he exhibited his **Visit to Young Mother,” in Paris; and its success in- duced him to settle there. Medals followed in succes- sion, and in 1851 he was made an Officer of the Order of Leopold, receiving the Legion of Honor two years after and reaching Commander in 1878, 134 — The Portrait A stately beauty with dark hair, clad in a costume of white satin with low-cut bodice, and her shoulders covered by an embroidered satin cape, stands before a table on which there is a mirror, and examines a minia- ture. A carved arm-chair with crimson cushion, a large picture by Teniers on the wall, and the white linen open-work table cover are among the accessories. A dignified and elegant genre picture. Signed at the left. Height, 26 inches; width, 19 inches. 93 Ase FERDINAND WAGNER This Bavarian painter, born at Schwabmiinchen in 1819, studied at the Munich Academy under Cornelius, Schnorr, and Schlotthauer. Returning to his native town in 1848, he painted historical subjects and received commissions from many churches throughout Bavaria. He died at Augsburg in 1881. 135, — Gathering Flowers 2 Ge A full-length figure of a handsome young woman in German costume of the time of Charles Quint, com- posed of green velvet and satin, stands in a woodland path, while she plucks some wild roses which grow on a vine clinging to a slender tree-trunk. Signed at the left. Height, 26% inches; width, 15% inches. A. LAUPHEIMER A Munich painter of domestic genre. i> Pat | 136 — State Secrets A watchman with a halberd over his shoulder is : seated on a bench talking to a tall member of his guard, | and a dog sits before them on the brick floor of the | vaulted cellar, where the scene is laid. The watchman wears a great three-cornered hat and dark green cloak with a wide cape. He crooks his forefinger as he reveals some, to his mind, weighty secret to his companion. The latter is a dull-looking fellow in a blue coat, who holds a china-bowl pipe in his hand and seems to be- lieve every word Dogberry is saying. Signed at the right. Dated, 1876. Height, 26 inches ; width, 18% inches. 94 JEAN GUSTAVE JACQUET At the age of twenty, Jean Gustave Jacquet exhibited his first picture at the Salon. Two years later he gained a medal, and was awarded the Legion of Honor in 1879. Commencing as a historical painter, he has become a recognized master in the delineation of piquant femi- v nine beauty. o | “Gy, r a ve ett ae t 137 — Head of Young Girl —~ | A lovely face framed in by blond ringlets. Over the shoulders a cape lined with black velvet, with the collar turned up. A pink and awhite rose at the neck form charming color notes. Signed at the left centre. Dated, 1879. Height, 25% inches; width, 21 inches. EMIL AUGUSTE PINCHART : Born at Cambrai, a pupil of Géréme, this painter has . f divided his time between history, genre, and portraits, which on several occasions have been awarded medals. 40 ESD oe 138 — Feeding the Birds ee In this picture a blond young woman, in fanciful costume composed of parti-colored stuffs, is standing before an aviary watching a multitude of bright-plu- maged little birds which she has been feeding from a straw basket which she holds in her hand, The setting for the figure is a corner of a Roman courtyard, and the warm gray tints of the stone walls and the green leaves of plants contrast effectively with the colors of her dress. Signed at the left. Dated, 1875. Height, 34 inches; width, 22 inches, 95 7° CHARLES BAUGNIET A collection of three hundred lithographed portraits first established the reputation of Charles Baugniet. He was born in Brussels in 1814, and became the pupil of J. Paelinck and M. F. Willens. After residing several years in England he established his studio in Paris, spending, however, a considerable part of his life in Sévres ; dividing his attention between genre and por- traits. A considerable number of his pictures exist in the private collections of this country. 139 — Blind Man’s Buff Mellen This is a party of blind man’s buffin which the players are all young women. There are eight of them, and while five are crowding together on a sofa at the right at the approach of she who is “It,” a charming figure in gown of white and pink, two others are seen near a table on the left. One of these last leans over the back of a chair and calls out to draw the blinded young woman to that side of the room. A pretty scene and an admirable piece of genre. The salon in which the party is going on is hung with tapestries. Signed at the right. Dated, 1875. Height, 36 inches; length, 50 inches. 96 WILLIAM ADOLPHE BOUGUEREAU Though known to art-lovers as the painter of children and dainty girlhood, Bouguereau is a man of iron reso- lution and indomitable will. While a store-keeper’s assistant in his native city of La Rochelle, he spared two hours a day to attend the art-school in Bordeaux, and with such success that in 1842 he won the prize of the year. This decided him to be an artist ; and, throw- ing up his employment, he went to live with his uncle, a priest in Saintonge, where he painted portraits of the townsfolk for a few francs. Having saved a little capital of nine hundred francs, he proceeded to Paris, entered the studio of Picot, and later was admitted to the Ecole des Beaux-Arts. He lived by incredible shifts, finally receiving some small help from his family, until in 1850, at the age of twenty-five, he won the Prix de Rome. This was the turning-point of his fortunes. After four years’ stay in that city he returned to Paris, and at once secured recognition. Among other works, important commissions for mural paintings in public buildings were intrusted to him, as, for example, the decoration of the foyer of the theatre at Bordeaux, in which he executed Apollo and the Muses. In the face of the reaction against classicalism he has remained a classicist, and his technical knowledge is so profound, his skill so masterly, that he has been able to survive the onrush of the naturalistic tide. With inflexible determination he has stood his ground in the midst of the critical battle that has been fought over him, and has established his reputation for: being one of the greatest draughtsmen of the nude that ever lived. 140 — The Little Sufferer A pretty little girl with blond hair, bare-armed and bare-legged, has seated herself on the grass while she binds a cloth around her ankle, which she has cut or hurt in some way in her ramble through the wood. Her upturned face shows pain in its expression, but it is very sweet and attractive. Of course, the figure is admirably drawn and the color scheme is sympathetic. Signed at the left. Dated, 1879. Height, 38 inches ; width, 29 inches. 7 97 Bia Chat hang kios Ver a JEAN BERAUD Born in St. Petersburg of French parents, and a pupil of Léon Bonnat, Béraud made his first successes by spirited and truthful rendering of every-day scenes for the illustrated journals. Pictures involving similar subjects followed, as well as portraits, which obtained him a good standing. In 1882 he won his first medal at the Salon. His latest and most distinguished man- ner has been the painting of Scripture subjects, set in modern surroundings. They have aroused controversy through their tendency to sensationalism, yet they dis- play such remarkable technical skill and power of characterization that the impression made by them was too strong to be gainsaid. 144 — Condolences +¥ A characteristic episode in Parisian life. Inside the church near the doorway the men of the family of the person whose funeral is taking place stand in line to receive the condolences and sympathy of friends as they pass out after the services. Through the open door, where the bright winter light streams in on the stone floor, a view down an avenue appears, with cabs, omni- buses, and people hurrying along. On the steps are groups of people who have just left the church. The personages on the right of the composition are in the sombre shadow of the interior, but are all admirably characterized. One of Béraud’s best pictures, and, as a consequence, a remarkable piece of painting and a fine example of modern genre. Signed at the right. Dated, 1879. Salon number, 222. Height, 25 inches; length, 31% inches, 98 P ' CHARLES EMILE JACQUE His early training as an engraver of maps may have given Charles Emile Jacque his accuracy of drawing, as his love of poultry, pigs, and sheep and of rural scenes was certainly the reason of his intimate knowledge of these subjects ; but the poetic feeling which made him a worthy compeer of the rest of the Barbizon-F ontaine- bleau group was a gift more inspired. His skill as an etcher also contributed to his power in composition, in texture, and the massing of light and shade; for his etch- ings won him reputation before his paintings, and to-day his fame rests securely on both mediums. Though born in 1830, it was not until 1861 that his painting first won recognition at the Salon, but after that his popularity grew Steadily until, in the later part of his career, it was almost phenomenal. Yet he never yielded one iota of his art ideals to pamper this popularity; his pictures, though homely in subject, are never prosaic— his treatment is always guided by a fine artistic feeling. Their popularity, therefore, besides being a triumph for the painter, has been a tribute to the judgment and taste of his patrons. He died in 1893, wealthy and honored, and the sale of his studio collection in Paris produced the noteworthy return of 600,000 francs. 142 — Sheep in the Woods ee Passing along over the pastures at the edge of a wood where great trees cast dark shadows on the grass is a flock of sheep guarded by a shepherd with his dog. A characteristic composition, with rich color effect. Signed at the left. Dated, 1879. Height, 28% inches ; length, 39 inches. 99 FLORENT WILLEMS It was by the study of the old Dutch masters that Florent Willems formed himself, and to such purpose that he attracted attention as early as 1840, when only seventeen years old. Four years later he exhibited his “Visit to Young Mother,” in Paris ; and its success in- duced him to settle there. Medals followed in succes- sion, and in 1851 he was made an Officer of the Order of Leopold, receiving the Legion of Honor two years after and reaching Commander in 1878, “Tea ~~ MA? J43 — Dressing the Bride a Pe A delightful example in Willems’s best style. The tall figure of the beautiful bride stands with a small mirror in her hand watching her companion, or maid of honor, who is adjusting her veil. Her gown is of white satin, while that of her attendant is pink. An open coffer, carved, painted, and gilded, stands near in the right foreground, and tapestries, a canopy, and a chair with red velvet cushion constitute the accessories to this charming group of two pretty women. Signed at the left, Height, 25 inches; length, 18 inches. J. JANSSEN A landscape painter whose favorite subjects are drawn from the borderland of France and Belgium. /bo het lewd 144 — Landscape in Ardennes A brook with ducks in the foreground. A group of tall stately trees and asky of blue and white. Truthful- looking in effect and pleasing in color, Signed at the left. Dated, 1882. Height, 31% inches; width, 23% inches. I0O ey 70 Nv LU - principally in dreamy idling. The sea fills the middle 2 oh ee eee Wg 3d ow oe yy ea = Fae 1 od V4 iy WILLIAM A. SHADE An American painter of domestic genre, of the Munich school. , G™ O Be eine Sot Kk SF. Ae22ell— A young mother, richly gowned in gray satin and gold brocade, with a lace ruff, is sitting beside a table covered with dishes of fruit, holding her pretty baby in her lap. The child is struggling to reach a bunch of grapes which the mother holds just beyond its reach. A splendid black and white marble chimney-piece, tapestried walls, pictures, and hangings form the setting for this pretty bit of domestic life. Signed at the left. Height, 32 inches; length, 24 inches. EDOUARD TOUDOUZE A pupil of Auguste Leloir and Pils, Toudouze won the Prix de Rome in 1871. Frequent medals have been awarded to his historical and genre pictures. He was born in Paris in 1844. g 4 146 — La Plage d’Yport (Seine Inférieure) : A party of ladies and children on the beach. They are whiling away the morning in various ways, but distance, and the sky is almost entirely covered in with white clouds. A stone pier jutsout fromthe right. An important and excellent picture. It is very agreeable and very truthful in color, well composed, and painted with extraordinary skill. Signed at the right. Dated, 1878. Salon number, 2146. : Height, 43 inches ; length, 73 inches. IoI DON LUIS ALVAREZ Born at Madrid in 1841, in narrow circumstances, and early left an orphan, Alvarez contrived to secure entrance into the Academy, and, encouraged by his master, Federico Madrazo, made his way to Rome, though almost penniless. His first picture, exhibited in Florence in 1861, obtained a medal, and was purchased, when he brought it to Madrid for exhibition, by Queen Isabella, who also gave him a pension to enable him to continue his studies. Returning to Rome, he received royal favor and government commissions, and has been one of the most influential men in shaping the present Spanish school of art. byt Veil 147 — The Cardinal’s Reception The scene passes in a splendid apartment of the Royal Palace, Caverta, near Naples, the walls decorated with fresco paintings and gilding, and the Cardinal’s crimson canopied throne in the centre. He has risen from his seat to receive a lady who stands before him with a little boy. On either side of the central group are other visitors seated on chairs and sofas chatting. Screens enclose this part of the apartment, reserved for the intimates of the prince of the Church. Behind the one on the right of the picture are two sisters and an abbé admiring some jewels and bric-a-brac placed on a table. At the left a lackey in gorgeous livery is bowing out two hooded monks, The costumes are of the time of the Directory. Brilliant in color and exceedingly clever in execution. Signed at the right. Dated, Rome, 1877. Height, 25 inches; length, 46 inches. I02 FELIX ZIEM In the earlier stages of his career, Ziem painted many fine pictures of French, Dutch, and Turkish scenery ; but it was in Venice that he discovered the true bent of his genius. While Rico has painted Venice in the broad glare of sunlight, Ziem has translated into paint the sun-risings and evening light upon the lagoons with a wealth of color and splendor of imagination that have won him world-wide reputation. A native of Beaune, where he was born in 1821, he passed through the art school at Dijon, and began to develop his power by wanderings in the south of France. A Dutch scene secured him his first medal in the Salon of 1851, and views of the Golden Horn and of the Piazza of St. Mark in 1857 were rewarded with the Legion of Honor. He was made an officer of the Legion in 1878, py eae 148 — Overlooking the Bosphorus In the shadow of a great Moorish archway, with a balcony overlooking the Bosphorus and the roofs, -domes, and minarets of Constantinople, are two young Turkish women seated on rugs and making music with a lute and a tambourine. An attendant eunuch leans against the wall at the left and holds in his hand a feather fan. An unusual motive, painted by Ziem with his characteristically brilliant color. Signed at the left. Height, 29 inches ; width, 21 inches. 103 L4b CHARLES BAUGNIET A collection of three hundred lithographed portraits first established the reputation of Charles Baugniet. He was born in Brussels in 1814, and became the pupil of J. Paelinck and M. F. Willens. After residing several years in England he established his studio in Paris, spending, however, a considerable part of his life in Sévres ; dividing his attention between genre and por- traits. A considerable number of his pictures exist in the private collections of this country. | ; | 149 — Wintertime heerge WU Cavang A group of three ladies in a finely furnished apart- ment. One, in a gown of white satin with a cloak of blue velvet trimmed with white fur, reclines in a chair before the fireplace, her hands clasped over her knee. Another, whose expression is bright and piquant, dressed in red velvet trimmed with gray fur, with toque to match, is a visitor, and stands by the mantelpiece while she holds back her gown and warms her dainty foot. The third member of the group, in a brown house- dress, leans over the back of a chair turning the leaves of a book. An attractive picture, with the charm of feminine friendship well expressed. Signed at the left. Dated, 1876. Height, 33% inches; width, 26 inches. 104 ‘ ee a HENRI CHANET This portrait painter was a pupil of Bonnat. 2 Ge The Bithday OO 7S A lady with a carriage dress of dull crimson and bonnet of the same color with white ribbons is seated in an arm-chair looking at the jewels her hostess, in gray and white, is showing her, while a little girl in light blue frock stands near with a doll in her arms and dragging behind her a little wagon heaped up with toys. Signed at the right. Salon number, 455. Height, 32 inches; width, 26 inches. JOSEPH MARIA AUGUSTE GABRIEL : FERRIER : Ferrier won the Prix de Rome in 1872. His experi- ence in Italy fitting in with his bent of mind, led him to historical subjects, occasionally varied with portraits ; works of sufficient importance to gain several medals and the Legion of Honor. He was born at Nimes in A347. S an a 151 — Thoughts of the Absent A three-quarters-length life-sized figure of a young woman in a Marguerite costume of blue and white seated in a chair with high, carved back. Her head rests pensively on her hand, and on her kneeshe holds a book at a page marked by a faded pansy. An attrac- tive picture painted with great skill. Signed at the left. Dated, 1879. Height, 55 inches ; width, 31 inches. 105 VICTOR PIERRE HUGUET Foremost among living painters of Oriental life and scenery, Huguet has practically made his home in Algiers since 1861. His first Algerine picture, ex- hibited in 1866, was bought by the French Government, and since that time his works have been acquired for the local art museums of all the greater French cities. Having served fora time in an architect’s office, he entered the Marseilles Academy, where Loubon, the friend of the Barbizon painters, was his teacher. He spent a year in Egypt, and then accompanied Durand- Brager to the East, serving with him also upon the fleet during the Crimean War. He was born in 1839. {52 — Trying the Falcons LZ é. Aelee "| Half a dozen Arab chiefs in the foreground, with their horses and falcons. One has just cast off his bird and looks up to the sky to watch his flight. The landscape, with its hills in the distance and high sky of blue and white, is evidently in Algeria or Morocco. An impor- tant and very meritorious example of the work of a painter whose subjects are similar to those of Fromen- tin, but whose personal methods distinguish all of his pictures. Signed at the left. Height, 33 inches; width, 26 inches. 106 FIRMIN-GIRARD The favorite pupil of Gleyre, was born at Poncin in 1838. Under his master’s suggestion he adopted a style of light genre subjects, which he treats with freshness of color and remarkable refinement. ‘The Flower Girl,” sold at the dispersion of the Stewart Collection, is remembered as a picture which, to quote one of Fir- | "4 min-Girard’s admirers, “has placed his reputation on an enduring basis,” J . F20-s53 The Old, Old Story © ne Ae A cavalier, in Louis XIII. costume of ruby velvet, boots, and gray hat with light blue plume, is seated on a moss-covered rock in the forest at the edge of a pool formed by the waters of a stream which comes tum- bling down in a series of cascades inthe ravine in the background. At his side stands a beautiful lady, lean- ing against another great boulder, her head slightly averted as she listens blushingly, but with a pleased _ expression, to the words addressed to her by her lover. Her costume is mouse-colored velvet with pink satin front, and her blond head is crowned by a light felt hat with pink and white feathers. An important, repre- sentative work. Signed at the right. Dated, 1878. Height, 32 inches ; length, 25 inches, 107 FREDERIK HENDRIK KAEMMERER Many collections in America possess examples of the work of this landscape and genre painter, who was a / pupil of Géréme, and gained his first Salon success in 1874. foe Mt Harvtieivece {54 — The Croquet Party A scene in a delightful garden enclosed with a high stone-wall. In the middle plane, a wrought-iron gilded gateway. A party of people in modern costume are play- ing croquet on the level space in the foreground, and others sit about in shady corners chatting or reading the newspapers. The effect is in sunlight, and the greens of the shrubbery and trees form a harmonious setting for the light tints of mauve, pink, and white which compose the dresses of the women and men. An important and ex- cellent example, painted with Kaemmerer’s accustomed skill. Signed at the left. Height, 43 inches; length, 79 inches. A, HUMBORG he A Munich painter. Apt ob-parvrele 155 — Monks Preparing for a Feast The Abbot, seated in his chair beside a table covered: with fruits, patés, and bottles of wine, is giving direc- tions to a serving-man who is emptying a basketful of fish into a tub of water, while in the background two monks who are in charge of the kitchen look on with expressions denoting their interest in the proceedings. The figures are well characterized and the still-life is finely painted. The tone of the canvas is agreeably warm and colorful. | Signed at the right. Height, 40 inches ; width, 32 inches. 108 ADOLPH ALEXANDRE LESREL A pupil of Géréme, Lesrel has painted historical sub- jects, and been successful also in portraiture, but is chiefly popular for his genre pictures of the Renaissance period, with rich costumes and accessories. 156 — The Game of Cards Three men in Louis XIII. costume grouped about a table covered with a green velvet cloth. Two are play- ing cards, while the first watches their game. A page is entering the room, through a door at the right draped with damask portiéres. Rich and effective in color and soundly painted. Signed at the right. Dated, 1877. Height, 33 inches; width, 45 inches. PAUL VIRY Delicacy of tone and elaboration of detail characterize the genre subjects of Paul Viry, who was a pupil of Picot. o 2D. 46. ApheML io 157 — Onthe Terrace A cavalier in a costume of gray and white satin and vel- vet, and a lady in a long-trained gown of pink, are with their dogs ona sort of terrace or porch which juts out into a great fountain basin. Twogreat ducks are rising from the water in the foreground and the lady is feeding a pair of doves which fly about her. An important ex- ample of Viry. Signed at the left. Dated, 1879. Height, 30 inches ; width, 24 inches. 109 27¢ JAC LEISTEN A genre painter of the Ditisseldorf school. $58 — Grandma’s Birthday The matronly grandmother seated near a table receives the greeting of three little children while her daughter holds in her arms the youngest of her de- scendants, a baby in white robes with a pink ribbon, The apartment is furnished in Empire style. Signed at the left. Dated, Diisseldorf, 1878. Height, 30 inches ; width, 25 inches. LOUIS BEROUD Known chiefly as a painter of historical subjects, Louis Béroud, a native of Lyons, studied successively under Gourdet, Bonnat, and Lavastre, and gained his first medal at the Salon of 1883. Men Tang ht 159 — La. Place St. ag The view of the famous old church shows the great fountain as the chief point of interest. The church itself looms up in the background, with its light gray towers bathed in sunlight, in contrast to the sky of blue with white clouds. In the immediate foreground atthe right in the shade of the trees is a florist with her potted plants and bouquets displayed on the pavement. Groups of people are walking about, and a sergent de ville stands on the right near the fountain basin. The architectural work is extremely well done and the general effect is striking. Signed at the right. Dated, 1880. Height, 59 inches ; width, 45 inches. IIo HENRY SHOUTEN A cattle and landscape painter of some repute. 160 — Cattle and Landscape ae ZC A fine black and white bull in the foreground, with a cow with a yoke on her neck to prevent her from jump- ing fences. Beyond in the flat meadows, a herd of cattle grazing. Sky of gray clouds with a small patch of blue. Strongly painted and delicately “ golden” in general tone. Signed at the left. Height, 25 inches ; width, 37 inches. RICHARD ANSDELL This English painter of animals was self-taught, his style being founded upon a close study of Landseer. He was born in Liverpool in 1815, exhibited for the first time at the Royal Academy in 1840, and died in 1888. During the period between 1850 and 1860 he collaborated with Creswick, who supplied the landscape setting to his studies of domestic animals. 161 — Water Carriers A Spanish scene, with the towers ofthe Alhambra in the distance. Down the steep pathway coming into the immediate foreground is a water carrier with his two white donkeys loaded with earthen jars. The boy riding one of his beasts turns his head to look at a young girl who stands leaning against the stone wall on the right, her tall water jar beside her. Picturesque and effective. Signed with initial at the right. Dated, 1860. Height, 60 inches; width, 37 inches. IIl “oe few ETIENNE ADOLPH PIOT L. Cogniet was the master of Etienne Adolph Piot, whose genre subjects, while slight in conception, are always pleasantly treated. {62 — The Toilet Learge. : y Half-length picture of a young woman with dark hair holding a hand mirror in her right hand, while the left is gracefully posed on her breast. The costume is com- posed of a white under-bodice and a black lace mantilla. Full and simple in execution and very agreeable in color. Signed at the right. Height, 32 inches; width, 25 inches. BALDOMERO GALOFRE In 1870 Baldomero Galofre arrived in Madrid with six francs in his pocket and two portfolios of sketches, the result of his study under Ramon Marti. He was employed as adraughtsman on the //lustracion Espa- hola y Americana till 1873, when he won the Prix de Rome. He is practically self-taught in art, and is ex- tremely independent and exclusive in his habits. He works in Rome and occupies a leading position among modern Spanish painters. ie 163 — The Bird Charmer A dethor Reclining on a couch in a single garment of white is a young woman amusing herself with three pet birds which come at her call and perch on her hands. A great yellow curtain and a jar filled with fluffy dried grasses, a richly wrought wall-hanging and a piece of light blue drapery, are the principal accessories. Signed at the right. Dated, Rome, 1875. Height, 37% inches; width, 25 inches. II2 HENRY SHOUTEN me repute. oy ee ee 164 — Cows in Pasture ~ Gard re a, = 9 — nes a cp ~ =) WDE CRC SCENT BI eRe. She: Reser Uh hin Aiea geet FIRST AFTERNOON’S SALE Tuesday, February 13th Peete AMERICAN ART GALLERIES BEGINNING AT 2.30 O’CLOCK MISCELLANEOUS BRIC-A-BRAC AND CERAMICS 200 RoyvAL WORCESTER VASE. Basket design. Ivory finish, with relief ornamentation of floral designs in em- bossed gold and platina. Height, 8 inches. 201 PAIR RovyAL WORCESTER STATUETTES, Arabian warrior and companion. Dec- oration in colors and gold. Height, 9 inches. 202 ‘THERMOMETER. Carved walrus ivory. Figure of Esqui- maux and dog in relief. Height, 9 inches. 203 STATUETTE. German porcelain, “Contentment.” Height, 8 inches. 1i9 u *. te ele i hd OO a Lh 204 205 206 204 208 209 210 211 PAIR VASES. Ruby glass. Morning-glories and chrys- anthemums in enamelled gold and colors. Height, 12 inches. CIGAR-STAND. Berlin porcelain. Figure of Cupid in relief, PAIR STATUETTES, Royal Worcester. Egyptian water-car- riers. Decorated in delicate tints and gold. Height, 10 inches. PAIR COVERED VASES. French pdéte-tendre. Miniature portraits of Napoleon and Josephine. Turquoise- blue glaze with chased gold ornamentation ; gilt-bronze mountings. Height, 12 inches. OvirorM VASE. Webb cameo glass. Flowers and butter- fly in ruby tints on frosted ground. Height, 10 inches. PITCHER VASE. Doulton faience. Floral decoration in finely combined colors on_ ivory-white ground. Height, 17 inches. VASE. Cylindricalform, English faience. Rich Jeypore decoration. Height, 11% inches. DOULTON EWER. Decoration of flowers and vines in natura! colors. Height, 15 inches, I20 CutT-FLoweEr DIsuH. Royal Belleek. King’s-blue glaze. Or- namentation in gold and colors. Lion’s head ornaments, Diameter, 9% inches. VASE. Ovoid form, flaring neck and _ base. Japanese cloisonné enamel on copper. Jet- black ground, with ornamentation of ram- pant dragons in finely combined colors, Height, 15 inches. VASE. Fisher & Meigs, Carlsbad. Bottle- shaped. Rich decoration of floral designs on ivory glaze. Height, 11% inches. Pair VASES. Crown Derby. Globular bottle-shaped, with scroll handles. Canary-yellow glaze; gilt decoration. Height, 9% inches. BOTTLE-SHAPED VASE. Chinese porcelain. Sang-de-beuf glaze, gray crackle at neck. Height, 16 inches. PAIR LARGE VASES. Haviland’s Limoges faience. Birds, fruits, and flowers in finely combined colors. Height, 17 inches. PITCHER VASE, Royal Worcester. Ivorytexture. Flowers in various enamels and chased gold. Height, 18 inches. I2I 219 220 221 223 224 225 V ASE. Fisher & Meigs, Carlsbad. Design of a Chinese eggshell lantern. Rich decoration of birds and flowers in bright enamels and embossed gold; openwork borders at top and bottom. Height, 14 inches. OvIFORM VASE. Japanese cloisonné enamel on copper. Translucent red ground. Wild geese in flight in white, blue, and pink enamels, Height, 12 inches. PAIR COVERED VASES. French porcelain. Pastoral and flower subjects in medallions, and stripe designs in two shades of blue; gilt-bronze mountings and ornaments. Height, 16 inches. BISQUE GROUP. “Directoire.”” Rich decoration in gold, embossed and chased. Height, 13 inches; width, 9 inches. BOTTLE-SHAPED VASE, Fisher & Meigs, Carlsbad. Ivory glaze. Flowers and birds in richly combined colors and gold. Height, 11 inches. TALL HEXAGONAL VASE, Japanese cloisonné enamel on copper. Archaic and other designs in finely com- bined enamels. Height, 12 inches. PITCHER VASE. Royal Worcester. Floral decoration in embossed gold and platina. Height, 18 inches. I22 | . | 226 227 228 229 230 231 COVERED VASE, Iridescent glass. Embossed gold deco- ration. Height, 17 inches. VASE. Tall, hexagonal-shaped. Japanese cloi- sonné enamel oncopper. Phoenix, imperial dragon, and other designs in translucent and other enamels. Height, 12 inches. PITCHER VASE. Royal Worcester. Flowers in natural colors on ivory-white ground ; openwork and gilt ornamented neck and handle. Height, 15 inches. PaiR COVERED VASES. Crown Derby. Depressed globular- shaped, Chinese-head handles. Rich deco- ration of flowers, birds, and blossoms in finely combined bright colors and gold. Height, 12 inches; diameter, 11 inches. VASE. Carlsbad. Ivory texture. Tall, quadri- lateral shape, with platina lizards in relief at corners. Rich turquoise jewelled deco- ration and chased gold ornaments. Height, 15 inches. OvoIp VASE. Japanese cloisonné enamel on copper. Red translucent enamel ground, with orna- mentation of dragons, flowers, and archaic designs in green palm-leaf panels; yellow band at neck. Height, 12 inches. 123 232 2:33 234 235 236 237 RoyvaL VIENNA VASE, Oviform, on feet, and with gilt handles at neck. Finely painted figure subjects and flowers on obverse and reverse panels, which are surrounded by a rich decoration in gold, maroon, and blue enamels. Height, 13 inches. WEDGWOOD VASE. Empire design. Relief ornamentation in gold on ivory-white ground. Height, 11 inches. \ RoseE-LEAF JAR. Iridescent glass. Painted and em- bossed ornamentation. Height, 19 inches ; diameter, 6 inches. LARGE VASE, Doulton faience. Ovoid-shaped. Chrys- anthemum flowers painted in natural colors on ivory-white ground. Band at neck and foot in green and brown glaze, and pen- cilled in gold. Height, 15 inches. FAIENCE JAR. Egyptian design. Rich maroon glaze. Numerous butterflies pencilled in gold. Gilt-bronze mounting. Height, 23 inches. PITCHER VASE. Royal Worcester. Texture in imitation of old ivory. Finely modelled relief orna- mentation of grotesque heads and other designs. Decorated in delicate pink tints and embossed gold. Height, 16 inches. 124 } ee ee eee ee en ee 238 oa 240 241 242 243 244 VASE. Doulton faience. Tall amphora-shape. Flowers painted in natural colors and gold enamel. Height, 15 inches. PaIR VASES. French porcelain. Turquoise-blue glaze. Finely painted pastoral subjects and flowers in medallions. Gilt-bronze mountings and ornaments. Height, 14 inches. JARDINIERE, French porcelain. Turquoise-blue glaze, with gilt ornamentation. Pastoral subjects in two medallions. Gilt-bronze mountings. Height, 7 inches; length, 15 inches. PaiR VASES. eid = rench,”’ Historical subjects painted in panels. Relief and gilt orna- mentation. Height, 15 inches. LARGE VASE, Cylindrical-shaped. Japanese cloisonné enamel on copper. Plum tree in blossom ; birds and flowers in finely combined colors on jet-black enamelled ground. Height, 19 inches, CutT-FLOWER TUvB. Omari porcelain. Heavy texture. Cobalt- blue glaze. WEDGWOOD COVERED VASE. Urn-shaped. Sage-green and light-blue ground, with classical figures, grape-vine, and other ornamentation: modelled in relief in white biscuit. Height, 11 inches, 125 245 246 247 248 249 250 251 Pair VASES. Royal Worcester. Relief floral orna- mentation. Gilt feet and handles finely modelled. Height, 8% inches. VASE. Hexagonal-shaped. Japanese cloisonné enamel. Birds and flowers in palm-leaf panels. Mottled enamelled ground. Height, 7% inches. V ASE. Quadrilateral. Japanese cloisonné en- amel on copper. Archaic and floral de- signs in various colors on jet-black ground. Green aventurine enamel at neck. Height, 7 inches. WEDGWOOD COVERED VASE, Empire design. Ornamentation modelled in relief, gilt and enamelled. Height, 12 inches. PAIR VASES. Egyptian design. Bold relief ornamen- tation of medallion heads and other de- signs. Height, 10 inches. THERMOMETER, Ivory tusk, with silver mountings. Height, 23 inches. Pair OBELISKS. Red marble, on black marble plinths. Height, 23 inches, 126 252, 253 254 255 256 257 WEDGWOOD VASE. Reproduction of the celebrated “ Port- land Vase,” in the South Kensington Mu- seum. Dark-blue ground, with ornamenta- tion modelled in relief in white. The meeting of Peleus and Thetis on Mount Pelion, and Thetis consenting to be the bride of Peleus. Head of Atys on the bottom. Height, 11 inches. WEDGWOOD VASE. Empire design. Rich relief ornamenta- tion in gold. Festoons of grape-vines, symbols, and other designs. Height, 12 inches. CARD-RECEIVER. French porcelain. Decoration of pasto- ral subjects and floral medallion. King’s- blue glaze, and gold ornamentation. Gilt- bronze mounting. Height, 7 inches. WEDGWOOD VASE WITH COVER. Urn-shaped. Sage-green and blue ground, classical figures in medallion, and rams’ heads and festoons of roses modelled in relief in white. Height, 15 inches. VASE ON PLATEAU. French porcelain. Finely painted cher- ubs, flowers, and symbols in delicately combined colors; relief and embossed gold ornamentation. Ormolu mountings. Height, 23 inches. CENTRE-PIECE. French porcelain. Decoration of pas- toral subjects and floral designs. King’s- blue glaze and embossed gold ornamenta- tion; gilt-bronze mountings. Height, 15 inches; diameter, 15 inches. 127 258 TERRA-COTTA STATUETTE, “Judith.” Height, 24 inches. 259 CENTRE-PIECE. French porcelain. Rose-pink glaze. Pas- toral subject and floral designs in finely combined colors; gilt-bronze mountings. Height, 12 inches ; diameter, 16 inches. 260 CARD-RECEIVER. French enamel on copper, “The De- parture.” Gilt-bronze mountings. CABINET OBJECTS 261 COVERED JAR. Royal Worcester. Openwork design. Jewelled and embossed gold ornamenta- tion. 262 Parr MINIATURE VASES, Satsuma faience. Japanese garden scenes and numerous butterflies and flowers mi- croscopically painted by Taizan. 263 CUP AND SAUCER. Royal Berlin. King’s-blue glaze, em- bossed gold ornamentation, and exquisitely painted flowers in two medallions. 264 PITCHER VASE. Royal Worcester. Ivory texture. Daisies in embossed gold and platina. Openwork bulb at neck. Glazed in delicate tints. 128 265 266 267 268 269 270 271 272 WEDGWOOD COVERED VASE. Urn-shaped. Empire design. Rich orna- mentation of floral festoons, vine and leaf pattern, all modelled in relief and gilded. Height, 9 inches. TEAPOT, Royal Vienna. King’s-blue glaze, with gold ornamentation, and exquisitely painted medallions of figure subject by Johnei. Gilt-bronze dolphin handle. PatR MINIATURE VASES. French enamel. Figures in translucent enamels, BowL wWitH HANDLES, Coalport. Landscape in panels and other ornamentation in embossed gold. WEDGWOOD VASE, Empire design. Relief ornamentation of vines, festoons, and leaf patterns in gold. Height, 5 inches. PaIR COVERED VASES, French enamel. Pastoral subjects in medallions, King’s-blue ground. Gilt- bronze mountings. Height, 8 inches. Cup AND SAUCER. Royal Berlin. Empire design. King’s- blue glaze, embossed gold ornamentation and exquisitely painted floral medallions, RoyaL VIENNA TETE-A-TETE SET. With tray. Finely painted medallions of historical subjects, and-rich ornamentation in embossed and chased gold and various enamels, 9 129 273 274 275 276 277 278 279 280 281 PAIR SMALL JARS, Royal Berlin. Dark-blue glaze, with floral decoration in natural colors. MINIATURE CUP AND SAUCER. Coalport. Turquoise jewelled ornamen- tation on gold ground. COVERED VASE. Royal Worcester. Intricate openwork de- sign. Decorated in delicate tints and em- bossed gold. Height, 10 inches. PaIR COVERED VASES. Coalport. Finely painted landscape views; rich ornamentation in embossed gold and coral-red enamel. Height, 8 inches. BoTTLE-SHAPED VASE. Royal Worcester. Egyptian design in intricate openwork. Rich ornamentation in embossed and chased gold and enamels. Height, 10 inches, MINIATURE WATERING-POT, French porcelain. Turquoise-blue glaze. Pastoral subjects painted in medallions. Chased silver mountings. MINIATURE JEWEL-Box. Dresden. Bellows design. Delicately painted decoration, Gilt-lined. MINIATURE TRAY, Coalport. Jewelled ornamentation on ivory-white glaze. CoRDIAL-GLASS. French enamel holder. 130 282 283 284 285 286 287 288 289 290 SNUFF-Box. Dresden. Pastoral subject and floral de- sign in various colors. Silver-gilt mount- ings. MINIATURE FAN-SHAPED TRAY, Coalport. Blossom decoration in blue. JEWEL-STAND. Minton faience. Decoration in em- bossed gold. Gilt-bronze mountings. SMALL VASE, Gilded. Sterling silver. Enamelled chrysanthemum flowers. Height, 514 inches. JEWEL-TRAY. Royal Vienna. Richly ornamented in embossed gold on maroon ground. Gilt handles, SMALL VASE. Wedgwood. Empire design. Festoon of grape-vines, rams’ heads, and symbols modelled in relief and gilt. Height, 4% inches. CuP AND SAUCER. Royal Worcester. Ivory texture. Intri- cate openwork design. Rich jewelled orna- mentation. BELL. Coalport. Agate panels and embossed and chased gold ornamentation. WEDGWOOD VASE. Urn-shape. Sage-green ground. Classical figures, festoon of roses, and leaf patterns modelled in relief in white. Height, 6% inches, 131 291 292 295 296 297 298 299 300 Cup AND SAUCER. Royal Berlin. King’s-blue glaze. Me- dallion portrait of Bismarck. SMALL VASE, Carlsbad. Empire design, Festoons of roses, ram heads, and leaf borders mod- elled in relief and gilt. Height, 4 inches. PAIR SMALL VASES. | Ovoid - shaped. Japanese cloisonné enamel on copper. Archaic and floral de- signs in various enamels. Height, 6 inches. JEweEL-Box. Coalport. Globular-shaped. Rich jew- elled ornamentation on gold ground. Gilt mountings. JEWEL-TRAY. Royal Vienna, Richly decorated in em- bossed gold and finely combined enamels. FLOWER-BASKET, German faience. Cream-white glaze. SMALL VASE. Egyptian. Bottle design. Openwork and enamelled decoration. Height, 7% inches. Cup AND TRAY. Dresden. King’s-blue glaze. Pencilled gold ornamentation and finely painted panels. | SET OF FURNITURE IN MINIATURE, German repoussé silver. 6 pieces. SMALL EMPIRE VASE. Wedgwood. Ornamentation modelled in relief and gilt. 132 301 302 393 304 395 306 o°7 308 3°9 310 311 TOILET-Box. Cauldon ware. Pure white paste. Dec- oration of detached roses. Cup AND SAUCER. French porcelain. Cup mounted in re- poussé silver, and the saucer of silver, RussiIAN SPOON. Enamelled ornamentation. MINIATURE SPOONS. With crystal bowls and enamelled mount- ings. 3 pieces. MINIATURE Cup, Russian. Silver filigree, filled in with translucent enamels. PERFUME-BOTTLE., Crystal glass. Decoration of sprays of flowers. ASH-RECEIVER. Crackled glass. Bronzeand gilt mount- ings representing spider-web and spider. Pair Hinpoo ANKLETS. Wrought in silver. Three rows of bells. JEWEL-CASKET. Louis XVI. table in miniature. Fine enamelled top and ormolu mountings. Ivory MINIATURE, “Napoleon Bonaparte,” by Durieux. Finely wrought gilt bronze easel frame. Ivory MINIATURE, “Court Beauty of the Time of Louis XVI,” by C. Tontier. Finely wrought bronze and gilt easel frame. 133 313 314 315 316 317 318 349 320 MINIATURE SCREEN. Finely wrought in ormolu. Three lower panels of French enamel with portraits of Louis XIV., XV.,and XVI. Upper panels of crystal glass. CARD-RECEIVER. Royal Vienna. King’s-blue glaze. Orna- mented with embossed gold. Centre panel decorated by A. Heer. Subject, “ Cupid Disarmed.”’ ANTIQUE VENETIAN GLAss DISH. Sapphire-blue. Enamelled and _ gilt ornamentation. Medizval subject. Height, 614 inches ; diameter, 8 inches. CARD-RECEIVER. Limoges enamel. Mythological subject | in white and gold on rich brown ground. EMPIRE TEAPOT. French porcelain. King’s-blue glaze. Embossed gold ornaments and finely painted floral medallions. PaIR PAPER-CUTTERS, Sword design. BABY ELEPHANT. Wrought in bronze. ELEPHANT. Wrought in bronze. ENAMELLED BRONZE GROUP. The Siesta. VIENNA GILT GROUP. The Minstrels. CARD-TRAY. Burnished brass. Openwork design. 134 323 324 325 326 327 328 329 Ivory JEWEL-Box. Carved ornamentation; miniature of Na- poleon inserted in lid. MINIATURE CLOCK. Design of Sedan chair. Finely wrought in gilt bronze. Enamelled ornamentation. PoRTABLE DEsK, Vienna gilt. Decorated porcelain me- dallions. LIBRARY TABLE INKSTAND. Rich cut glass. Mounted in gilt bronze, EUROPEAN CERAMICS VASE. Fisher & Meigs, Carlsbad. Ovoid form, with spreading neck and base, and gilt grifin handles. Rich king’s-blue glaze. Embossed and chased gold decoration of birds and blossoms, Height, 12 inches. EMPIRE COVERED VASE. Wedgwood. Urn-shape. Ornamenta- tion of rams’ heads and festoons of roses modelled in relief and gilt. Height, 13 inches. PAIR COVERED VASES. Royal Vienna. Etruscan shape. On ped- estal. King’s blue glaze. Gold ornamenta- tion and finely painted panel by A. Heer. Subject, Hector, Paris, and Helena, Height, 14 inches, 135 33° 33t O32 333 334 335 PAIR COVERED URNS. French porcelain, Sevres style. Pastoral and floral subjects finely painted in medal- lions, which are surrounded by gold and jewelled borders. ‘Turquoise-blue glaze. Gilt-bronze mountings. Height, 13 inches. PAIR VASES. French porcelain. Sévres style. Finely painted panels of figure and floral subjects. King’s-blue glaze and jewelled and em- | bossed gold ornamentation. Mounted in gilt bronze. Height, 12 inches. PaIR COVERED JARS. French porcelain. Sévres style. Finely painted decoration of children and land- scapes. Turquoise-blue glaze and jewelled and embossed gold ornamentation, Gilt- bronze mountings. Height, 13 inches. COVERED URN. French pdte-tendre, Sévres style. King’s- blue glaze and rich jewelled ornamenta- tion. Mountings of gilt bronze. Height, 13 inches. PatiR COVERED VASES, Tall oviform ; French porcelain. Figure and flower subjects decorated in panels by H. Poitevin. Turquoise-blue glaze. Gold enamel ornamentation, and _ gilt-bronze mountings. Height, 18 inches. PatiR COVERED VASES. French porcelain, Sévres style; finely painted pastoral subjects. King’s-blue glaze. Jewelled and gold enamel decora- tion, and finely wrought gilt mountings. Height, 13 inches. 136 336 gad 338 339 340 341 PaiR COVERED URNS. French péte-tendre, Sevres style; finely painted pastoral subjects. Jdleu-de-Rot glaze and jewelled ornamentation; mounted in finely wrought gilt bronze. Height, 11 inches. PatIR COVERED VASES. Graceful urn shape; French porcelain. Artistically painted panels of figure subjects and landscape, by Nicolas. Rich king’s- blue glaze ; ornamentation in embossed and chased gold. Gilt-bronze mountings. Height, 16 inches. Pair TALL VASES WITH COVERS. French porcelain ; finely painted decora- tion, Subject, The Seasons. Turquoise- blue glaze, and embossed gold ornamenta- tion of floral and vine designs. Mountings and ornaments in gilt bronze. Height, 25 inches. BOHEMIAN AMBER GLASS VASE. Incised and gilt ornamentation of leaf and other designs. Bosses in imitation of precious stones. Height, 19 inches ; diameter, 9 inches. PAIR VASES, Pilgrim bottle-shaped. French faience. Finely painted decoration of figure subjects, Duck and Chickens, by L. Gautet. King’s- blue glaze, and ornamentation in em- bossed and chased gold. Height, 16 inches ; diameter, 14 inches. PaiIR CYLINDRICAL VASES. Japanese cloisonné enamel on copper. Plum tree in blossom and peonies and birds, in various enamels, on lavender ground. Height, 18 inches. 137 342 LARGE JARDINIERE. Crystal glass, mounted in gilt bronze. Height, 16 inches ; diameter, 16 inches. y 343 Pair LARGE VASES. -Urn-shaped ; Royal Worcester. Texture in imitation of old ivory. Ornamentation artistically modelled in bold relief, and richly enamelled in gold, platina, and vari-~* ous enamels. Bas-relief heads of famous ancient poets. Height, 23 inches ; diameter, 13 inches. 344 LARGE CYLINDRICAL VASE. French faience. Rich decoration of Eastern subjects by V. Paccatte and E. Buffet. Height, 27 inches ; diameter, 11 inches. 345 Parr LARGE VASES. Tall ovoid shaped, with spreading necks © and bases. Decoration of Eastern figure subjects and landscapes, by Paccatte, after Jules Lefebvre and Leygue. Embossed gold and platina ground. Height, 34 inches ; diameter, 13 inches. 346 LaRGE Jar. French faience. Design of Oriental water vessel. Richred glaze. Ornamentation of thistles, flowers, and insects in embossed gold. Gilt-bronze mountings. Height, 25 inches ; diameter, 12 inches. 347. Pair LarGE URNS WITH HANDLES. French porcelain. Finely painted cupids and landscape by L. Renders. Embossed gold ornamentation. Height, 20 inches ; diameter, 15 inches. 138 348 349 35° 351 352 LARGE JARDINIERE, French faience. Fluted globular form, covered with a rich ruby-red glaze. Finely wrought burnished brass mountings and handles, Height, 18 inches ; diameter, 18 inches. PaiR LARGE VASES. Moore’s English faience. ‘Texture in imitation of ivory. Ornamentation of water lilies, modelled in bold relief, and decorated in enamelled gold and platina. Height, 20 inches; diameter, 15 inches. PAIR EMPIRE VASES. Oviform, with swan handles and perma- nent pedestals. Decoration of figures in panels. Rich gold glaze and etched orna- mentation. Height, 23 inches ; diameter, 12 inches. PaiR LARGE VASES WITH COVERS. Urn shape, with gilt handles and per- manent pedestals. Royal Vienna porce- lain. Finely painted panels by A. Koller. Subjects, Rinaldo and Armida, The Three Graces, and Jupiter and Callisto. Rich king’s-blue glaze, and jewelled and em- bossed gold ornamentation. Height, 25 inches; diameter, 13 inches. PatirR LARGE VASES, Tall oviforms, with spreading necks and bases. French porcelain. Decoration of pastoral and landscape subjects. Turquoise- blue glaze. Embossed and chased gold ornamentation. Height, 31 inches ; diameter, 15 inches. 139 353 354 355 356 Sei 358 Shoe) Pair LARGE OVIFORM VASES. French porcelain. Pastoral subjects and landscapes painted in panels. Rose-color glaze; embossed gold ornamentation. Height, 31 inches ; diameter, 14 inches. GRAND DOULTON JARDINIERE. Ivory texture. Artistic decoration of deer, moor fowl, and landscape, by Henry Mitchell ; other ornamentation in embossed gold and enamels. Height, 23 inches; diameter, 20 inches. PEDESTAL FOR THE PRECEDING. Mexican onyx. Mounted in gilt bronze. Pair LARGE CYLINDRICAL VASES. Arita porcelain. Rich decoration of floral designs and butterflies in panels on deep-blue ground; relief ornaments and handles. Carved walnut stands. Height, 34 inches; diameter, 12 inches. HALL SEAT. French faience. Cylindrical basket de- sign, with cushion top. Decoration of flowers and fruit in low tones. Height, 20 inches ; diameter, 16 inches. HALL SEAT. French faience. Cylindrical basket de- sign, with cushion top. Decoration of foli- age and birds in rose-pink and pale-blue. Height, 20 inches; diameter, 16 inches, Pair LARGE URNS, WITH PEDESTALS. Majolica, Clouded purple glaze. Rams’ heads and other ornamentation modelled in bold relief and glazed in low tones. Height, including pedestal, 47 inches ; diameter, 20 inches. 140 360 Pair LARGE JARDINIERES. French faience. Cobalt-blue glaze; re- lief ornamentation of fowl, blossoms, and other designs enamelled in various colors, Elephant head and ring handles. Height, 18 inches ; diameter, 22 inches. 361 Pair COVERED VASES, Tall ovoid shape. French porcelain. Sevres pédte-tendre style. Artistically painted decoration of cupids and flowers in medallions. King’s-blue glaze, ornamented with embossed gold and platina. Finely wrought gilt-bronze mountings. Height, 28 inches; diameter, 8 inches. 362 PAIR COVERED VASES, French porcelain.. Sévres style. Finely painted decoration, The Seasons, by C. La Barre. Mounted in finely wrought gilt bronze. Height, 25 inches; diameter, 11 inches. 363 PatiR LARGE VASES WITH COVERS. Graceful oviform. Finely painted deco- ration of figure and landscape subjects by L. Penel. King’s-blue glaze. Jewelled and embossed gold ornamentation. Finely wrought gilt-bronze handles and mount- ings. Height, 27 inches; diameter, 13 inches. 364 Pair LARGE VASES. Tall, graceful oviform. Panels artistically decorated ; figure subjects, after Wouver- mans, and landscapes. Rich dleu-de-Roi glaze, and embossed and chased gold orna- mentation. Gilt-bronze mountings. Height, 34 inches ; diameter, 20 inches, 141 365 Pair Larce VAsEs. | a Tall, graceful ovoid shape. Artistic decoration in panels of battle scenes. Rich king’s-blue glaze, and elaborate ornamen- — tation in embossed and chased gold. Gilt- bronze handles and mountings. ape a Height, 35 inches; diameter, 18 inches. / ) i] i 4 { ] i i 142 GLASS WARE, TABLE SERVICES IN SEVRES, MINTONS, AND ~ ROYAL WORCESTER, AND GRAND SEVRES VASES AND OTHER ORNAMENTS SECOND AFTERNOON'S SALE Wednesday, February 14th AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK. GLASS WARE 366 CuP AND SAUCER. Cut and engraved crystal glass. 367. LiQUEUR-GLASSES. Mounted in repoussé silver. Q pieces. 368 WINE-GLASSES. Engraved key pattern. IO pieces. 369 «©6GOBLETS. To match the preceding. Ig pieces. 370 ‘TUMBLERS AND GOBLETS, Various patterns. 8 pieces. 371 CHEESE-DISH AND COVER. Crystal glass, engraved key pattern. 372 FINGER-BOwLSs, Cut ornamentation. 5 pieces. IO 145 373 374 375 376 oid, 378 379 380 381 382 383 384 PAIR DECANTERS. : Pints. Engraved and cut. Pair DECANTERS, Pints. Engraved lilies and ferns. PaiR WINE-BOTTLES. Antique design; engraved ornamentation. WINE-GLASSES. Embossed gold and jewelled ornamenta- tion. 8 pieces, RHINE WINE-GLASSES, Venetian. Aventurine blue glass. 7 pieces. CHAMPAGNE-BOwWLS. Ruby glass. Embossed gold and jewelled ornamentation, 10 pieces. CLARET-GLASSES, : Bohemian glass. Enamelled decoration. IO pieces. CHAMPAGNE-BOWLS. To match the preceding. g pieces. GOBLETS. To match the preceding. IO pieces. Pair WINE-BOTTLES, Moorish design. Enamelled and gilt. Pair CryYSTAL GLAss DECANTERS, Pints. Dragons and fire emblems in em- bossed gold. DECANTER. Crystal glass. Embossed gold and enam- - elled decoration. 146 385 386 387 388 389 39° 391 ue 393 RHINE WINE-GLASSES, Amber texture. Enamelled floral deco- ration, 4 pieces. TUMBLERS AND WINE-GLASSES, Various designs. Enamelled decoration. Q pieces. COVERED SUGAR-BOWL. Crystal glass, cut and engraved. Gilt- bronze mountings. LIQUEUR-BOTTLES. Crystal glass. Repoussé silver bands and ornaments. 3 pieces. COVERED SUGAR-BOWL. Crystal glass. Mounted in repoussé silver. Rusy G.Lass-DIsuH. Oval scalloped designs. Mounted in repoussé silver. DECANTER. Quart. Crystal glass. Elaborately mounted in chased silver. CrysTAL Guass INK-STAND. Mounted in gilt silver and enamelled. ELABORATE CENTRE-PIECE. Intaglio glass. Finely wrought gilt- bronze mountings of Japanese design. Height, 30 inches ; diameter, 15 inches. Ova. DIsu. To match the preceding. Height, 10 inches ; length, 17 inches. PAIR COMPOTES. Square shape, to match the preceding. Height, 9 inches ; diameter, 12 inches. 147 396 PAIR COMPOTES. Square shape, to match the preceding. Height, 9 inches; diameter, 12 inches, 397 PAIR COMPOTES. Square shape, to match the preceding. ~ Height, 8 inches ; diameter, 9! inches. 398 ELABORATE TABLE SERVICE, Rich cut glass, mounted in artistically wrought ormolu. Comprises oval centre- piece on plateau, 2 round side-pieces with trumpet-shaped flower-holders, and 6 round compotes, TABLE SERVICES IN SEVRES, MINTONS ROYAL WORCESTER, AND OTHER CHINA. 399 CRACKER-J AR. French porcelain. Rose du Barré glaze. Gilt decoration. 400 CUPS AND SAUCERS, Royal Worcester. Decoration of floral designs in blue, sepia, and green. 4 pieces. 401 CuP AND SAUCER. Minton. Floral designs in low tones. 402 CUP AND SAUCER. Detached flowers in turquoise-blue and violet enamels. 403 LARGE CUP AND SAUCER. Sevres. Turquoise-blue glaze. Em- bossed gold ornamentation. Cherubs and monogram of Louis Philippe in medallion, | Sévres, 53. 148 404 405 406 407 408 409 410 AI 412 LARGE CUP AND SAUCER, Sévres. Pastoral and floral subjects painted in medallions. Pale turquoise-blue glaze, and gold ornamentation. Sévres,.77. SMALL PLATES. Sévres. Pure white texture; gilt scalloped edge. Marked with monogram of Louis Philippe, Sevres, 1847, “ Chateau des Tui- leries.” 18 pieces. DESSERT-PLATES, Royal Bonn, Germany. Decoration of views in Holland in deep-blue. 6 pieces. PRESERVE-SAUCERS. To match the preceding. 13 pieces. DINNER- PLATES, Minton delft. Decoration of Chinese designs in two shades of blue; gilt edge. } 7 pieces. SMALL DEEP PLATES. Dresden china. Floral and fruit designs in dark-blue; scalloped edges. 6 pieces. DINNER-PLATES. Royal Worcester. Floriated borders in deep-blue ; gilt edge. 12 pieces. Soup-PLATES, To match the preceding. II pieces. SMALL Soup-PLATES. Burgess Campbell’s royal blue porce- lain. Floral patterns, painted in cobalt- blue and gold ; scalloped gilt edge. 9 pieces. 149 413. DINNER-PLATES. To match the preceding. | 14 pieces. 414 BONE-PLATES, Crescent-shaped, to match the preceding. 12 pieces. 415 DINNER-PLATEs. Wedgwood. Rich decoration of land- scape medallions and floral borders, in two shades of blue and gold; gilt edge. 12 pieces. 416 SMALL SouP-PLATES. Copeland. Chinese designs in cobalt- blue ; gilt edge. ; 35 pieces. 417. DESSERT-PLATES. Mintons. Sprays of moss roses in em- bossed gold, platina, and enamels; gilt edge. II pieces. 418 DINNER-PLATES, Dresden. Sprays of various flowers, in natural colors ; leaf-pattern borders, enam- elled and gilt. 12 pieces. 419 DINNER-PLATES. Coalport. Rich decoration in green enamel and embossed gold ; rope border. 12 pieces. 420 SOUP-PLATES. To match the preceding. 12 pieces, 421 DESSERT-PLATES. To match the preceding. 12 pieces. 422 DESSERT-PLATES, Sarrequemines, Canary-yellow glaze. Lace-pattern borders, and centre ornament in gold. 12 pieces. 150 423 424 425 426 427 428 429 430 431 432 DINNER-PLATES. Mintons. Rich decoration in embossed and chased gold on king’s-blue glaze; white centres. 12 pieces. Soup-PLATES, Royal Worcester. Etched lace-pattern borders ; blue and gold edges. 12 pieces. DINNER-PLATES. To match the preceding. 12 pieces. DESSERT-PLATES, French porcelain. Sévres style. Deco- ration of court beauties in centre medal- lions ; borders of turquoise-blue and gold with floral festoons and ribbons. 14 pieces. PAIR COMPOTES. To match the preceding. PAIR COMPOTES. To match the preceding. Soup-PLATES, Coalport. Rich decoration in embossed and chased gold ; scalloped edge. 12 pieces, DINNER-PLATES. To match the preceding. 12 pieces. DESSERT-PLATES. To match the preceding. 10 plates. DINNER-PLATES. Coalport. Floral designs in various colors in imitation of old Chinese; key-pattern borders. 12 pieces, 151 433 434 435 436 437 438 439 440 441 DESSERT-PLATES, Coalport. Decoration of finely painted figure subjects ; rich green and gold scal- loped edges. II pieces. DESSERT-PLATES, Dresden. Decoration of floral designs in natural colors; gilt edge. 1g pieces. SMALL PLATES. | Ruskin. Indian red and gold borders. 12 pieces. SMALL SOUP-PLATES, Royal Worcester. Borders of floral de- signs etched in Indian red ; gilt edge. 12 pieces. DINNER-PLATES. Crown Derby. Rich decoration of Moor- ish designs in red, gold, and black ; star pattern centres, 18 pieces. DESSERT-PLATES. Royal Worcester. Japanese crests, orna- ments, and coins in embossed gold on deco- rated blue ground, 30 pieces. DINNER-PLATES, Wedgwood. Borders of floral and leaf designs in Indian red ; gilt edges. 22 pieces. DINNER-PLATES. Mintons. Pure white texture. Em- bossed and chased gold borders. 25 pieces. Soup-PLATES. Mintons, to match the preceding. 15 plates. 152 442 443 444 445 446 447 (448 449 450 COMPOTE AND PLATTER. Sévres. Decoration of cherubs and mono- gram of Louis Philippe. ‘Turquoise-blue and embossed gold borders. ‘‘ Sévres, 1844, L. P., Chateau des Tuileries.” TrEa-Por., Sevres porcelain, to match the preceding. DINNER-PLATES. Sévres. Finely painted decoration of cupids. Rich borders of embossed and chased gold. ‘Doré a Sévres, R. F., 48 Chateau de Compiegne.”’ 1g pieces. DINNER-PLATES. Sévres, to match the preceding. 1g pieces. Two LARGE PLATTERS. Sévres. Decoration of finely painted cherubs, in various enamels. Rich borders of embossed and chased gold on turquoise- blue enamel. “Doré a Sévres, R. F., 48 Chateau de St. Cloud.” Diameter, 13 inches. Two LARGE PLATTERS, Sévres, to match the preceding. Diameter, 13 inches. Six Larce DINNER-PLATES. Sévres, to match the preceding. Diameter, II inches. SoupP-PLATES. Sévres, to match the preceding. 12 pieces. Soup-PLATES. Sévres, to match the preceding. II pieces. 153 451 452 453 454 455 456 457 458 459 460 461 DINNER-PLATES, . Sévres, to match the preceding. 17 pieces. DINNER-PLATES, Sévres, to match the preceding. 12 pieces. DESSERT-PLATES. Sévres, to match the preceding. 21 pieces. Two SALAD-BoWLs. | Sévres, to match the preceding. Two COVERED VEGETABLE-DISHES. Sévres. Round shape with gilt handles, to match the preceding, Two COVERED VEGETABLE-DISHES. Sevres, to match the preceding. LARGE CUPS AND SAUCERS. Sevres, to match the preceding. 9 pieces. DESSERT-PLATES. | Sévres. Richly decorated borders of bleu-de-Roi and gold pencilling. “L. P., Sévres, 1846, Chateau des Tuileries.” 31 pieces. DINNER-PLATES. Sévres, to match the preceding. 25 pieces. DINNER-PLATES. Sévres, to match the preceding. 24 pieces. LARGE CUPS AND SAUCERS. Sevres, to match the preceding. 15 pieces. 154 462 463 464 465 466 467 468 469 470 TEA-SET. Sévres, to match the preceding. Com- prises tea-pot, sugar-bowl, cream-pitcher, and large bowl and plate. TrEA-CuPS AND SAUCERS. Sévres, to match the preceding. 16 pieces. AFTER-DINNER COFFEE-CUPS AND SAUCERS. Sévres, to match the preceding. 14 pieces. TEA-SET. Sévres. Decoration of pastoral subjects and flowers in panels. ‘Turquoise-blue glaze, and gold ornamentation. Com- prises tea-pot, sugar-bowl, and six various cups and saucers. ANTIQUE TEA-SERVICE. By Nast. Empire design, richly orna- mented in gold enamel and chased. Com- prises tall tea-pot, covered sugar-bowl, cream-pitcher, and five cups and saucers. Two LARGE BowlLs. ‘Nast 4 Paris.” Embossed gold orna- mentation. CHOCOLATE-CUPS AND SAUCERS. “Nast a Paris.’”’ Embossed gold orna- mentation. 7 pieces. TEA-Cups AND SAUCERS. “ Nast 4 Paris,” to match the preceding. 14 pieces. CoMPOTE. Sévres. Decoration of pastoral subjects and floral panels. ‘Turquoise-blue glaze, and gold ornamentation. 155 471 “ NaAPpoLEON ” DINNER-SERVICE, Sévres. Pure white paste. Ornamenta- tion of monogram and crown of Napoleon in gold. ‘“ Doré a Sévres, Initial N and Crown, Sévres, 67.” Comprises : 5 oval meat platters. 2 large covered soup tureens with plat- ters. 2 large covered vegetable dishes. 2 covered vegetable dishes. Low form. 2 pudding dishes. 2 large salad bowls. 2 small salad bowls. 2 tall fruit stands. 2 low fruit stands. g custard cups with stand. 1 mustard pot. 1 covered bowl and platter. 6 low compotes. 1 fruit basket with top handle. 6 large round platters. Two patterns, 1 covered vegetable dish.. Shell-shaped handles. 2 gravy boats with platters. 3 boat-shaped trays. 4 boat-shaped trays, with scroll and star pattern handles. 6 boat-shaped trays, with ribbon handles. 6 dozen dinner-plates, — 43 soup-plates, 472 “NAPOLEON” DINNER-WARE. Sévres, to match the preceding. Com- prising : 4 meat platters. t large covered soup tureen with platter. 2 covered vegetable dishes. 2 large salad bowls. 1 small salad bowl. 156 473 474 475 476 477 478 479 480 481 482 2 large round platters. 1 pudding dish. 4 boat-shaped trays. 3 boat-shaped trays, with ribbon handles. 2 high compotes. 4 low compotes. 3 cake stands. 28 dinner-plates, ‘““ NAPOLEON ” DINNER-PLATES, Sévres, to match the preceding. 24 pieces. “ NAPOLEON ’”’ DINNER-PLATES. Sévres, to match the preceding. 24 pieces. “ NAPOLEON ”’ DINNER-PLATES. Sevres, to match the preceding. 24 pieces. “NAPOLEON ” DINNER-PLATES. Sévres, to match the preceding. 24 pieces. Two ‘“ NAPOLEON ”’ CHOCOLATE-POTS. Sévres, to match the preceding. ‘NAPOLEON ”’ CHOCOLATE-POT., Sévres, to match the preceding. “ NAPOLEON ” FRUIT-STAND. Sévres, to match the preceding, . 5 “NAPOLEON ’ PITCHER. Sevres, to match the preceding. “ NAPOLEON ”’ SMALL PLATES, Sévres, to match the preceding. 8 pieces. ““ NAPOLEON ” CAKE-PLATES, Sevres, to match the preceding. 4 pieces. 157 SUGAR-BOWL AND CREAM- 483 484 485 486 487 488 489 ““ NAPOLEON ” LARGE CUPS AND SAUCERS, Sevres, to match the preceding. Q pieces. ‘“ NAPOLEON’’ CuPS AND SAUCERS. Sevres, various sizes, to match the pre- ceding. 13 pieces. DINNER-PLATES. Sévres. Pure white paste. Initial N and crown in gold. Gilt edge. “ Doré 4 Sevres, 70.” 24 pieces. DINNER-PLATES. Sevres, to match the preceding. 5 13 pieces. Soup-PLATES. Sevres, to match the preceding. 13 pieces. SOupP-PLATES, Sevres. Pure white paste. N and crown on border, in embossed gold. ‘Doré a Sévres, initial N and crown, Sévres, 67.” 6 pieces. “Louis Puitippe”’ DINNER SERVICE. Sévres. Pure white paste. Louis Phi- lippe’s monogram in gold. “Chateau de Fontainebleau, Sevres, 78.” Comprises : 3 meat platters. 2 covered vegetable dishes. 3 large round platters. 7 custard cups and stands, 1 cake stand. 1 covered bowl and platter. 1 mustard pot. 4 Oval trays. 5 dozen dinner-plates. 14 soup-plates, 158 490 ‘THREE LARGE ROUND PLATTERS, Sevres. Pure white paste. Monogram of Louis Philippe, in blue enamel. “ Sévres 1845, L. P. and crown and Chateau d’Eu.” 491 LUNCHEON-SERVICE. “Nast a Paris.” Decoration of festoon of roses and ribbons in various enamels and gold. Comprises : 43 plates. 5 shell-shaped trays, 2 diamond-shaped trays. 2 irregular-shaped trays. 2 low compotes. 2 sauce tureens, with platters. 492 DINNER-SERVICE, Sevres. Pure white paste. Rich decora- tion, in embossed gold, of leaf and vine designs ; lavender color borders, “Sevres, 1846, L. P. and Crown and Chateau de St. Cloud.” Comprises: 8 meat platters. 1 large covered soup tureen, with platter. 6 covered vegetable dishes. 1 small covered soup tureen. 1 large salad bowl. 1 small salad bowl. 1 covered sauce tureen, with platter. 8 boat-shaped side dishes. 43 dinner-plates. 12 large dinner-plates. 48 soup-plates. 18 dessert-plates. 493 LARGE ROUND PLATTERS. Sévres, to match the preceding. 1g pieces. 159 494. BREAKFAST AND TEA-SERVICE. 5 Sévres, to match the preceding. Com- — prises: | 1 tea pot. 1 sugar bowl. I cream pitcher. 1 bowl and platter. 18 large coffee cups and saucers, 22 tea cups and saucers. 19 chocolate cups and saucers. 2 dozen plates. 495 DINNER-SERVICE. r Sévres. Pure white, hard paste. Finely painted cameo medallions, vine and floriated designs in various enamels and embossed __ gold. ‘“Sévres, 1847, L. P. and “Crowne and Chateau de Fontainebleau.” Com- prises : 9 meat platters. 2 covered soup tureens. 6 covered vegetable dishes. 2 salad bowls. 1 oval sauce tureen, with platter. 1 round sauce tureen, with platters. 4 boat-shaped side dishes. 2 oval trays. 1 round tray. 4 compotes, 43 dinner-plates. 24 soup-plates. 29 dessert-plates. 496 DESSERT-SERVICE. Sévres, to match the preceding. Com- prises : Coffee-pot. Cream-pitcher. I sugar-bowl. : 27 after-dinner coffee-cups and saucers. 21 dessert-plates. 160 497 LARGE CUPS AND SAUCERS. Sevres, to match the preceding. 7 pieces. 498 TEA-CUPS AND SAUCERS. Sévres, to match the preceding. 9 pieces. 499 TEA-SERVICE. 500 501 502 505 504 Sévres. Pure white paste. Rich decora- tion of floral and cameo medallions, and embossed gold embellishment on _pale- green centres and borders. ‘Sévres, 1846, ' L, P. and Crown and Chateau d’Eu.” Comprises : Tea-pot. Sugar-bowl. Cream-pitcher. 16 cups and saucers, 18 plates. LARGE CUPS AND SAUCERS. Sévres, to match the preceding. 18 pieces. AFTER-DINNER COFFEE-CUPS AND SAUCERS, Sévres, to match the preceding. 18 pieces. DINNER-PLATES, Sévres, to match the preceding. 24 pieces. DINNER-PLATES,. Sévres, to match the preceding. 28 pieces. DESSERT-PLATES, Sévres, to match the preceding. 24 pieces. II 161 sh 506 5°7 508 599 510 DINNER-PLATES, Sévres. Pure white paste. Rich decora- tion of flowers in natural colors, and lace patterns in embossed and chased gold. “ Doré a Sévres, 87. Chateau de Trianon,”’ 24 pieces. TEA-SET. Sévres péte-tendre. Bleu-de-rot glaze with slight decoration in gold enamel. “ Décoré a Sévres, 94.” Comprises teapot, sugar- bowl, and cream-pitcher. Two Cups AND SAUCERS, Sévres pdte-tendre. Lapis-lazuli glaze. Decoration of vine design in embossed gold. : SEVRES PORCELAIN LARGE BOWL. Sévres, Outer surface covered with green glaze, and ornamented in embossed chased gold, and with miniature portraits of Napoleon I., Roi de Rome, and Marie- Louise, by Morin. Inner surface richly decorated in embossed gold. SMALL VASE, Sévres, trumpet-shaped. Covered with rich lapis-lazuli glaze. ‘“ Doré a Sévres, R. F., 94.” Height, 8% inches. LARGE BowL. Sévres. Outer surface covered with green glaze and ornamented with embossed chased gold, and miniature portraits of Caroline, Marie-Louise, and Madame Re- camier, by Morin. Inner surface richly decorated in gold enamel. Height, 5% inches ; diameter, 8 inches. 162 513 514 55 516 VASE, Sévres. Graceful oviform, covered with a soft ivory-white glaze, and ornamentation in pdle-sur-pate, of cameo medallion and floral designs, by I. Gély. The shoulder and foot are decorated with embossed and chased gold. ‘“Doré a Sévres, R. F., 88.” Height, 11% inches. V ASE, Sevres, Slender, pear-shaped. Covered with a rich lapis-lazuli glaze. ‘“Doré a pevres. KR. .r., 92°" Height, 13% inches. VASE. Sevres. Urn-shaped. Celadon glaze, and archaic designs in pdze-sur-pdte. Em- bossed gold and jewelled decoration. pore, ae nevres, R, F,, 85,” Height, ro inches. CYLINDRICAL VASE, Sévres. Jade-green and mottled-blue glaze. Ornamentation of birds and _ blos- soms in embossed and chased gold. ‘“ Doré a Sévres, R. F., 92.” Height, 13% inches. VASE. Sévres. Urn-shaped. Covered with a mottled-green glaze; gilt decoration. Ee Dore 4. Sevres, R, F., 82,” Height, ro inches. Pair VASES. Sévres. Cylindrical-shaped. Decoration of figure and floral subjects. Turquoise- blue glaze; jewelled and embossed gold ornamentation. Mounted in gilt brass. Height, 15 inches. 163 517 518 519 520 521 522 V ASE. Sévres. Cylindrical-shaped, with tall, spreading neck. Covered with a rich dleu- de-Rot glaze ; gilt decoration. ‘“ Décoré a ~ ‘ sévres, R.E., 92.” Height, 13% inches. VASE. Sévres pdte-tendre. Graceful, ovoid shape, with tall, spreading neck. Covered with a soft, mottled-blue glaze, and cloud- ings of various shades of brown. “ Doré a Sévres, R. F., 82.” Height, 13% inches. Pair LAmp-VASES. Sévres. Ovoid-shaped. Covered with rich bleu-de-Roi glaze. Slight decoration in gold. ‘ Doré’a Sévres, RF 65. Height, 14 inches; diameter, 7% inches. PAIR VASES. Sévres. Ovoid-shaped, with cylindrical necks. Decoration of landscape subjects in panels, by Moreau ; b/eu-de-Rot glaze and embossed gold ornamentation. ‘‘Sévres, - L. P., 44, Chateau de Tuileries.” Height, 16 inches. LARGE VASE. Sévres. Tall amphora-shaped. Rich bleu-de-Rot glaze. Mountings and side or- naments in finely wrought ormolu. ‘ Doré a Sévres, R. F., 82.” Height, 27 inches ; diameter, 12 inches. LARGE VASE, Sevres. Tall amphora-shaped. Rich lapis-lazuli glaze. Mountings and side or- naments in finely wrought ormolu. ‘ Doré a Sévres, R. F., 76.” Height, 26% inches ; diameter, 12 inches. 164 523 524 525 526 527 528 529 GRAND VASE. Sévres. Etruscan shape. Blue and gold clouded mottled glaze. Mounted on gilt-bronze plinth. “Doré a Sévres, eee 3. Height, 34 inches ; diameter, 18 inches. PEDESTAL FOR THE PRECEDING. Tripod and figure design. Elaborately wrought in gilt bronze ; revolving top. Height, 37 inches. GRAND VASE. Sévres, Etruscan shape. Mottled-blue glaze, with slight gilt decoration; gilt- bronze handles and plinth. Height, 35 inches; diameter, 18 inches. PEDESTAL FOR THE PRECEDING. Egyptian marble. Column design, with black marble base and revolving top. Height, 46 inches. GRAND VASE Sévres. Etruscan shape. Mottled-blue glaze, with gold-dust cloudings, Finely wrought gilt-bronze handles and plinth. “ Doré a Sévres, R. F., 83.” Height, 35 inches ; diameter, 18 inches. PEDESTAL FOR THE PRECEDING. Egyptian marble. Column design ; black marble base and revolving top. Height, 46 inches. PaiR GRAND VASES. Sévres. Tall, slender bottle-shaped. Cov- ered with a rich translucent lapis-lazuli glaze. Mountings and ornaments in finely wrought gilt bronze ; onyx plinths. Height, 49 inches; diameter, 8 inches, 165 530 GRAND JARDINIERE. z Sévres. Amphora-shaped. Covered with lapis-lazuli glaze. Richly mounted in finely — wrought gilt bronze, and mounted on a © carved onyx plinth. Height, 47 inches; diameter, 13 inches. 531 GRAND VASE. Péte-tendre. Panels artistically deco- rated with mythological subjects and landscapes, by L. Malpass; d/ue-de-Roi glaze, with rich embellishment in embossed and chased gold. Elaborately wrought ormolu mountings and ornaments. Deco- rated porcelain panels inserted in elaborate bases. Height, 55 inches; diameter, 21 inches. 532 GRAND VASE, Pdte-tendre. Companion to the preced- ing. Height, 55 inches ; diameter, 25 inches. 533 PAIR PEDESTALS FOR THE PRECEDING VASES. Carved and ebonized., Height, 25 inches. 534 GRAND VASE. Péte-tendre. Graceful ovoid form, with flaring neck of fluted design. Panels artistically decorated with figure subjects, “ Painting ” and “ Music” and landscapes, by E. Apoil. Turquoise-blue glaze, with ornamentation in embossed and chased gold. Mountings, ornaments, and plinths in finely wrought gilt bronze. Height, 51 inches; diameter, 23 inches. - 535 GRAND VASE. Pdte-tendre. Companion to the preced- ing. 166 536 PAIR PEDESTALS FOR THE PRECEDING VASES. Elaborate design in carved and polished onyx. Square-shape tops and plinths. Height, 36 inches ; diameter, 20 inches. 537. GRAND VASE. | Sevres. Tall, graceful oviform, with spreading neck and base. Deep turquoise- blue mottled glaze, with slight gilt bands. Mountings and handles of finely wrought ormolu. ‘ Doré a Sévres, R. F., 81.” Height, 41 inches ; diameter, 15 inches, 538 GRAND VASE. Sévres. Companion to the preceding. 539 PAIR PEDESTALS FOR THE PRECEDING VASES. Egyptian design in carved mahogany. Brass ornaments and mountings. Height, 44 inches ; diameter, 13 inches. 167 $7 Aacwe nd Fo ng “he yaa sen am ae rioy vee _ - ad oe fe) a 7 wr ; j yi wa ~ . iy 4 to he by af - fe. 4 : ee ae A > ‘ { { f} oO. ‘ #5 : g . EY 4 a THIRD AFTERNOON’S SALE Thursday, Febraary 15th AT THE AMERICAN ART GALLERIES BEGINNING AT 2,30 O'CLOCK STERLING SILVER 540 INDIVIDUAL PEPPER-Box. 541 TooTuHrick HOLDER, ’ Design of porcupine. 542 PApER-CUTTER. Mounted in repoussé and hammered silver. 543 INDIVIDUAL CiGAR-CUTTER. Repoussé silver, chased. 544 SMALL TRAY WITH HANDLES. Bold repoussé ornamentation. 545 Bon-Bon Spoon. Open-work design of fleur-de-lis and lion crest ; gilded. 546 ‘TEA-STRAINER. | 547 INDIVIDUAL COMMUNION SERVICE. Comprises miniature wine vessel, goblet, and plate. 171 548 549 55° ey} 532 553 554 Ske 556 ees 558 559 560 Bae SMALL SHELL-SHAPED TRAY. Gilded. INDIVIDUAL COMMUNION GOBLET AND SPOON. Gilded. : INDIVIDUAL COMMUNION GOBLET AND PLATE. BERRY-SPOON. Repoussé and chased ornamentation of birds and flowers. CHEESE-SCOOP. Relief and chased ornamentation. SuGAR-TONGS AND SPOON. Russian silver. Enamelled and gilded. Two SPOONS. Toddy spoon and souvenir spoon of Public Library, Warren, Mass, APOSTLE-SPOON. Gilded bowl. APOSTLE-SPOON. Gilded. APOSTLE-SPOON. Gilded bowl. MusTARD-PorT. French open-work design of medallion heads. Blue glass bowl. | MusTARD-Por. Old English. Open-work grape-vine design. Blue glass bowl. Toppy-GLAss. Mounted in silver of open-work design. Figures in relief ; gilded. : MUSTARD-Pot. French. Open-work design. Classic fig- ures and leaf designs. Blue glass bowl. 172 562 563 564 565 566 567 568 569 57° 571 Two SALT-STANDS, To match the preceding. SUGAR-BASKET. Blue glass mounted in silver. Open- work design of floral festoons and medal- lion heads. Two SALT-STANDS, French. Open-work floral designs with medallion heads. Claw feet ; gilded. Blue glass bowls. Two SALT-STANDS, French. Basket design. Two SALT-STANDS, French. Round shape on tripod with lion heads and ring handles. Blue glass bowls. Two SALT-STANDS. Oval. Blue glass bowls mounted in open-work silver, of Empire design; gilded. Two SALT-STANDS. Round shape. Green glass mounted in silver of open-work design. Italian Renais- sance period. Ornamentation of floral fes- toons and medallion heads; gilded. PAIR SALT-STANDS. Oval. Blue glass bowls mounted in finely wrought silver of open-work design ; festoons of roses in relief. Claw feet. PaiR SALT-STANDS. To match the preceding. / Two SALT-STANDS. Round. Crystal glass bowls with French silver mountings; Louis XIV. style; gilded. 173 572 573 574 es 576 577 578 579 580 581 582 Two SALT-STANDS. Bi Round. Crystal glass bowls with silver — tripod. Mountings of early Italian design; _ gilded. q PaiIR SALT-STANDS, Old English. Boat-shaped with head handles. Blue glass bowls. Pair OvAL SALT-STANDS. | French silver. Gilded and open-work Empire design. Blue glass bowl. MuSTARD-Pot. French, to match the preceding. PaIR SALT-STANDS, Old English. Open-work basket design. Blue glass bowls. SALT-STAND. Old French. Open-work design. Head ornaments. Blue glass bowl. Pair DOUBLE SALT-STANDS, French. Open-work grape-vine design ; gilded. Blue glass bowls. Pair DOUBLE SALT-STANDS. French. Open-work grape-vine design. Blue glass bowls. | SMALL SPOONS. English. Shell-shaped bowls; gilded. 4 pieces. SMALL SPOONS. French. Leaf design; gilded. 4 pieces. AFTER-DINNER COFFEE-SPOONS, French. Head ornaments; gilded. 6 pieces. 174 583 584 585 596 587 588 589 59° 591 592 593 SMALL SPOONS, Various designs ; gilded. 9 pieces. SALT-SPOONS, French. Head ornaments ; gilded. 8 pieces. EGG-SPOONS. French. Twisted handles. Engraved bowls ; gilded. 15 pieces. DESSERT-KNIVES. Gorham sterling. Lion crest. 12 pieces. DESSERT-KNIVES. Gorham sterling, to match the preced- ing. 12 pieces. GRAVY-SPOONS. English. King’s pattern. 2 pieces. DESSERT-KNIVES. By Touron, Paris. Repoussé handles. Blades and handles gilded. 8 pieces. GILDED FRUIT-KNIVES. By Touron, Paris. Repoussé silver handles. 12 pieces. GILDED FRUIT-KNIVEs. By Touron, Paris, to match the preced- ing. 12 pieces, GILDED FRuIT-KNIVEs. By Touron, Paris, to match the preced- ing. . 6 pieces. ORANGE-SPOONS. | French. Grape-vine design; gilded. 8 pieces. 175 594 595 596 597 598 599 600 601 602 603 DESSERT-SPOONS. : French. Gilded, to match the preced- ing. . 8 pieces. DESSERT-SPOONS. French. Gilded, to match the preced- ing. 12 pieces. DESSERT-SPOONS. French. Gilded, to match the preced-— ing. Io pieces. DESSERT-FORKsS. French. Gilded, to match the preced- ing, 12 pieces. DESSERT-FORKS. P French, Gilded, to match the preced- ing. 12 pieces. DESSERT-FORKs. French. Gilded, to match the preced- ing. SUGAR-TONGS AND SUGAR-SPOON. French. Gilded, to match the preced- ing. 2 pieces. SALAD-FORK AND SPOON. French. Gilded, to match the preced- ing. ; 2 pieces. TEA-SPOONS. French. Grape-vine pattern. 12 pieces. TEA-SPOONS. French, to match the preceding. 8 pieces. 176 604 605 606 607 608 609 610 611 612 613 LarGE TABLE-FORKs. By Touron, Paris. Grape-vine pattern. 12 pieces. LARGE TABLE-FORKS. By Touron, Paris. Grape-vine pattern, to match the preceding. 12 pieces. LARGE TABLE-FOoRKS. By Touron, Paris, to match the preced- ing. 14 pieces. DINNER-KNIVES, By Touron, Paris, to match the preced- ing, ; 12 pieces. DINNER-KNIVES. By Touron, Paris, to match the preced- ing. 12 pieces. DINNER-KNIVES. By Touron, Paris, to match the preced- ing. 14 pieces. TABLE-SPOONS. By Touron, Paris. Grape-vine pattern, to match the preceding. 12 pieces. TABLE-SPOONS. By Touron, Paris, to match the preced- ing, IO pieces. TABLE-SPOONS. By Touron, Paris. Pointed bowls, to match the preceding. 8 pieces. Soup-LADLE. By Touron, Paris, to match the preced- ing. 12 ET? 614 615 616 617 618 619 620 621 622 623 624 625 AFTER-DINNER COFFEE-SPOONS. Chased ornamentation ; gilt bowls. In case, ap II pieces, AFTER-DINNER COFFEE-SPOONS. Hammered design. In case. 12 pieces, DECANTER TABLETS. Various. 14 pieces. STRAINER. Funnel-shaped. Old English. CRUMB-SCRAPER. Chased ornamentation, Tiffany & Co. Cup AND SAUCER. Chased ornamentation ; gilt lined. INDIVIDUAL COFFEE-POTs. Chased Japanese design. 2 pieces. Two SMALL TRAYS. Old English. Open-work borders and ball feet. Diameter, 6% inches. Two BOTTLE-HOLDERS. English. Louis XV. style. Repoussé chased ornamentation. SPOON-HOLDER. Repoussé band; scroll handle. LIQUEUR-FLASK. Russian silver. Repoussé chased orna- mentation. Nut-DIsu. Leaf design. Figure in relief; gilt lined. 178 626 627 628 629 630 631 632 633 634 635 636 637 PAIR SAUCE-TUREENS. Oval-shaped. Goat head and ring han- dles. Goat ornament to covers. Lovinc-Cup. Design of Elizabethan female figure. Repoussé ornamentation ; gilt lined. SMALL RouND TRay. Claw and ball feet ; beaded border. VASE. On tripod. Ball feet, repoussé chased ornamentation, and gilt lined. Height, 5 inches. VASE. Urn-shape. Leaf-pattern bands. Height, 7 inches; diameter, 6% inches. MILK PITCHER. Repoussé and chased ornamentation of classical figures and leaf patterns. Toast-Rack. Medallion-head ornaments, CAKE-BASKET. Oval shape, with top handle and medal- lion-head ornaments. Repoussé chased. SMALL PITCHER. Medallion-head ornaments. Height, 7% inches. BREAKFAST-CASTER. Plain design, with claw feet. Three cut- glass bottles. Tiffany & Co. BREAKFAST-CASTER. To match the preceding. Eco-CASTER. With six cups and spoons. Open-work design ; claw feet. 179 638 639 640 641 642 643 644 645 646 647 SQUARE TRAY. Japanese hammered design, Ornamen- tation in relief of crabs and seaweed. Height, 3 inches ; diameter, 8 inches. PICKLE-CASTER. Egyptian design. Two cut-glass jars. Tiffany & Co. CorreE-Port. 3 Tall shape. Lion-head spout ; repoussé a chased ornamentation ; claw feet. i Height, 12 inches, SIPHON-HOLDER. Rich repoussé ornamentation. Tiffany & Co. LARGE DINNER-CASTER. Repoussé chased ornamentation. Seven cut-glass bottles. OvaL TRAY ON FEET. Repoussé ornamentation of leaf patterns, Length, 18 inches ; width, 13 inches. FruItT-BowL. Side handles and head ornaments. Height, 5 inches ; diameter, 814 inches. LARGE TANKARD. : Cut glass. Repoussé silver lid, with Eng- lish coin inserted. 3 ; COVERED SUGAR-BowL. Urn-shaped, with side handles and key- pattern bands. Height, 11 inches ; diameter, 5 inches. VASE. Globular body, with slender, spreading neck and base. Repoussé ornamentation. Scroll handles. Height, 13% inches. 180 648 649 650 651 652 653 654 655 656 FRUIT-STAND, Tallform. Satin finish. Repoussé bands, side handles, and gilt lined. Height, 9 inches ; diameter, 8% inches. LARGE BREAD-TRAY. French. Oval shape, on four feet. Rich repoussé chased ornamentation. Scroll handles. Length, 15% inches; width, g inches. TALL FRUIT STAND. Beaded bands and scroll supports. Height, 9 inches ; diameter, ro inches. CoFFEE- URN. Old English style. Repoussé chased bands and ornaments. Height, 13 inches ; diameter, 7 inches. TEA-SERVICE. Comprising large tea-pot, sugar-bowl, and milk-pitcher, to match the preceding. FRUIT-STAND. Satin finish. Rope borders and anchor handles, Height, 10 inches ; length, 18 inches. PatiR CRACKER-J ARS. Repoussé, chased. Covers surmounted by figures of birds. Height, 7 inches ; diameter, 6 inches. FRUIT-STAND. Tall form. Medallion-head ornaments and beaded bands. Height, 9 inches ; diameter, 10 inches. WATER-PITCHER. Antique shape. Chased ornamentation and beaded bands. Height, 11 inches; diameter, 6 inches. I8I 657 FRUIT-STAND. | | Repoussé chased floral ornamentation, . Tiffany & Co. . a Height, 5% inches ; igneous 7% inches. 4 tae) id 658 SuGAR-BowL. | Old English design. Repoussé chased — bands and ornaments. — Height, 9 inches; diameter, 7 inches. 659 PITCHER. Antique design, Beaded bands. Height, 7 inches; diameter, 4 inches. 660 VASE. . With head ornament handles. Repoussé _ chased ornamentation. 4 Height, 9 inches ; diameter, 4% inches. 661 CorFFEE-URN. ) Old English style. Repoussé chased — bands of leaf patterns. Height, 16% inches; diameter, 8 inches. 662 IcE-WATER PITCHER AND TRAY. Japanese hammered design. ‘Tiffany & Co. Height, 10 inches ; diameter, 8 inches. 663 CoFFEE-URN. : Empire design. Repoussé chased orna- mentation. Height, 15 inches ; diameter, 7 inches. 664 TAL FRUIT-STAND. Goat’s head and ring handles. Gold lined. : Height, 8 inches ; diameter, 9 inches. 665 Puncu-Bow1.. Repoussé chased ornamentation. Height, 10% inches; diameter, 14 inches. 182 666 667 668 669 670 671 672 LARGE PITCHER. Antique shape. Rich repoussé chased ornamentation. Tiffany & Co. Height, 18 inches ; diameter, 7% inches, -~Corn-Bow.L. Twenty-three Greek and Roman coins inserted. Height, 3% inches ; diameter, 7 inches. ENGLISH COIN-VASE. Thirty-eight coins inserted. Inscription on rim reads, “ This cup, weighing sixteen ounces, was made to receive thirty-eight coins of English history.” Height, 9 inches; diameter, 5 inches. PatrR GERMAN COIN-VASES. Twelve old German coins inserted in each vase. Repoussé chased ornamentation. Height, 9 inches ; diameter, 6 inches. LARGE SHIELD. German. Repoussé ornamentation, Prus- sian coat-of-arms in relief and seventy Ger- man coins inserted. Mounted on plush panel. Height, 28 inches ; diameter, 21 inches. ELABORATE TROPHY VASE. Ewer design. Ornamented with artistti- cally wrought groups, illustrating a buffalo hunt by North American Indians. Height, 31 inches ; diameter, 14 inches. PLATED WARE NutT-CRACKERS. 3 pairs. 673 Two CicAr-TRAYS. 183 674 675 685 6386 687 688 639 690 NAPKIN-RINGS. ou oes Dog-head ornaments. a 5 pieces. We CREAM-PITCHER. a Open-work design, with ruby glass bowl. _ 7 C1GAR-HOLDER. a With lamp. a CoLOGNE BOTTLE-STANDS. 2 pieces. PORTS TI Ue GTN EF RY SR yeti er CHEESE-STAND. Repoussé ornamentation, CarRD-TRAY. Old Sheffield plate. SUGAR-SIFTER. THREE BOTTLE-COASTERS. Two BoTTLEe-CoASTERS. Old English. PITCHER AND TRAY. CIGAR-VASE. Open-work design. Icge-PITCHER TRAY. Hammered design. COVERED BUTTER-DISH. Tiffany & Co. COvVERED-V ASE. Repoussé ornamentation. COVERED BUTTER-DISH. Two VEGETABLE-DISHES. Ball feet and ring handles. ROAST-BEEF DISH. By Cristofle, Paris. Length, 19 inches ; width, 14 inches. 184 691 692 693 694 695 696 697 698 699 FisH-DIsu. Tiffany & Co.’s silver solder. Length, 26% inches; width, 13 inches. MISCELLANEOUS OBJECTS EASEL PHOTOGRAPH FRAMES. Wrought in brass ; open-work design. 3 pieces. EASEL PHOTOGRAPH FRAME. Gilt brass ; jewelled ornamentation. Patr CANDLESTICKS. Empire. Silver plated. Pair TRAJAN COLUMNS. Carved in red marble. Height, 25 inches ; diameter, 5 inches. PatIrR VASES. French enamel on bronze. Chinese de- sign; finely wrought. Gilt mountings, Height, 14 inches ; diameter, 6 inches. LARGE TANKARD. Vienna silver and gilt, ornamented with various coins. Height, 22 inches ; diameter, 10 inches. Onyx VASE. Mounted in finely wrought gilt bronze ; enamelled. Height, 22 inches ; diameter, 12 inches. BRONZES BRONZE GROUP. Equestrian figure of Napoleon. By Nieuwerkerke. 185 700 701 702 793 704 ios 706 7°97 708 BRONZE GROUP. Children playing leap-frog. By F. >. Louain, Height, 7 inches ; length, 11 inches. Pair Busts. Michael Angeloand Dante. By Carrier. Silvered and gilt. With tall marble column a pedestals. Height, 27 inches. PaiR EMPIRE VASES. Urn-shaped, on pedestals. Green patina; onyx gilt mountings, and ornaments, Height, 14 inches; diameter, 6 inches. Pair Louis XVI. CANDLESTICKS. Finely wrought gilt bronze. Height, 13 inches. _ PatIR EMPIRE CANDLESTICKS. Finely wrought in bronze and gilt. Height, 14 inches. GROUP. St. George and the Drasony Gut bronze. Height, 12 inches. PaIR EMPIRE VASES. Urn-shaped, on permanent pedestals. Green bronze, with gilt ornaments and mountings. Height, 15 inches; diameter, 7 inches. Pair Louis XVI. CANDLESTICKS. Wrought in bronze and gilt. Height, 16 inches. BRONZE FIGURE. By E. Uzel. On black marble plinth. Height, 16 inches; width, 11 inches. 186 Eartha mene et — SS 799 710 711 712 713 714 175 pal PAIR BRONZE FIGURES. Priest of Isis and companion. By Picault. Brown patina and gilt ornamentation. Red and black marble plinths. Height, 21 inches ; diameter, 7 inches. BRONZE FIGURE. Mercury. Antique patina. Mounted on -Egyptian and Sienna marble pedestal. Height, 26 inches. Pair BRONZE FIGURES. Mephistopheles and the witch. Height, 27 inches. BRONZE Bust. Marguerite. By C. Ceribelli. Red mar- ble plinth. Height, 23 inches ; width, 12 inches. BRONZE Bust. Companion to the preceding. BRONZE Bust. Life size. Beatrice. By Jules Faber. Height, 27 inches ; width, 14 inches. BRONZE Bust. Life size. Rosalind. By A. Mario. Height, 27 inches ; width, 14 inches. a BRONZE GROUP. Amazon and Tiger. By Kiss, of Berlin. Fine green patina. Mounted on red mar- ble pedestal. Height, 18 inches ; width, 15 inches. BRONZE BUST. La Coquette. By G. Vander Strake. Height, 21 inches ; width, ro inches. 187 718 719 720 721 722 723 724 725 726 BRONZE FIGURE. Young Love. By August Moreau. Gilt 2 finish. aaa Height, 25 inches. PEDESTAL FOR THE PRECEDING. Carved mahogany. Height, 45 inches. BRONZE GROUP. ‘“‘ Chasse a la gazelle au Guepard Perse.” By Dubucand. Height, 22 inches ; width, 17 inches. BRONZE BELL. Antique design. Gilt finish, with gilt- bronze supports and black marble plinth. Height, 20 inches; width, 20 inches. BRONZE FIGURE. La Coquette, By Fabri. Height, 34 inches; diameter, 11 inches. PEDESTAL FOR THE PRECEDING. Green marble. Corinthian column de- sign, Height, 40 inches ; diameter, 14 inches. LARGE BRONZE VASE. Etruscan design. Bacchanalian heads in bold relief ; gilt finish. Height, 26 inches ; diameter, 14 inches. PEDESTAL TABLE FOR THE PRECEDING. Finely wrought in gilt bronze. Height, 38 inches ; diameter, 12 inches. BRONZE BUvuSsT. Turkish Woman. By Z. Rimbez. Brown patina, enamelled, and gilt ornamentation ; red marble base. Height, 27 inches ; diameter, 12 inches. 188 727 728 729 730 731 732 733 734 735 736 PEDESTAL FOR THE PRECEDING. Mexican onyx, Column design. Mounted in gilt bronze. LIFE-SIZE Bust. Lorenzo. By Rancoulet. Gray marble base. Height, 30 inches ; diameter, 16 inches. LiFre-S1zE Bust. Clarice. By Rancoulet. Companion to the preceding. Height, 30 inches ; diameter, 16 inches. PAIR PEDESTALS FOR THE PRECEDING. Mexican onyx mounted in finely wrought gilt bronze. Column design. Height, 44 inches. BRONZE STATUETTE. The Kiss. By Lecorney. Height, 21 inches. PEDESTAL FOR THE PRECEDING. Mexican onyx. Column design. Mounted in gilt bronze. BRONZE STATUETTE. The Salutation. By A. Gaudez. PEDESTAL FOR THE PRECEDING. Mexican onyx. Column design. Mounted in gilt bronze. LiFE-S1ZE Bust. Dona Sol, By A. Dulos. Height, 27 inches ; diameter, 16 inches. PEDESTAL FOR THE PRECEDING. Egyptian marble. Column design. Gilt-bronze mountings, 189 pov 738 re, 740 741 742 743 744 Pair LIFE-SIZE Busts. | , Japanese girl and Ethiopian girl. Finely wrought in bronze. By Truflot. Height, 32 inches ; width, 18 inches. PAIR PEDESTALS FOR THE PRECEDING. Wood, upholstered in plush. Height, 52 inches. Pair BRONZE STATUETTES. Bernard Palissy and Benvenuto Cellini. Tiffany & Co. Height, 24 inches ; width, 16 inches. LIFE-SIZE BUST. Zeibecke. By Guillemin. Egyptian mar- ble base. Height, 34 inches; width, 24 inches. PEDESTAL FOR THE PRECEDING. Elaborately wrought in bronze and marble. Satyr-head support to top. Height, 51 inches ; diameter, 14 inches. LIFE-SIZE BusT. Woman of Smyrna. By Guillemin. Companion to No. 740. PEDESTAL FOR THE PRECEDING, Elaborately wrought in bronze and mar- ble. Companion to No. 741. WILLIAM CULLEN BRYANT VASE. Facsimile of the artistically wrought silver vase known as the “Bryant Com- memorative Vase,” now in the Metropolitan Museum of Art. The original and fac- simile by Tiffany & Co. Height, 34 inches; diameter, 14 inches. 190 745 746 747 748 749 45° 751 152 iv PaiR CANDELABRAS. Finely wrought gilt bronze. Seven lights each. Early Victorian design. Height, 31 inches. PAIR CANDELABRAS, Finely wrought gilt bronze. Louis XV. design. Seven lights each. Height, 28 inches ; diameter, 8 inches. Pair GILT BRONZE FIGURES. Japanese nobleman and lady. Height, 24 inches ; diameter, 7 inches. Pair LARGE HEBE VASES, Finely wrought in bronze and gilt brass. Height, 38 inches; diameter, 17 inches. PAIR BRONZE TALL LAMPS. English Gothic. Cathedral design. Green patina and gilt ornamentation. BRONZE FIGURE. Mercury. By Barbedienne. On black marble base. Height, 48 inches. PEDESTAL FOR THE PRECEDING. Tall column design. Finely wrought in bronze, with marble base and top. Height, 61 inches. LARGE BRONZE VASE. Etruscan design. Relief and gilt orna- mentation of classic figures, Height, 27 inches ; diameter, 15 inches. PEDESTAL FOR THE PRECEDING. Egyptian design. Finely wrought in bronze. Black marble top. Height, 42 inches; diameter, 14 inches, 1gI 754 BRONZE GROUP. ‘‘Prenez Garde du Chien.” By Le- courtier. Height, 36 inches ; diameter, 26 inches. 755 LARGE BRONZE GROUP. Equestrian figure of Francis I. By Moris. Height, 32 inches ; length, 34 inches. 756 LiFrE-S1ZE BRONZE FIGURE. The Diver. By O. Tabacchi, Turin, 1878. Height, 45 inches. 757 PEDESTAL FOR THE PRECEDING. Griffin design. Carved wood, ebonized q and gilt. Height, 41 inches. 758 LARGE BRONZE FIGURE. . The Cavalier, By Rancoulet. Height, 50 inches. 759 PEDESTAL FOR THE PRECEDING. Carved wood, ebonized. Height, 36 inches. 760 PAIR LARGE JAPANESE BRONZE Koros. Bold relief ornamentation of hawks, pine trees, and other designs. Fish and water on bases. Groups of storks for handles. Eagle on rock, and badger surmounting covers. Height, 31 inches ; diameter, 22 inches. 192 CLOCKS AND ELABORATE CLOCK SETS, VALUABLE STATUARY, ART FURNITURE, AND OTHER OBJECTS ee NO. 835—** MORNING’’—ELABORATE GROUP IN CARRARA MARBLE, BY D. BARCAGLIA. FOURTH AND LAST AFTER. NOON’S SALE Friday, February 16th AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O’CLOCK CLOCKS AND CLOCK SETS 761 HANGING CLOCK. Lantern design on bracket. Wrought in gilt bronze and Berlin iron, Calendar attachment. 762 EMPIRE CLOCK. Vase design in crystal glass. Gilt-brass mountings. 763 MAHOGANY AND Brass CASE CLOCK. With bas-relief figures of shepherd, sheep, and floral design. Mouldings in gilt bronze. Height, 17% inches. 764 EMPIRE CLOCK SET. Clock by Leroy a Paris. Design of figure of African carrying a bale; and a pair of urn-shaped vases ; all in gilt bronze, finely wrought and chiselled. 195 765 766 767 768 769 77° 771 EMPIRE CLOCK SET, In crystal glass, Mounted in finely — wrought gilt bronze. Comprises clock mounted in urn-shaped vase, and two side pieces to match. EMPIRE CLOCK SET. Gilt-bronze clock, with figure of Cupid in relief, and bas-relief illustrating art, science, and literature, and pair of urn- — shaped vases on pedestals, with relief ornamentation. EMPIRE CLOCK, Black marble, with gilt-bronze mount- — ings and ornaments. Column design. MANTEL CLOCK. Early French classic design, in green bronze, surmounted by figure of Neptune. Gilt-bronze mountings and bas-relief. CLock SET. Elaborately wrought burnished brass. Comprises large clock of Louis XV. de- — sign, and two seven-light candelabras to match. Cock SET. Clock of red marble. Ornamented with gilt and silver bronze and surmounted by a group of Ganymede ; and pair of Hebe vases, with bas-relief bands and classic figures and masks. Henry T. Cox & Co. Louis XV. BRACKET CLOCK. Inlaid with brass, and ornamented with gilt-bronze figures and floral designs. Height, 43 inches ; diameter, 24 inches. 196 772 EBONY AND ORMOLU CLOCK. Empire design. Form of Grecian temple. Finely chased ormolu mountings. Height, 28 inches. 773. Louis XVI. GILT-BRONZE CLOCK SET. Clock of pilgrim-bottle design. Elabo- rate mountings of vines, ribbons, leaves, and flowers, surmounted by acorns. Very finely chiselled female heads on front and back; pair of urn-shaped side pieces to match, Height of clock, 29 inches. 774 CRYSTAL AND GILT-BRONZE MAGIC CLOCK. Made by Robert Houdin, Paris. Pillar of clock supported by four griffins resting on an elaborately chased platform. Height, 23 inches. 775 CRYSTAL AND ORMOLU CLOCK SET. Lyre-shaped clock, with elaborate ormolu decorations. First Empire style. Pair of amber crystal vases to match, Height of clock, 29 inches. 776 ORMOLU CLOCK. With figure of Mercury and emblems of commerce. Floraland emblematic designs in low relief. Height, 21 inches. 777 Pair OF SIx-LIGHT ORMOLU CANDELABRA. Figures of Mercury and goddess rest- ing on urn-shape vases, supporting cluster of lights. 778 CRYSTAL AND ORMOLU CLOCK SET. Lyre-shaped clock, with elaborate ormolu decorations. First Empire style. Pair of crystal and ormolu vases to match. Height of clock, 24 inches. 197 779 780 782 783 ORMOLU CLOCK SET. Clock, with figures of reclining cupids, and vase of turquoise-blue, with Sévres decoration on top. Eight plaques of Sévres — style on front and ends, and very elaborate floriated bronze mouldings. Pair of elabo- rately decorated Hebe vases, resting on kneeling cupids, to match, CuLock SET, Black and red marble clock, surmounted > by bust of cavalier of Louis XIV. period, by A, Carrier, and pair of bronze and marble urn vases, with classic designs in bas-relief. CRYSTAL AND ORMOLU CLOCK. Empire lyre design. Very elaborate sun design face. Swans’ necks at top. Musical chimes. Height, 24 inches, Louis XV. BRACKET CLOCK. By Balthazar, Paris. Buhl inlaid, and surmounted by gilt-brass figure. Boldly modelled scroll mountings. Height, 60 inches. EMPIRE CLOCK SET. Clock of ormolu surmounted by Sévres style vase, which is decorated by paint- ing of cupids and pastoral subjects, by L. Grisée. Elaborate ormolu mounts of pip- ing cupids and flowers. Face of clock, of porcelain, with finely painted figure of cupid and flowers. Five plaques in Sévres style of decoration in panels at sides and back ; finely modelled gilt-bronze cupids in relief. Cornucopia in wreath and flowers, by Bourdin of Paris. Pair of Sévres style vases, decorated with paintings of landscape and pastoral subjects, by L. Grisée, to match the clock, 198 hs Lo } 784 Louris XVI. CLock SET. Clock ; movement of which is set in a bleu-de-Rot Sévres style vase. Decorated with wreaths and ribbons in gold, and mounted on a base of gilt bronze, with six decorated porcelain panels inserted, sur- mounted by finely modelled groups, Sci- ence and Literature, and embellished with - wreaths of flowers and elaborate chiselled mouldings. Pair of eight-light candela- bras to match. Height of clock, 26 inches, 785 ELABORATE CLOCK SET. Consisting of an Algerian onyx and ormolu clock, made by Barbedienne, Paris. Surmounted by superbly modelled reclining figure of sleeping woman, and a pair of ten- light candelabra supported by urn-shape vases, with branches of ormolu in floral de- sign, and elaborate floral trophy at the top ; finely wrought ormolu mounts of female, and lions’ heads, leaves, and scroll. Height of clock, 35 inches. 786 EMPIRE CLOCK SET. Consisting of an elaborate red marble and bronze clock, which is surmounted by finely modelled bronze figures of Cupid and Psyche, and with elaborate gilt-bronze mounts, and a pair of red marble and bronze ten-light candelabras supported by bronze figures standing on globe, upholding the cluster of lights, and elaborately ornamented to match the clock. 787 Manocany HALL CLOCK. With chimes. 199 STATUARY 788 MARBLE AND BRONZE BUST. . The Young Moor. By R. Pereda, Milan. Height, 21 inches. s 789 PEDESTAL FOR THE PRECEDING. Carved mahogany. Louis XV. design. Height, 45 inches. 790 MARBLE Bust. | Marguerite in Happiness. By E. Aizelin. Born at Paris, July 10, 1821. Pupil of Ramey and Dumont, he devoted himself, by preference, fol- lowing the new direction which French art was taking at the time he entered the field, to the creation of graceful female subjects—women and maidens— ~ treated with close adherence to nature in the forms. He has made, beside, a few statues for the churches of Paris. To the former group of subjects belong his ‘‘ Nyssia in the Bath,” and a “‘ Psyche with the Lamp” (this latter in the Luxembourg), a ‘‘ Hebe,” and a ‘‘Captured Amazon” (1875), with other statues in the museums of Montpellier and Nantes ; also a statue ‘‘ The Dance,” for the Chatelet Theatre (1861); the figure of ‘‘Idyllic Poetry,” for the Opera House at Paris. In 1867, Aizelin was made a knight of the Legion of Honor. Height, 25 inches. 791 PEDESTAL FOR THE PRECEDING. Mexican onyx. Column design. Mounted in gilt bronze. Height, 44 inches. 792 MarsLe Bust. | Marguerite in Regret. By E. Aizelin. Companion to No. 790. Height, 23 inches. 793 PEDESTAL FOR THE PRECEDING. Mexicanonyx. Column design. Mounted in gilt bronze. Height, 44 inches. 200 794 MarBLeE Bust. La Vanita. By Gelindo Monrir, Milan. Height, 29 inches ; width, 16 inches, 794A PEDESTAL FOR THE PRECEDING. Rose antique marble, with green-bronze head support. Revolving top. Height, 49 inches. 795 MARBLE Bust. Egyptian Woman. By Pessina Carlo, Milan. Height, 29 inches ; width, 18 inches. 796 PEDESTAL FOR THE PRECEDING. Rose Antico marble, with green bronze head supports. Revolving top. Height, 49 inches. 797 MARBLE Bust. Flora. By Professor Richard H. Park. Height, 26 inches. 798 PEDESTAL FOR THE PRECEDING. Column design in Rose Antico marble. Revolving top. Height, 45 inches ; diameter, 11 inches. 799 MARBLE Bust. Purity. By Professor Richard H. Park. Height, 25 inches. 800 PEDESTAL FOR THE PRECEDING. Green marble. Column design. Revolv- ing top. Height, 60 inches ; diameter, 11 inches. 801 MARBLE Bust. Empress Eugénie. By Laurance Mac- donald. Dated, 1861. A Seottish sculptor, born in 1798, passed the greater part of his mature life at Rome. His sub- jects are mostly taken from the Greek and Roman mythology and are treated in the pure classical style. Died, March 4, 1878. Height, 27 inches. 201 802 PEDESTAL FOR THE PRECEDING. Green marble. Columndesign. Revolv- ing top. Height, 60 inches ; diameter, 12 inches. 803. MARBLE Bust. | William H. Seward. By Chauncey B. Ives. Dated, 1857. Height, 30 inches. 804 PEDESTAL FOR THE PRECEDING. Green marble. Columndesign. Revolv- — ing top. Height, 60 inches ; diameter, 12 inches. 805 MARBLE Bust. Houdin’s Washington. Height, 31 inches. 806 PEDESTAL FOR THE PRECEDING. Giallo Antico marble. Quadrangular column design, with Egyptian and white marble base. | Height, 50 inches ; diameter, 11 inches, 807. MARBLE Bust. Rosmunda. By M. Ezekiel, Rome, 1880. Height, 30 inches. 808 PEDESTAL FOR THE PRECEDING. Carved statuary, marble. Lion design. Height, 42% inches, 809 MARBLE Bust. Vanity. 810 PEDESTAL FOR THE PRECEDING. Green marble. Column design. Height, 42 inches; diameter, 11 inches. 811 MARBLE Bust. . Sappho. By Professor Richard H. Park, Height, 28 inches. 202 812 813 814 815 816 817 PEDESTAL FOR THE PRECEDING. Green marble. Column design. Relief ornament of symbol of music. Height, 43 inches; diameter, 12 inches. MARBLE STATUE. Colpo di Vento. By E, Del Panta. Florence, 1882. Height, 46 inches. PEDESTAL FOR THE PRECEDING. Carved wood, ebonized. Column design. Revolving top. Height, 37 inches ; diameter, 14 inches, LiFE-S1zE Bust. John Van Buren. PEDESTAL FOR THE PRECEDING. Louis XV. design. Ebonized wood, with gilt-bronze mountings and ornaments. Height, 49 inches. MARBLE BUST. George Washington. By Thomas Craw- ford. Born in New York, March 22, 1813; died in London, October 16, 1857. He began his profes- sion in the marble-yard of Launitz, then went to Rome, where he was encouraged by Thorwaldsen, and produced his first important work, the ‘‘ Or- pheus,” now in Boston. A statue of Beethoven, the gift of the late C. C. Perkins, belongs to the Music Hall Association in the same city, and his statue of James Otis is in the chapel of the Mt. Auburn Cemetery. Crawford’s principal work is at Wash- ington, where he executed a number of bas-reliefs for the Capitol, and the statue of Liberty which crowns the dome of that building. Height, 25 inches. 818 PEDESTAL FOR THE PRECEDING. Egyptian marble. Column design, with gilt-bronze mountings. Height, 49 inches. 203 819 820 821 822 823 824 825 826 827 828 MARBLE Bust. Pauline Bonaparte. qe Height, 22 inches. PEDESTAL FOR THE PRECEDING. Egyptian marble. Column design, with gilt-bronze mountings. Height, 49 inches. MARBLE Bust. Esmeralda. By Salvator Albano. Height, 25 inches. PEDESTAL FOR THE PRECEDING. Polished green marble. Column design, Height, 45 inches ; diameter, 12 inches. MARBLE STATUETTE. La Papillon. Height, 31 inches. PEDESTAL FOR THE PRECEDING, Egyptian design. Upholstered in leather, and ornamented with copper disks of open- work, Height, 43 inches. MARBLE BUST. Maidenhood. By Professor Richard H. Park. Dated, 1868, Height, 24 inches. PEDESTAL FOR THE PRECEDING. Egyptian column design, with bronze mountings and ornaments. Revolving top. Height, 43 inches. MARBLE AND BRONZE Bust. Othello. By Pietro Calvi, Milan. Height, 27 inches. PEDESTAL FOR THE PRECEDING. Green marble. Column design, Height, 42 inches ; diameter, 12 inches. 204 829 MarBLE Bust. Eleonora. By Chauncey B. Ives. Height, 30 inches. 830 _ PEDESTAL FOR THE PRECEDING. Column design. Rose Antico marble, with white and gray marble base and white marble revolving top. Height, 50 inches ; diameter, 12 inches. 831 Lire-SizE FIGURE. Undine. Sculptured in Carrara marble, by Chauncey B. Ives. With Egyptian mar- ble revolving pedestal. The late Chauncey Bradley Ives was born in New Haven, Conn., December 14, 1810. Though he early showed his inclination for sculpture in his love of wood carving, he did not take it up seriously till he was twenty-seven years of age, when he went to Boston to study. He was fortunate in making a success of his first bust. This brought him some orders. He opened a studio and remained in Boston some years, till in 1844 he went to Florence. From Florence he moved to Rome in 1851, and it was there he spent the rest of his life, and there he died in August, 1894. Among his works are the statues of Roger Sherman and Jonathan Trumbull, Con- necticut’s gift of statuary to the Hall of Represen- tatives in the Capitol at Washington ; the colossal statue of Bishop Brownell, founder of Trinity Col- lege, at Trinity College, Hartford ; the ‘‘ Captive’s Choice,” a bronze group of three figures presented to the City of Newark, N. J., by Dr. Jonathan Ackerman Coles, son of Dr. Abraham Coles, the translator of ‘‘ Dies Ire”; a statue of Noah Web- ster; and busts of William H. Seward, Gen. Win- field Scott, etc., etc. Most of his works are owned by private individuals here and in England. Height of figure, 77 inches ; Height of pedestal, 25 inches. 205 832 LiFE-SIZE STATUE. Eve Tempted. By Hiram Powers; with pedestal. | Hiram Powers was born in Woodstock, Vermont, July 29, 1805; died in Florence, Italy, June 27, 1873. In 1817 his parents removed to Cincinnati, where he worked with energy and industry at any mechan- ical employment that came to hand. He developed remarkable ingenuity in the contrivance of figures moving by machinery to the accompaniment of music. A bust of Napoleon, by Canova, having come under his notice, he was excited by the desire to become a sculptor, for which art he had had no further training than was supplied by instruction in the taking of plaster casts from models, in which he had been taught by a Prussian acquaintance. Assisted by Mr. Longworth, he went to Washington and there found sufficient employment in making busts to enable him to lay up a little money toward getting to Italy. Assisted by Colonel Preston and Mr. Longworth, he went to Italy in 1837, and settled down into what was to prove a life-long residence. His work consisted largely in the making of busts, in which field he gained a wide popularity in Europe as well as in his native country. In 1843 he produced the statue of the Greek Slave, a work which had an immense success, fixed his reputation the world over, and gave a great impetus to the slowly growing culture of art in this country. Other works by Mr. Powers are the ‘‘ Fisher Boy,” ‘‘America,” ‘‘ California,” “‘ Il Penseroso,” ‘*Eve Tempted,” ‘‘ Paradise Lost,” with statues of Calhoun and Webster. During his long residence in Florence, Mr. Powers’ house was the centre of hospitality to his travelling countrymen, who found in him an American of the old-fashioned type, quite unspoiled by foreign life and manners, maintaining a republican rusticity and homeliness in the midst of influences which few are found to resist. Nathaniel Hawthorne, in his /talan Journal, has much to say about Powers; the chapters about Florence are, indeed, largely taken up with notes of the conversa- tions between him and the sculptor. Height of figure, 70 inches. 206 833 Lire-SizE STATUE. Paradise Lost. By Hiram Powers. Companion to the preceding, executed to order for the late N. D. Morgan, Esq., Brooklyn. Copy of letter from Hiram Powers, Esq., to N. D. Morgan, dated Florence, Dec. '7, 187%. Pi veean SIR: 2... You desire that I should give you something of the history of my work, which is now on its way to you, in order that you may see it, as it were, through the medium of the author’s eyes. Well, then, I had already produced a statue of ‘‘ Eve Tempted,” which was, indeed, my first ideal figure—and the same now in the posses- sion of Mr. A. T. Stewart, of New York ; but I was not satisfied with my first attempt, as, indeed, the Temptation of Eve did not afford an opportunity for the expression of bewilderment, distress, and re- morse which must have appeared on the face and in the attitude of Eve, when she replied, ‘‘ The serpent beguiled me, and I did eat.” It is less difficult, in painting or sculpture, to give a single than a com- pound expression—simple grief or joy is much easier to render than grief with remorse, or joy with a sigh lingering within the expression of the features. We see these subtleties in nature—but to render them in art requires something more than artistic science. The artist must not only see his way (sci- ence), but he must also feel his way. In short, he must work from the heart as well as from the brain, and his work then reflects back upon him, as it were, the offspring of his will and understanding. The will has conceived, the understanding has produced ; and hence allow me to say, that without understand- ing—that is, without learning, knowledge, science, practice, experience, study—no one, however great may be his genius, can produce a genuine work of art. As well might we expect a poem from one who can neither read nor write. I could never satisfy myself with an ideal work in a hurry. The human form is infinite. It is the ‘*Image of God;” and I have found that, do my best, there was always a éetfer in nature. Once knowing this, I have hesitated, and sought to find it, and this is the way to fame. One may fail, with all his care and labor, but it is the only way. Not 207 834 835 they who have produced the most, but they who have done the best, stand foremost in the end. I never felt that I had the power to change an hun- dred statues—I exhaust myself on a few. This accounts for the fact that I found it necessary to give nearly one year’s time, in all, to the model _ alone of your statue of Paradise Lost. I continually found something to be improved, and am far from presuming it to be perfect. JI aimed at nobleness of © form and womanly dignity of expression. She is forlorn, but does not quite despair, for she looks up imploringly. She accuses the serpent with one hand, and herself most with the other. The ser- pent retires, for Lve repents—she now resists evil. She is not a goddess, but a woman, a primitive woman, the mother of mankind. She has never been in society, nor is she educated. Such has been my design, but imperfectly carried out. I trust you will make due allowance. : I am, dear sir, faithfully your ob’t serv’t, HIRAM POWERS. Height of figure, 76 inches ; height of pedestal, 15 inches, LIFE-SIZE STATUE. Pandora. By Chauncey B. Ives. With rose marble revolving pedestal. (For biography of sculptor, see No. 831.) Height of figure, 67 inches ; height of pedestal, 27 inches, ELABORATE GROUP. _ Morning. By Donato Barcaglia, Milan. With handsome sculptured marble pedestal. Height, 9 feet, 6 inches ; diameter, 3 feet, 6 inches. (Gs The above group may be seen at No. 7 West 34th Street on presenting permit, which may be had at the office of the American Art Association. 208 836 837 838 839 840 - 84r MISCELLANEOUS Pair VASES. Urn-shaped. Sevres style of decoration. Paintings of cupids and flowers on green glaze. Rich ormolu mounts, with plush- covered pedestals. Height, 22 inches; height of pedestals, 57 inches. COLUMNAR PEDESTAL. . Mexican onyx, with gilt-bronze mount- ings ; revolving top. Height, 44 inches. COLUMNAR PEDESTAL. Green marble. Height, 42 inches ; diameter, 12 inches. VASE. French porcelain, d/eu-de-Roi glaze. Dec- oration of scrolls and musical instruments in gold. Mounted as a lamp. Height, 28 inches. VASE. Urn-shaped. Sévres style of decoration. Pastoral subject and flowers, painted by Bertran. Gilt-bronze mouldings. Mounted as a lamp. Height, 28 inches. VASE, Urn-shaped. Sévres style of decoration. Pastoral and floral subjects in panels, by Bertran. Turquoise-blue glaze, with em- bossed gold embellishment. Mounted as a lamp. Ornaments and mouldings of gilt bronze. Height, 28 inches. 841A ELECTRIC LAMP. Portable. Of highly polished brass, with perforated screen. 14. 209 842 843 844 845 846 847 848 849 850 851 852 853 ART FURNITURE TRIPOD STAND. Mahogany. LApDy’s DRESSING TABLE, Mahogany. Inlaid, with drawers and mirror. ‘ TABLE. ie Handsomely carved ebony. Mexican onyx top. — a Music CABINET. ss Empire period. Inlaid and decorated. ae Brass mountings. a GILT EASEL. Richly carved. TURKISH ARMCHAIR. Ebony. Inlaid with ivory and mother- of-pearl. CARD RECEIVER. Sévresstyle. Richlydecorated. Mounted on an elaborately ornamented brass tripod stand. a PatR HALu CHAIRS. Carved walnut. With claw feet. Pair HALL CHAIRS. Carved walnut. HALL SEAT. Carved walnut. TABLE. Gilt. Circular form, CHIPPENDALE TABLE. Round. Low form. 210 854 855 856 857 858 859 860 861 — 862 863 864 Bric-A-BrRac CABINET. Mahogany. Circular form. With glass doors, sides, and shelves. Music CABINET. Gilt. Bevelled plate-glass doors and . sides. TABLE. Onyx and plush. BRIC-A-BRAC TABLE. Mahogany. Beautifully inlaid. Music CABINET. Mahogany. With brass mountings. Bric-A-BRAcC STAND. Mahogany. Richly inlaid. MARQUETRY CENTRE TABLE. Top richly inlaid with mother-of-pearl, ivory, and various colored woods, of fruit, and conventional floral designs. Mounted on an elaborately carved tripod stand of grape-vine, grapes, and bird. LIBRARY TABLE. Rosewood. Richly inlaid. Mexican onyx top. Bric-A-Brac CABINET, Mahogany and satin wood. Mirror back. Height, 66 inches ; width, 43 inches. Bric-A-Brac CABINET. Swell front. Glass front, sides, shelves, and mirror back. Elaborate brass mount- ings. Height, 63 inches ; width, 32 inches. CENTRE TABLE. Mahogany and walnut inlaid. Varie- gated marble top. 211 865 866 867 868 869 870 871 872 873 CENTRE TABLE. a Mahogany. Richly inlaid. Elaborate decoration of wreaths, flowers, and ribbons. STAINED-GLASS SCREEN. Three folds. Ebony frame, with richly painted panel on the centre fold. CoRNER Bric-A-BrRAcC CABINET. Mahogany. Glass swell front. Shelves and mirror back. Brass mountings. | Height, 63 inches; width, 28 inches. SEWING TABLE. Mahogany. Inlaid. EMPIRE CENTRE TABLE. Very finely chased ormolu mounts. Variegated marble top. Bric-A-BRAC CABINET, Rosewood. Louis XV. style. Chased brass mounts. Glass front and sides and shelves. Mirror back. , Height, 62 inches ; width, 44 inches. OvaL CENTRE TABLE. Very elaborate marquetry. Folding top. Bric-A-BRAac CABINET. Mahogany. Glass front, sides, and shelves. Mirror back. Richly inlaid. Floral designs in front and side panels. Brass mountings, Height, 69 inches ; width, 32 inches. CYLINDER DEsK. Mahogany. Marquetry inlaid; spindle legs. Panels elaborately inlaid with Adam’s style of decoration. 212 874 875 876 877 878 879 880 PARLOR TABLE. Louis XV. style. Ebony and _ brass inlaid. Elaborate brass mountings. Cab- riolet legs. Embossed plush top. PARLOR CABINET. Louis XV. style. Ebony and_ black walnut. Elaborately decorated, with carved panels of classic subjects and floral designs. Fluted columns, with Ionic caps; black marble top; brass mountings. Height, 56 inches ; width, 61 inches, COMPANION TO THE PRECEDING. CENTRE TABLE. Black walnut ; onyx top. Panels of richly inlaid marquetry. Bas-relief bronzes of cupids and cherubs. Elaborate gilt-bronze mouldings ; carved legs. © EMPIRE CENTRE TABLE. Mahogany; onyx top. Finely chased ormolu mounts of masks, leaves, and sym- bols ; brass feet. EMPIRE Bric-A-BRAC CABINET. Mahogany. Bevelled plate top and front. Finely chased fluted columns ; gilt- brass mounts. CARD-T ABLE, Buhl ; richly ornamented. Inlaid with tortoise shell and brass ; classical and con- ventionalized leaf designs. Mounted with masks and mouldings in gilt brass. 213 881 Bronze Carp RECEIVER. ? Orpheus and Eurydice in bas-relief, by E, Picault ; salon of 1869. Mounted on — classic “et brass tripod. 4 882 CENTRE TABLE. Marquetry. Finely inlaid with classic designs in various colored woods; gilt- bronze mounts. | 883 CORNER TABLE, Brass and onyx. 884 Bric-A-BRAC CABINET. Mahogany. Marie Antoinette style. Bevelled plate glass top and shelf; mirror back ; gilt mountings. | 885 Bric-A-BRAC STAND. Brass and bevelled plate glass. 886 RouND TABLE. Marquetry. Rich inlay of flowers. 887 Bric-A-BRAC CABINET. Ebony. Glass front and sides. Berlin porcelain columns entwined with raised vines and flowers. Seventeen Berlin porce- lain panels, and two Berlin porcelain vases surmounting the capital; rich bronze-gilt mounts ; mirror back. Height, 84 inches; width, 40 inches. 888 Bric-A-Brac TABLE. Onyx and brass ; claw feet. 889 ‘TABOURET. Mahogany and brass; inlaid. Moorish design. 214 890 891 892 893 894 895 896 Bric-A-BRAC CABINET. Vernis-Martin. Swell front; glass panels in door, front, and sides. Marbletop. Dec- oration of pastoral subjects, by A. Oliver ; flowers, musical instruments, and land-. scapes. Rich brass mountings. Height, 53 inches; width, 51 inches. Bric-A-BRAC CABINET. Buhl. Ebony inlaid. Glass front; very elaborate mounting of masks, flowers, and classic mouldings in finely chased gilt bronze. Black marble top. Height, 48 inches ; width, 39 inches. Bric-A-Brac TABLE, Onyx and brass, with two bevelled plate glass shelves. CENTRE TABLE. Ebony; inlaid. Octagonal form; onyx top, with four Japanese cloisonné enamelled plaques. CABINET, Ebony and brass inlaid. Glass front and sides; black marble top. Caryatides of female figures. Foliage and mouldings in gilt brass. Height, 46 inches ; width, 52 inches. CENTRE TABLE, Rosewood. Onyx marble top; richly in- laid panels on the sides, and ends of cherubs sporting in relief. Circular repoussé panel in bronze representing the Angel appear- ing to Adam and Eve. Two oblong re- poussé panels on richly carved stretcher. CarD TABLE. Buhl; richly ornamented. Inlaid with tortoise shell and brass, with cherubs and conventionalized foliage; mounted with masks and mouldings in gilt brass. 215 898 CABINET. Buhl. Louis XV. style, Inlaid with brass and tortoise shell, rams’ heads, masks, and — foliage mounts. Elaborate brass mould ings ; black Scola top. : | Height, 43 inches ; width, 65 inches. 899 CABINET. Louis XV. Gilt inlaid ; ‘brass and tor- toise shell éohveutionaieee foliage designs, Finely modelled female caryatides sup-— “B porting a basket of fruit on corners. Elabo- 4 e rate frieze of acanthus leaves. Scroll work, rosettes, and mouldings in gilt brass. Height, E ia width, 82 inches. g00 CHAIR, | Gilt frame. Recennon upholstered if embroidered silk plush. 902 SOFA. ae a Louis XVI. Gilt frame, finely carved a upholstered in silk brocade. Bee 903. Two ARMCHAIRS, | g To match the preceding, a go4 Two Sipe CHAIRS, To match the preceding. 905 FouR-FOLD SCREEN. Panels decorated with full-length por- traits of celebrated female opera singers, by the French artist Habert. AMERICAN ART ASSOCIATION, MANAGERS, THomAS E. KIrBy, Auctioneer. SEARCH INST VIL AN 3 3125 01662 7339 hoataie Mtn stot rae, tena ts eee ety pees preseetat ate ieten ie at oe Shetek