Hague hey a Ae 7 es : Sih eeiaaba Ci pep ade RO Be) ie mua Pape es) Jel patie iM Bir Has Ee ee pes rer ao Mas oat oe ae! After ne ‘called out sii. s0. : silence - the perch bout to call old?” wht Jf rose in his’ at se failing. another” / se picture, is Py The canvas is. chat for Ate » D by royon’ s Cattic at Rest, gs man BLOM eek by Arthur Tooth and sons Aor SebieMy: Ss “Summer Landscape.” ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES 7 MADISON SQUARE SOUTH, NEW YORK FROM SATURDAY, JANUARY 2Isr, 1905 UNTIL THE DAY OF SALE, INCLUSIVE THE ART TREASURES COLLECTED BY THOMAS E. WAGGAMAN UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES ON THE AFTERNOONS OF JANUARY 251TH 26TH, 27TH, 28TH, 30TH AND 31ST, AND FEBRUARY Ist, 2ND AND 38RD, AND EVENINGS OF JANUARY 301TH anp 31st AND AT MENDELSSOHN HALL ON THE EVENING OF FRIDAY, JANUARY 271TH pee 1! 9 CATALOGUE OF THE ART TREASURES COLLECTED BY THOMAS E. WAGGAMAN WASHINGTON, D. C. REVISED AND EDITED BY THOMAS E. KIRBY THE ENTIRE COLLECTION TO BE SOLD AT UNRESTRICTED PUBLIC SALE BEGINNING JANUARY 25TH, 1905, PURSUANT TO AN ORDER OF THE SUPREME COURT OF THE DISTRICT OF COLUMBIA, DATED DECEMBER 20TH, 1904, IN THE MATTER OF THOMAS E. WAGGAMAN, BANKRUPT, AND BY ORDER OF H. ROZIER, DULANY, TRUSTEE IN BANKRUPTCY THE AMERICAN ART ASSOCIATION MANAGERS NEW YORK 1905 Copyricut, 1905, BY THE AMERICAN ART ASSOC Press of J. J. Little & Co. Astor Place, New York t @ 9 ? , ORDER OF SALE EVENING SESSIONS ON FRIDAY EVENING, JANUARY 2Q7rn, 1905 AT MENDELSSOHN HALL, Fortieth Street, East of Broadway, beginning promptly at 8.30 o’clock, THE VALUABLE PAINTINGS AND WATER COLORS. Catalogue Nos. 1 to 96, inclusive. MONDAY AND TUESDAY EVENINGS, JANUARY 30TH anp 31st AT THE AMERICAN ART GALLERIES, Madison Square South, promptly at 8 o’clock. ANTIQUE JAPANESE COLOR PRINTS, KAKEMONOS, PANELS, EXCEEDINGLY RARE OLD SCREENS, FINE ART AND OTHER BOOKS AND RARE ETCHINGS. AFTERNOON SESSIONS WEDNESDAY AFTERNOON, JANUARY 251TH AT THE AMERICAN ART GALLERIES, promptly at 2.30 o'clock. NET- SUKES, JAPANESE PIPES, PIPE CASES, YATATES, TOBACCO POUCHES, INROS, SNUFF BOTTLES, SPECIMENS OF ROCK CRYS- TALS AND AGATES AND LACQUER SAKE SAUCERS. Catalogue Nos. 1 to 304, inclusive. THURSDAY AFTERNOON, JANUARY 26TH AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. JAPANESE AND CHINESE LACQUERS, IVORY AND WOOD CARVINGS, RARE JADE BUDDHISTIC STATUES AND SHRINES AND PANELS BY RITSUO. Catalogue Nos. 305 to 570, inclusive. BRONZES. Catalogue Nos. 571 to 831, inclusive. * SATURDAY AFTERNOON, JANUARY 287TH AT THE AMERICAN ART GALLERIES, at 2.30 allo “COREAN } POTTERY, ANTIQUE CHINESE PORCELAINS DECORATED BLUE AND WHITE, SOFT PASTE SINGLE COLORS AND CELADON SPECI- — MENS AND JAPANESE AND CHINESE CLOISONNE ‘ENAMELS. Catalogue Nos. 833 to 1140, inclusive. 5 MONDAY AFTERNOON, JANUARY 301TH AT THE AMERICAN ART GALLERIES, at 2.30 o’clock, SWORD 4 GUARDS, SWORD ‘ORNAMENTS, KNIFE HANDLES, JAPANESE ae DAGGERS, SWORDS AND FAMOUS SWORD BLADES. Catalogue ee. q 1141 to 1361, inclusive. TUESDAY AFTERNOON, JANUARY 31st AT -THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE JAPANESE POTTERY AND PORCELAINS. Catalogue Nos. 1366 to 1636, = inclusive. ; ‘ WEDNESDAY AFTERNOON, FEBRUARY Isr AT THE AMERICAN ART GALLERIES, at 2.30 o’clock, ANTIQUE JAPANESE PORCELAINS, POTTERY AND SATSUMA FAIENCE. Catalogue Nos. 1637 to 1919, inclusive. THURSDAY AFTERNOON, FEBRUARY 2np acs AT THE AMERICAN ART GALLERIES, at 2.30 o’clock. ANTIQUE JAPANESE FAIENCE AND PORCELAINS. Catalogue Nos. 1920 to 2249, inclusive. FRIDAY AFTERNOON, FEBRUARY 3rp AT THE AMERICAN ART GALLERIES, Concluding Session, beginning at 2.30 o’clock. ANTIQUE JAPANESE FAIENCE, STONEWARE AND MISCELLANEOUS OBJECTS, GALLERY CABINETS AND FURNI- TURE. Catalogue Nos. 2251 to 2542, inclusive. 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 immedi- ately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judg- ment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or othermise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authenticity 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 Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; failing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for: damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settle- ment of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply mith 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. 8. The undersigned are in no manner connected mith the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for employing careful carriers and packers, they will not hold themselves responsible for the acts and charges of the parties engaged for such services. Tue AMERICAN ART ASSOCIATION, Manacers THOMAS E. KIRBY, AvcrTioneeEr. ‘ BIOGRAPHICAL NOTES AND INDEX LOUIS APOL Among the band of Dutch artists who began to establish a reputation in the seventies, Louis Apol holds a very distinguished place. He has a special fondness for winter scenes, which he ren- ders in a spirit of realism, with a quiet, contemplative manner and singular taste and purity that characterize the work of the group. A WINTER MOON 37 z : ‘ a aie o 2 = od s @ - @°* J..J. VAN DE SANDE-BAKHUYZEN Born at The Hague, 1835. Pupil of his father. A landscape painter of great merit, reproducing nature’s beauty in a true and simple manner. His subjects are mostly taken from the province of Drenthe, where he studies every summer. His works attracted great attention and admiration at the World’s Fair, Chicago, but his greatest popularity is in Holland, where there is scarcely a collection without at least one example of his work. COWS AT THE FORD gh NICOLAAS BASTERT Born at Amsterdam, 1858. Pupil of the Amsterdam Academy. A talented landscape painter. His work is refined and his inspira- tion received directly from nature. He is at his best when paint- ing still rivers which reflect the trees along their borders. The paintings he sent to the Chicago Exposition were all bought by connoisseurs of the United States. He has exhibited in Paris, ing a metal: in each city. OCTOBER—HOLLAND ; ‘MRS. BILDERS- ol BOSSE Born in Oosterbeek. Studied nOpeHe with her late hasta J. W. Bilders, and Anton Mauve, who taught her to paint direct from nature. She is particularly excellent in her sketches of wood interiors, especially in water color, which are much admired in Holland. 3 a IN A BEECH FOREST "4 BERNARDUS JOHANNES BLOMMERS Born at The Hague in 1844 and in time became a pupil of its Academy. His first exhibit was made in 1869, when his picture was hung next to one by Israéls. This led to a friendship between them, the-influence of which is clearly perceptible in his earlier work. But his temperament is sunny, and while he enters with sympathy into the life of the peasants, his genre pictures of domestic scenes are happier in suggestion than those of the older man. ‘The picture, exhibited at Paris, a large canvas, represented a mother and three children paddling in the shallow waves at sun- set; a subject altogether charming in spirit and execution. In Holland, Blommers is highly esteemed, his works hanging in the principal public galleries, while his reputation in other countries is steadily advancing. HAILING THE BOAT 6 GIRL KNITTING 35 FRANCOIS SAINT BONVIN A French painter of still-life and of interiors in the style of Chardin; born at Vaugirard, Paris, November 22, 1817. His father was a garde-champétre, and Bonvin was educated in the ae “ ‘ as > J * e) _ drawing-school of the Rue de l’Ecole de Médicine. For more than ‘thirty years he was a constant exhibitor at the Salon, gaining the Legion of Honor in 1870. In 1881 he entered the Hospital of Saint Jean de Dieu to be operated on, and for the rest of his life was an invalid. He died in 1888. THE CLOISTER | | 44 JOHANNES BOSBOOM Born at The Hague, 1817; died there, 1892. Pupil of B. J. Van Hove. Bosboom is now recognized as one of Holland’s best painters. Since his death his works have rapidly been absorbed into collections. He was unexcelled in his specialty of church in- teriors. Beautifully drawn and executed, they are filled with air and also with the suggestion of those sentiments that are inspired by the grand architecture that has been a silent witness of great events in Holland’s history. His landscapes are also full of fine _ feeling. He received many honors; none that he greater esteemed than to be chosen, as he was in July, 1885, to unveil Rembrandt’s masterpiece in the new museum at Amsterdam. IN A DUTCH BARN. 23 IN THE CHURCH, MIDWOLDE, HOLLAND 28 RICHARD NORRIS BROOKE Born at Warrenton, Virginia, October 20, 1847. Studio in Washington, D. C., where he has established a reputation as a painter of ability and an art critic of sound judgment. -THE HARVEST FIELD 46 A QUIET CORNER 94 GAETANO CHIERICI Born at Reggio, Italy, 1838. Professor at Academy, Rome and Florence. Medals: Rome, Lisbon and Florence. WARMING DOLLY’S HANDS 87 SSeS geen ac ta eae eae JOHN CONSTABLE, R.A. father, meanwhile receiving flection in drawing frost a certain Dunthorne, who gave his instruction always in the open air. — Finally deciding to be a painter, he entered the Academy schools a at the age of twenty-four, and exhibited his first picture two years later. He studied the works of Ruysdael in the National Gallery, from which he came to the conclusion that London could help him little in his art, and that it was nature which he must study, and particularly nature along the banks of his native Stour, which in after years he averred had inspired his desire to be a painter. He set himself right in the midst of green landscape, and was the first % to remove every kind of adaptation and arbitrary arrangement in composition, and to paint not only what he saw, but in such a way as to convey. the impression of how he saw it. Especially did he advance the study of light and air, and for the first time the at- mosphere moves and has its being in painted landscape. He was ahead of his time, anticipating the triumphs of the painters of Barbizon, on whom his influence was undeniable. He was happily married, and a legacy to his wife, sufficient for their modest needs, enabled him to work, as he said, for the future. He was elected to the Royal Academy in 1837. His faith in the judgment of pos- terity has been abundantly justified, and he is now recognized as one of the foremost masters of the paysage intime. A HEATH Cs spd HAMPSTEAD «61 JEAN BAPTISTE CAMILLE COROT Born in Paris in 1796; the son of a court modiste. He was sent to the high school at Rouen and then apprenticed to a linen draper, his father, after eight years’ opposition, finally yielding to his desire to be a painter, and allowing him a yearly mainte- nance of twelve hundred francs. He studied under Michallon and b 2 f, e1¢3 ae - Bertin, accompanying the latter in 1826 to Italy. Here with prac- ow tice he achieved the accomplishment of rapidly portraying the action of moving figures, a skill that he afterwards extended to the delineation of foliage stirred by air. His early pictures, whether of figures or landscape, are of the orthodox academical type, hinting at the future Corot only in the exceeding delicacy of their tonal effects and their increasing regard for the qualities of atmosphere. It was not until he had returned from his third visit to Italy, in 1843, that Corot fell under the influence of Rous- seau and discovered the charms of French landscape. In Pro- vence, Normandy and Fontainebleau he studied nature, recom- mencing his artistic life at the age of forty and studying for eight years before the Corot-that the world now recognizes as a master was finally evoked. Communing with nature in Ville d’Avray and _ painting in his studio in Paris, he produced during the next twenty-five years a series of masterpieces, distinguished as much * by truth to nature as by their exquisite poetry. The latter was an effluence of his own quiet, happy spirit, and of the perennial youth of his soul, that found its pleasure in music and in nature _and in the companionship of his friends. He lived with his sister, who died in 1874, and the old bachelor followed her the next year. ** Rien ne trouble sa fin, c’est le soir d’un beau jour.” LAKE NEMI — 47 VILLE D’AVRAY 49 AT NIGHTFALL: A STUDY 50 DAVID COX Born near Birmingham, England, in 1783. He began his career as a scene painter in a Birmingham theatre, and went to London in 1803, where he became a teacher of drawing and paint- ing, and practised his profession with great success. His name is identified with a flourishing school of English landscape paint- ers, of which he was one of the leaders. In 1844 he settled at Harborne Heath, near Birmingham, where he died in 1859. COLLECTING THE FLOCK, VALE OF CLWYD 81 This artist was a pupil of Géréme, and made his début i in Fa aN Salon in 1877, and in 1878 received a medal for his “ Burial of ie Manon Lescaut.” In 1880 M. Dagnan-Bouveret received a first- a class medal; in 1885 the Legion of Honor, and in 1889 the © medals of honor at the Salon and the Universal Exposition. More his own country could not do for him, except to support him with her patronage, and this she has honestly done. Commencing on the foundation of neo-classical art which characterizes the Géréme school, M. Dagnan has created a school of his own, in which he has many followers. Tenacious, patient, persevering, working with the extremest care, leaving nothing to accident, but carrying out each effect as he marked it out to be completed when he began, ~ he is at once one of the most conscientious and one of the most sincere French artists of the present day. He is absolutely free from any of the mannerisms or conventionalities of academic train- ing, and equally free from any personal affectations of technique. Bastien-Lepage, himself an artist of a very similar type, held him in the highest esteem, and since the death of his friend, M. Da- gnan comes closer to taking his place than any other artist of the day. M. Dagnan takes his surname Bouveret from his mother, in order to distinguish himself from another artist of the name now deceased. ; | A DUET IN THE STUDIO —80 CHARLES FRANCOIS DAUBIGNY Born in Paris in 1817. After studying with his father, Edmé Francois, he visited Italy, and on his return spent some time in the studio of Delaroche. From 1838 he was a constant exhibitor at the Salon and became identified with subjects drawn from the — Seine, Marne and Oise, navigating these waters in a floating studio. He had spent much of his childhood in the country near L’Isle Adam and, as an artist, turned unreservedly to nature study. The youngest of the Barbizon group, he entered into the harvest of recognition won by the older men. He was not an exacting baal » | i analyst, like Rousseau; or elevated in mood, as Dupré; not con- ~sciously a poet, as Corot, or a sharer of Diaz’s fantastic or exalted conceptions; only, quite simply and normally, a lover of the country. . Such a love of nature is a survival of, or a return to, the simple associations of childhood, and Daubigny in this respect was per- petually a boy. His pictures have the freshness and spontaneity of boyhood, expressed with the virility of a man. _ He had more affinity with Corot than with any other of the famous brotherhood—less with Corot’s classical spirit and delib- erately poetic vein than with his sweet, perennial youthfulness of _. character. He was by nature lovable, with a heart that kept its sweetness fresh and unsuilied to the end. The lovableness is re- flected in his work. His death occurred in 1878. A SUMMER LANDSCAPE 7 53 LE LAC | 60 BLACK ROCKS, COAST OF NORMANDY "3 KARL DAUBIGNY Born in Paris, June 9, 1846. Son and pupil of Charles Fran- ¢ois Daubigny. Formed a style of his own, and received medals at the Salon. His landscapes are highly appreciated in France, but are not very well known in the United States. Died in Paris in 1886. EARLY MORNING ON THE OISE 58 CHARLES H. DAVIS At the Third Prize Fund Exhibition, at the American Art Gal- leries in New York, in 1887, the prize of $2,000 was awarded to a landscape entitled “ Late Afternoon.” The artist was Charles H. Davis. At the Exposition of 1890, in Chicago, another of the artist’s works secured the prize of $500, donated by Mr. and Mrs. Potter Palmer, for the best landscape. Two exhibitions of the painter’s pictures in New York further Perrities him to his ee : " lic and confirmed his footing. Mr. Davis is a native of Amesbury, Massachusetts, born in 1856, and at twenty years of age began — exhibiting pictures in Boston, where he had received instruction at the Museum of Art, under Profesor Grundman. He went to Paris a in due time, and commenced to qualify himself as a painter of the figure, with Boulanger and Lefebvre for masters. His summer studies out-of-doors aroused in him the latent love of Nature in her rural and pastoral aspects, however, and he finally discarded "his original selection and devoted himself entirely to landscape painting. Working upon a capital of skill acquired from the study of the figure, and being independent of the influence of any school or master of landscape painting, he created within himself that simple and charming style which renders his works so capti- vating. A WINTER EVENING Me) THEOPHILE DE BOCK Born at The Hague, 1850. Pupil of Jacob Maris, De Bock has gained from his master a broad and vigorous manner of paint- ing. His skies are admirable. His landscapes are nearly always well composed, and have a certain strength and atmospheric quality that are very attractive. He has in his work the spirit of the modern Dutch school. A LANDSCAPE 16 ‘ALEXANDRE GABRIEL DECAMPS Born in Paris, 1803. At first a pupil of David and Ingres, he freed himself from classic principles of style and from imita- tion of the antique. As a boy he had spent several years upon a farm, and the love of nature was strong within him. In 1827 he accompanied Garneray, a marine painter, to Constantinople and Asia Minor, and his journey proved a voyage of discovery for French painting. He dared to paint what he saw, and saw every- thing through the vision of a true painter, fascinated by color and light, and in a spirit of dreamy mystical poetry. His death oc- curred at Fontainebleau in 1860. SAUL PURSUING DAVID 76 P. DE JOSSELIN DE JONG Contemporary SCHEVENINGEN FISHER-GIRLS 26 ” OTTO DE THOREN Medals: Paris, 1865; Munich, 1869; Vienna, 1882. Chevalier of the Order Francis Joseph. Russian Order of Vladimir. Mem- ber of the Vienna and St. Petersburg Academies. APPROACHING STORM 67 LUDWIG DETTMAN Contemporary THE POTATO HARVEST 25 HENRI LUCIEN DOUCET Born in Paris. Genre and portrait painter; pupil of Lefebvre and Boulanger. Awarded a medal at the Salon of 1879. AFTER THE BALL 82 EUGENE FROMENTIN Born at La Rochelle in 1820. He was the son of a successful lawyer and intended to follow his father’s profession. But after receiving his diploma in Paris, at the age of twenty-three, he was taken ill, and as a pastime took up the study of drawing. He soon discovered that his tastes were stronger in the direction of a cae sa toward the practice of law, and he became a pupil of Cabat and a Rémond. He had visited Algeria as a youth, and, attracted by — Marilhat’s paintings of the Orient, now made up his mind to re- — turn to that country. He accordingly spent three years there — —1846 and 1848 and 1852. In 1847 he first exhibited at the — Salon, and in a few years was recognized as the most sympathetic 4 and poetical painter of Oriental subjects, and became, indeed, the 5 & leader of a school. ‘Meanwhile he established his reputation asa _ brilliant and facile writer, not only as a critic of art, but as a novelist. He received medals at the Paris Salon in 1849, 1857 and 1859, and at the Exposition in 1867. He was made Chevalier _ of the Legion of Honor in 1859 and Officer in 1869. Died in 1876. _ ARABS ON THE MARCH 45 BALDOMERO GALOFRE This distinguished Catalonian painter was born in 1848. In — 1870 Baldomero Galofre arrived in Madrid with six francs in his pocket and two portfolios of sketches, the result of his study under Ramén Marti. He was employed as a draughtsman on the Ilustracién Espafiola y Americana till 1873, when he won the Prix de Rome. He was practically self-taught in art, and was extremely independent and exclusive in his habits. He worked in Rome and occupied a leading position among modern Spanish painters. His death occurred at Barcelona on July 26, 1902. BESIDE THE BAY OF NAPLES . 93 WALTER GAY Born in Hingham, Massachusetts, Walter Gay first became known in Boston as a painter of flowers and still-life pieces. He was a nephew and pupil of Walter Allan Gay, who had studied under Prof. R. W. Weir at West Point, and Troyon in Paris, and had travelled and painted widely in Europe and the East. In 1876 young Gay went to Paris, where he became a pupil of Léon Bon- By f nat, and since that time he has devoted himself almost entirely to figure subjects, in a cheerful and pleasing genre, which have won for him a gratifying reputation. At the Salon of 1885 he was accorded an Honorable Mention, and he has received other dis- _tinctions at exhibitions in this country. He has been awarded medals in France, Belgium, Germany and Austria, is a member of the Society of American Artists, and was made a Chevalier of the Legion of Honor in 1894. His best known pictures are genre subjects of the eighteenth century, but during the past couple of years he has varied them with realistic motives of modern life, especially in Spain, which show him to be fully abreast with the spirit of the time. A PROVINCIAL ASYLUM 63 GUSTAVE GUILLAUMET _ Gustave Guillaumet, the chief of modern French painters to explore North Africa as a field for subjects, was born in Paris on March 26, 1840. He studied at the Ecole des Beaux Arts, and under Picot and Barrias, and in 1863 won the second Prix de Rome and made the first of his many visits to Algeria. His scenes of life among the nomadic Arabs of the waste and the Arabian husband- men at once attracted favorable attention in Paris, and secured him various medals at the Salon, and in 1878 the Legion of Honor. All the French museums possess examples of his brush, and he has contributed not a little by his art toward strengthening the bonds by which France is united with her famous African colony. His pic- tures are essentially truthful and realistic, but are imbued with a certain poetic feeling, and characterized by a mellow charm of color and a tender harmoniousness of tone. His selection of subjects is simple, without any effort at superficial sentiment; calculated, in fact, to be representations of actual life, whose interest is entirely dependent on themselves. It is in this that their strong appeal to the public lies; an appeal which has rendered them the most popu- lar pictures of African life and character painted in modern times. STREET IN AL KANTARA . 52 SPINNERS AT LAGHOUAT 56 AUGUST HAGBORG Born at Gothenburg, Sweden. Pupil of the Academy oe £ Fi Arts, Stockholm, and of Palmaroli, Paris. Medal, Paris, 1879. ** Of majestic stature, with a handsome and characteristic head, one recognizes in him at once the strong man and the artist, the inde- _ fatigable fighter and worker, whose eyes, flashing with inspiration a and spirit, have in them still that tenderness which belongs to the __ Swedish eye, tinted with the beautiful blue of the sea. Everything is robust and vigorous in the talent which confirms him as one of the masters of the future.’—August H fagbcum by A. M. DE BELINA. MEETING THE BOAT 95 WILLIAM H. HOLMES Born in Harrison County, Ohio, in 1846. He took up water color drawings at an early age, but without a master. In 1872 he joined the United States Geological Survey of the Territories as — artist, and, although turning his attention almost immediately to geologic and archeologic studies, he at all times kept up the prac- tice of his favorite art. VENICE : a 91 EUGENE LOUIS GABRIEL ISABEY Born at Paris in 1804. He was the son of a well-known minia- ture painter, Jean Baptiste Isabey, and was the pupil of his father. He began his career as a genre painter, but shortly began to paint marines, and, indeed, during his whole professional life, more than sixty years, he divided his time between these two branches of art. In 1830 he was appointed royal marine painter with the French expedition to Algeria, and although he executed many important commissions for sea pictures, he continued to paint those remark- ably facile, vivacious and rich-toned figure pictures for which he is now chiefly known. He was at one time very successful as a water-color painter and also as a lithographer. He received Li medals at the Paris Salon in 1824 and 1827, and at the Exposition in 1855; was made Chevalier of the Legion of Honor in 1832 and Officer in 1852. Died in 1886. A SHIPWRECK 7 65 JOSEF ISRAELS Born at Groningen, North Holland, in 1824. As a boy he wished to be a rabbi, but on leaving school entered his father’s small banking business, and in 1844 went to Amsterdam to study under the fashionable portrait-painter, Jan Kruseman. But it was the ghetto of the city, swarming with-life, that affected his imagina- tion. ‘The following year he proceeded to Paris and worked under ‘Picot and Delaroche, entering the latter’s. studio shortly after Millet had left it. Like Millet, he had no inclination for “ grand painting,” and, though he tried to practise it upon his return home, it was in the little village of Zandfood, whither he went for his health, that he discovered his true bent. Again, like Millet, he found his inspiration in the lives of the poor; but, unlike the French master, he invests his subjects with intimate peace and lyrical melancholy, veiling his figures in an exquisite subtlety of subdued atmosphere. Amongst the moderns he is “one of the most powerful painters and at the same time a profound and tender poet.” JAN IN THE BABY-CHAIR 41 GRANDFATHER’S CONSOLATION 70 CHARLES EMILE JACQUE Last survivor of the Barbizon-Fontainebleau painters, Jacque reached a full meed of dignity and wealth. The varied experiences of his early life, joined to a well-balanced mind and practical char- acter, had enabled him to escape the early harassments which had beset his friends.. Born in 1813, he was by turns a soldier and a map engraver; later practismg engraving upon wood, and etching. In these mediums his first exhibits were made at the Salon, and they received j an ~ ‘ay ae i Fe la awards in 1851, 1861 and 1863. His influence had much to do — with the revival of interest in the art of etching, and examples of his plates are held in high esteem by collectors. Meanwhile, from 1845 he had been training himself to paint, although it was not until 1861 that his pictures received official recognition. His sym- pathies were with rustic life, and particularly with animals. The _ pig attracted him as a subject; he not only painted the barn-door __ fowls, but bred them and wrote a book about them. Yet it is for his representation of sheep that he is most highly esteemed. His experience with the burin and needle had made him a free and pre- cise draughtsman, while his profound study of animals gave him complete mastery over construction and details, as well as the power to represent their character. His fondness for them saves him from any possibility of triviality; he selects the essentials and fuses them into a dignified unity. His pictures have much of the poetry which characterized the Barbizon school, and found ready patrons during his life. He died, 1894. HOMEWARD BOUND—MOONLIGHT 68 HENRY WRIGHT KERR A native of Edinburgh. An Associate of the Royal Scottish Academy. His specialty is in characteristic heads, Scottish and Irish, though he also paints landscapes. A CONNEMARA BAILIFF 2 JACOB SIMON HENDRIK KEVER Born at Amsterdam, 1857. Pupil of the Amsterdam Academy. While yet a boy his passion for drawing and sketching pointed out his future career. Kever has a great reputation as a painter of Dutch peasant home life, and none has better or more sympathetic- _ ally painted children. He expresses in his paintings very sweet sentiment with a strong, free brush. His subjects are very simple, but seriously painted. His handling of light, whether in interiors or out-of-doors, is particularly happy, and the tone and color are excellent. His works are steadily rising in the estimation of con- ie noisseurs. He received the gold medal of Amsterdam in 1892, and was awarded medals at Munich, Chicago, and other places. DIVIDING THE PROFITS 10 THE NOONDAY REPAST 31 AMUSING THE BABY 62 GOTTHARD KUEHL A painter of the Munich school, with a predilection for medix- val subjects and costume genre. AN ORPHAN SCHOOL 64 DANIEL RIDGWAY KNIGHT A native of Philadelphia and a student of the Pennsylvania Academy, Knight went to Paris in 1872, and since that date has continued to reside in France. He entered the Beaux Arts and studied under Gleyre, later on being received into the studio of Meissonier, the only American who ever enjoyed that distinction. He did not, however, become an imitator of the great Frenchman. Indeed, from the time he made his acquaintance, he ceased to paint the little costume pieces with which he had been identified pre- viously, and devoted himself to studies of peasant life on a larger scale and set in natural surroundings. He early abandoned the artificially lighted studio, and had one constructed of glass in the garden of his picturesque villa at Poissy. Many honors have been conferred upon him both in this country and abroad, including the Cross of the Legion of Honor, and the Cross of the Order of St. Michael at Munich, and a bronze medal at the Universal Expo- sition of 1900. GOSSIP BY THE RIVERSIDE 92 KONSTANTIN MAKOVSKY Born in Moscow, 1839. Historical, genre and portrait painter; pupil of the Moscow Academy and the St. Petersburg Academy, where his “ Assassination of Czar Féder Borissovich ” was awarded the second prize. He painted portraits almost ex- clusively for several years, but in 1869 he exhibited the “ Carnival - b) in St. Petersburg,’ now belonging to the Czar. Makovsky is a member of, and Professor in the St. Petersburg Academy. HEAD OF A WOMAN 89 JACOB MARIS The eldest of the three brothers, whose father and teacher was an able artist of the last century, was born at The Hague, 1837. Pupil of Stroebel, van Hove, de Keyser and Hébert. Jacob Maris was greatly impressed, while in Paris studying with Hébert, with the works of Daubigny, Millet, Rousseau, Dupré and Corot. Returning to Holland, his serious nature was drawn towards the Dutch landscape, its windmills, towns, canals; also to the seashore with its picturesque fishing-boats. He was regarded by all his brother artists as the greatest living landscape painter in Holland. His pictures have steadily grown in the estimation of connoisseurs. He died in 1899. AT DORDRECHT |. 11 SUBURBS OF THE HAGUE ; J 19 THE OLD CANAL AT DORDRECHT 71 WILLEM MARIS Born at The Hague, 1843. Brother and pupil of Jacob Maris, but taught more by nature. There is no artist who can depict so well the delicious atmosphere that envelopes Holland on a summer day. His favorite subject is a pasture with the sunlight resting on the backs of cows standing dreamily near ponds, or ditches or in milking corners. He is seldom satisfied with his own work. His art is wonderful, and the brush with which he has charmed so many lovers of nature is handled with ease and as by magic. Let one who wishes to understand the work of Willem Maris take a walk from one of the villages of Holland to some neighboring farm, sit - an on the roadside between the pastures, enjoy the country in all its beauty, inhale the balmy perfume of the land, and then he will feel the sentiment that Willem Maris so well interprets. MILKING 12 A COOL SPOT : 20 COWS IN THE MARSH Q1 MILKING TIME — 45 ANTON MAUVE ** It was truly said when Anton Mauve died that Holland had sustained a national loss. Though comparatively a young man, he had made a powerful impression on the art of his country, and did more than any of his contemporaries to infuse into the minds of his fellow-artists higher aims and to lead them toward that close sympathy with nature which was his own inspiration. He loved the Dutch farms, dykes and heaths, and he painted them lovingly and tenderly in a direct, simple way. To him his country was not always dull, gray and damp, as other artists would have us believe. He saw and felt, and shows us, its light and sunshine, too. Through his pictures we may know Holland as it is, with its peace- ful peasant life in both field and cottage—not that life of hard and hopeless toil that Millet so often painted, but the life of peace- ful and contented labor which, happily, is, after all, the peasant’s more frequent lot. ** Mauve was born at Zaandam, September 18, 1838, and fled at the house of his brother, in Arnheim, February 5, 1888. “ Though he was for a short time in the school of P. F. Van Os, he was mainly a self-taught artist.”—-W. MacsBeTu. COW IN STABLE 3 WINTER IN HOLLAND 18 BOY AND COW 29 IN THE SHEEP STABLE, LAREN 30 HUNTER AND DOG—EARLY MORNING 59 SHEEP COMING OUT OF THE FOREST 66 HANS MEMLINC Memlinc was born about 1430-35 at Mumling, near Aschaffen- q burg, in the principality of Mentz, or at Memlinc, near Alckmaar, q in North Holland. He probably settled in Bruges in or before ; 1467. In May, 1480, he was in possession of two houses in the street leading from the Flemish bridge to the ramparts, now called St. George’s Street. In the town accounts of 1480 he appears among the two hundred and forty-seven burgesses who advanced — money (a forced loan) to the municipality towards the expenses of — the war between Maximilian and the King of France. Memlinc q was married; his wife’s Christian name was Anne, and she bore him three sons: John, Nicholas and Cornelius. Anne died in 1487, and Hans on August 11, 1494. Memline most likely served his ap- prenticeship under some master-painter at Mentz or Cologne. He must have worked in the latter city as a journeyman, and probably for several years prior to coming into the Netherlands. Guicciar- dini says that Memlinc was the pupil of Roger de la Pasture (Van Der Weyden) of Tournay, who settled in Brussels in 1435, and judging by the many points of similarity in their works, this may possibly be true. These points of resemblance are, however, almost entirely confined to pictures representing the Adoration of the Magi and the Presentation in the Temple, and it is noteworthy that a triptych by Roger with these subjects and the Annuncia- tion, now in the Gallery at Munich, formerly adorned an altar in | the church of St. Columba at Cologne, where Memlinc probably saw and studied it. ‘There is no contemporary document proving that he worked with Roger, nor any other evidence, for the mention in the inventory of pictures belonging to Margaret of Austria, of a triptych, the centre of which was by Roger, and the wings by Mas- ter Hans, is no proof that he worked with him even for a time. Many triptychs have shutters painted by masters in no way con- nected with the author of the centre. It is quite as probable that he worked with Simon Marmion at Valenciennes. Memlinc is known to have had two apprentices—John Verhanneman in 1480, and Passchier Van der Meersch—but neither of them became mas- ters. For harmony of color and purity of expression Memlinc surpasses all the masters who settled in Bruges. VIRGIN AND CHILD AND DONORS—A TRIPTYCH ‘4 ss ian : a= ; ag > * 4 Brit i JEAN BAPTISTE MILLET A brother of Jean Francois Millet. Pupil of Troyon and _ Rousseau, whose pictures he frequently copied. GORGES D’APREMONT—EVENING 72 JEAN FRANCOIS MILLET Born at Gruchy, in the Commune of Gréville, France, in 1814. He worked on his father’s farm until he was twenty years of age, and as he was constantly drawing in his leisure moments, it was decided that he should study art. He consequently went to Cher- bourg and became a pupil of Mouchel and Langlois. He had been in Cherbourg but two months when his father died, and he was obliged to return to the plough. However, he kept on with his drawing, and three years later the municipality of Cherbourg voted him a subsidy to pursue his studies at Paris. He accordingly entered the Ecole des Beaux Arts there in the studio of Delaroche. But he had no sympathy with academic art, and soon left the school and began to paint small pictures. In 1848 he sold his first pic- ture, “ The Winnower,” and went to Barbizon. His pictures, at first unrecognized, gradually gained public attention and esteem, and at the Exposition of 1867 his reputation was finally assured. He finished only about eighty oil paintings in all. He received medals at the Salon in 1853 and 1864, the Grand Medal at the Exposition in 1867, and was made Chevalier of the Legion of Honor in 1868. He died on January 20, 1875, and was buried near Rousseau in the churchyard of Chailly. THE CLOSE OF DAY 38 MISS WALLY MOES A pupil of the Amsterdam Academy, has received many com- mendations at European exhibitions for her character genre studies, so good in drawing and agreeable in color. YOUNG DEVOTEES : 32 THOMAS MORAN, N.A. +, Commencing in his youth as a wood engraver’s apprentice, in Philadelphia, Thomas Moran taught himself to paint in water ; colors and afterwards in oils. He had some inspiration and en-— couragement in his work from his elder brother, Edward, who, — under instruction from James Hamilton and Paul Weber, had 4 acquired sufficient proficiency to set himself up as a landscape and marine painter. In 1862 Thomas Moran yisited England, of @ which country he was a native, having been born in Lancashire and — brought to the United States when a boy of seven years of age. — He devoted this visit to the study of the old masters in the English — galleries, and brought back a vivid impression of 'Turner’s works, — q which was reflected in his paintings of this period. In 1866 he made another European tour, this time travelling extensively in France and Italy, and in 1871 made those explorations of the great _ West, with Professor Hayden’s expedition, which resulted in his ** Grand Cafion of the Yellowstone,’ now in the Capitol at Wash- ington, and other powerful works, including the celebrated ‘* Moun- tain of the Holy Cross.” He became a National Academician in 1884, and among other societies is a member of the Pennsylvania Academy of Fine Arts and of the Artists’ Fund Society of Phila- delphia; of the American Water Color Society, the New York Etching Club, and the Society of American Etchers. VIEW OF WINDSOR CASTLE . 96 ALPHONSE MARIE DE NEUVILLE Born at Saint Omer, France, in 1836. His parents, who were rich and influential, intended him for an official career, but from the first his tastes inclined to the army, and finally he was sent to the military school at Lorient. During his brief stay there and also in the law school in Paris, where he attended to please his parents, he spent most of his time sketching, and finally determined to become a painter, notwithstanding the remonstrances of his family and friends. He studied with Delacroix and Picot, more as a friend than as a student, but his first pictures were not suc- cessful. The Franco-Prussian War gave him, however, the neces- i 4 ; sary stimulus and opportunity, and his pictures of that epoch are . among the most remarkable war pictures ever painted. It is said that upon his bed of death he thought himself once more on fields of battle, and imagined, in his last hours, the reality of the pic- tures in which he had made his country’s heroism immortal. Be- fore his fading sight floated the smoke of Magenta; in his dull ears roared the cannon of Buzenville; he heard, in the echoing cham- _bers of his memory, the crackling fusillade of Le Bourget, and the shouts of victory in the guttural German tongue. He received medals at Paris in 1859 and 1861; was made Chevalier of the Legion of Honor in 1873 and Officer in 1881. Died in 1885. THE FLAG OF TRUCE AQ ALBERT NEUHUYS Born in Utrecht, 1844. Pupil of the Antwerp Academy and of G. Craeyvanger. All his life he has been a student in the school of nature. His subjects treat of the familiar life of the Dutch people. His works show a thorough understanding of the life of the humbler country people and personal sympathy with them. They also show great technical skill and are steadily increasing in estimation. He has received many honors. IN A DUTCH HOUSE Q7 ALONE IN THE WORLD 40 THE FRUGAL MEAL 69 MISS A. NUGENHOLTZ Contemporary ~T THE CART TONY OFFERMANS Born at The Hague. Pupil of the Academy. A conscientious and able painter of peasant life. The village mechanic has been painted by him as by no one else. He enjoys the greatest popu- larity amongst his brother artists, who always crowd his studio to be cheered by his pleasant and humorous character. He does not, however, forget his work, and often disappears without notice a to some remote hamlet, to reappear, after months of continuous — work, with a wealth of studies. 4 IN A DUTCH FARMHOUSE 8 M. KAMERLINGH-ONNES Contemporary FLOWERS 24 DAVID OYENS Contemporary INTERIOR OF A STUDIO | a FRANCISCO PERALTA After studying under Federico Madrazo in Madrid, Peralta visited Paris and then settled in Rome. He was establishing a good reputation, when, through the defalcation of his banker, he lost his fortune. Broken in health, he returned to Seville, his na- tive city, and died there in 1896. A GLASS OF WINE : 86 GEORGE POGGENBECK Born at Amsterdam, 1855. A true artist, with Mauve’s tender feeling for the harmony and sentiment that are in nature, though different from Mauve in subject and manner. ‘There is a beauti- ful simplicity and a refined poetic feeling in his landscapes. He is very conscientious and produces fewer works than most of his brother artists. His painting is very pure and his technique subtle and charming. He is one of the best water-color painters in a country notable for this art. NIGHT 4 CALVES IN A CLOSE 9 M - SIR JOSHUA REYNOLDS, P.R.A. A native of Plympton in Devonshire, where he was born in 1723, Reynolds went to London at the age of seventeen and be- came apprenticed to Hudson. ‘Two years later he established him- self as a portrait-painter in Devonport, and in 1744 moved his _ studio to London. In 1749 Commodore (afterward Admiral) » Keppel invited the young painter to accompany him to the Mediterranean, and he was thus enabled to spend four years in Italy, during which he studied the old masters to such purpose that his own work reproduced their qualities. Subsequently he added to his research of Italian art that of the Dutch, and in his dis- courses delivered before the Academy proved himself a master of penetrating criticism. He founded “The Club,” and in 1768 was elected first President of the Royal Academy. Angelica Kauff- mann haying declined his hand, he remained a bachelor, and in his _ splendid house in Leicester Square lived luxuriously, on terms of familiarity with the greatest men of his day. He died in 1792, and received a public funeral in St. Paul’s Cathedral. HOPE 85 MISS MARGARETHE VOGEL ROSENBOOM Born at The Hague; died there 1897. A master in the art of painting flowers. Her broad, free and sympathetic touch and exquisite sense of color have given to her floral compositions an artistic quality far beyond the mere copying of the objects set be- fore her. She has received honors in different countries. Her loss will be deeply felt in the world of art. ROSES 15 THEODORE ROUSSEAU Born in Paris in 1812. He was the son of a tailor, and, hav- ing a taste for mathematics, he was intending to enter the poly- technic school, but, fortunately for art, he entered the Ecole des Beaux Arts instead, and became the pupil of Lethiere. Like many others, he could not accept the traditions of the Academy, and, leaving the school, went direct to nature. He first went to Fon- tainebleau in 1833, and in the following year painted the first pic- ture, which attracted much attention, the “ Cétes de Grandville.” During twelve or fifteen years following this success he was un- — recognized by the artistic institution. ‘These had been years of . penury, in which, however, his powers had ripened fully, and he had — become recognized as the “ Eagle ” of the little group at Barbizon. — But he still had to contend with the prejudice of officialdom and of the public, and it was only at the Exposition Universelle of 1855 that the world began to realize that he was indeed a master. By this time the evening of life was upon him, and it was clouded by the domestic sorrow of his wife’s insanity. In tending her he spent his strength, and when, at the Exposition of 1867, the officership in the Legion was withheld—an honor that was his due, since he had served as president of the jury—his spirit was broken, and — he died the same year. He lies buried in the churchyard at Chailly, on the edge of the Forest, and upon the “ Barbizon Stone” a panel in bronze, executed by Chapu, bears the sculptured portraits of himself and Millet. EVENING DA VICTOR LEON FERDINAND ROYBET When, at the Salon of 1866, the “ Jester of Henry III” won for its: painter his first medal, France hailed in Roybet a new prophet in current art. His cavaliers and ladies, his groups and cavalcades, were not only picturesque in themselves and realized with remarkable vividness and vitality, but they were presented in picturesque incidents and surroundings. ‘The painter is a native of Uzés, in the Garde, and was born in 1840. He had begun the study of art at the Ecole des Beaux Arts at Lyons, and settled in Paris long before his début at the Salon. An immediate favor followed the warm critical reception of his first works, and he entered upon a career of success which years have only added to, and which has made his name familiar throughout the civilized world. THE PAGE 48 FRANCOIS PIETER TER MEULEN Born at Bodegraven, Meulen became a pupil of Van de Sande- Bakhuyzen the elder. He works at The Hague, devoting himself to landscape, often with flocks and figures introduced. They are painted “ loosely,” with charming suggestion of atmosphere and light, and at times have a fresh and tender tone more than a little reminiscent of Mauve. His “ Guardian of the Flock ” was one of the most agreeable pictures in the Dutch gallery at the recent Uni- versal Exposition. THE SAND CART 13 COWS IN THE FOREST . ; 34 W. B. THOLEN Born in Holland, 1860. One of the rising young artists of Holland. He is working for art’s sake. All subjects are handled by him with tenderness and feeling. 'The Museum of The Hague possesses a very fine canvas by him, as also does the Pinakothek of Munich. He has already received honors at various exhibitions. AT THE BUTCHER SHOP 29 CONSTANT ‘TROYON Born at Sévres in 1810. He worked for a while painting por- celain in the manufactory at Sevres, at the same time with Diaz and Dupré, and, like them, soon determined to devote himself to landscape art. He studied under Riocreux at Paris, and first ex- hibited at the Salon in 1833. Up to the time of his visit to Hol- land, in 1847, he painted landscapes exclusively, and became well known in this branch of art. His studies in the Netherlands ap- parently changed his purpose thoroughly, and from that time on he made his landscapes subordinate to his cattle. His “ Oxen Go- ing to Work,” now in the Louvre, was painted in 1855, and repre- sents him in the apogee of his career. He was a legitimate suc- cessor of Brascassat, but his art has no rival in its grandeur of simplicity, virility and serenity. ‘ While Troyon excelled in paint- 7 i- ee ing a variety of animals, as dogs, sheep, and even barnyard fowls, a still it was as a painter of cattle that he reached his greatest height. _ Nor was it merely their outward forms that he portrayed. Hehad — a realizing sense of their character, their habits, their life, as the — willing servants of man. ‘To us, those heavy-yoked oxen, with bent — necks and measured tread, dragging the plough along the furrows, are living, breathing creatures; and those great awkward cows lazily resting their heavy bodies on the ground, and contentedly chewing their cud, are absolutely so alive and real that an expert could tell at a glance how much they weigh; and the spectator al- — 4 most fears that a near approach might bring them slowly to their feet, and they would walk out of the canvas. In a word, ‘His — cattle have the heavy step, the philosophical indolence, the calm resignation, the vagueness of look, which are the characteristics — of their race.’”’ He received medals at the Salon in 1838, 1840, 1846, 1848 and 1855, and was made Chevalier of the Legion of Honor in 1849. Troyon died in Paris, 1865. ite CATTLE AT REST 51 SOUVENIR DE LA FERME DE ST. AUBIN 55 UNKNOWN (Byzantine ScxHoor) TRIUMPH OF CHRIST | 90 H. VALKENBURG Born in Amsterdam, 1826; died there 1896. He was an excel- lent painter, but not poetic in his work. His interiors show cor- rectness of drawing and skilful treatment, with greater vividness of color than Israéls and others of the Dutch painters are accus- tomed to use. His pictures are truthful and realistic in character. THE SPINNER 33 SIR ANTHONY VAN DYCK Born of a good family at Antwerp, 1599, the seventh child of twelve. His father was a silk merchant, his mother skilful as a ; flower painter and embroiderer. When ten years old he was ap- prenticed to Hendrik van Balen, and in 1615 entered the Academy of Rubens, remaining five years as pupil and assistant. The mas- ter procured him an introduction to James I, whose portrait he painted at Windsor, and assisted him to visit Italy. Here he painted the portrait of Cardinal Bentivoglio, now in the Pitti Gal- lery. After five years’ stay he returned to Antwerp, and again Rubens helped him to favor. He paid an unsuccessful visit to England in 1627, and for three years lived in Antwerp and Brus- sels, painting religious pictures and portraits and etching the portraits of painters. In 1632 he accepted the invitation of Charles I, painted portraits of the king, queen and royal family now at Windsor, was knighted and appointed Court painter. He lived in sumptuous style at Eltham, and in the winter at Black- friars. Here he died in 1641, and was buried in the old Cathedral of St. Paul, near the tomb of John of Gaunt.. THE VIRGIN, INFANT CHRIST AND ANGELS 84 J. VAN ESSEN Born in Amsterdam, 1857. Pupil of the Amsterdam Academy. In early boyhood Van Essen’s thoughts turned towards his future vocation and his great talent soon manifested itself. ‘The ease with which he overcame the first difficulties of painting showed his natural aptitude for his profession. His landscapes faithfully depict the scenes of Holland, and often with much sentiment. He is also an animal painter, his well-drawn and expressive lions and tigers having given him a reputation in a field heretofore occupied by few artists. LION COUCHANT Li MRS. S. MESDAG-VAN HOUTEN Daughter and pupil of the eminent painter H. W. Mesdag. A PEASANT’S HUT 39 J. H. WEISSENBRUCH Weissenbruch lives at The Hague, where he was born in 1822. He was a pupil of B. J. Van Hove, and has been a notable figure among the Dutch landscapists, especially in his water colors. AT TWILIGHT 5 ON THE CANAL | Se eae RICHARD WILSON, R.A. Son of the parson of Pinegas, Montgomeryshire, where he was born in 1714, Wilson’s taste for drawing attracted the attention of Sir George Wynne, who introduced him to a portrait-painter in London named Wright. In the same branch of art he contrived to make a living until 1749, when he visited Italy; and by the advice of Zuccarelli devoted himself to landscape. After six years’ stay in Italy he returned home to find Zuccarelli wor- shipped and himself neglected. In 1760, however, his ‘* Niobe ” made a great impression, and at the foundation of the Academy in 1768 he was one of the thirty-six original members. His struggle with poverty was slightly alleviated by his appointment as Libra- rian of the Academy, but it was not till he received a legacy in 1780 that he was able to return to a pleasant home in Llanberris, where he died two years later. It has been reserved for posterity to hail him as one of the great masters of landscape. TIVOLI 83 ALEXANDER H. WYANT, N.A. The Adirondacks was the school in which Alexander Wyant found his art. He was a tolerable painter when he started from his home in Ohio for study in Diisseldorf, and there, also, must have added something to his craftsmanship. But it was face to — face with nature, as far removed as possible from conventions of the artistic workshop, or of any other kind, that he learned the secret of expression. Nature had much to say to him and he to her, and little by little he found the means to record their com- t i munings. So far as the world is concerned, the life of a true landscape artist, like that of a happy nation, has little history. It is recorded in his works. He was a National Academician, a member of the Society of American Artists, one of the founders of the American Water Color Society, and a contributor to all the exhibitions. So were other painters, much less memorable. These facts are merely mile- stones in his life. For the life itself—what it meant to him and the use he made of it—one must search his works. In these one finds the qualities of poetry; not of the dramatic, kindling style, but tender, alluring and infinitely delicate in expression. And withal, there is strength, only it is held in firm reserve. He was fond of gray and sombre effects, but could be sunny and buoyant when the mood was on him—in a manner most spontaneous and sympathetic. Born, 1836; died, 1892. AT SUNSET 78 ROBERT WYLIE Born in the Isle of Man, 1839. Died in Brittany, 1877. Brought to America when a child. Pupil of the Pennsylvania Academy, Philadelphia, the directors of which sent him in 1863 to study in France. Medal at Paris, 1872. To Robert Wylie is due the discovery and development of Brittany as a mine of artistic material. He it was who first settled to study and paint at Pont Aven, where, now that he is dead, has sprung up one of the most extensive permanent art colonies in Europe. Brittany affords material for the painter of figures of cattle, of landscape, and of the sea. Its picturesqueness 1s endless,. and its variety of pictorial wealth inexhaustible. The people in particular, preserving, as they do, the manners and costumes of the past, and being but lightly modernized in spirit, furnish the artist with abundant material. It was among them that Wylie found the successes which made him famous. THE THIEF a 88 EE ee ‘COLORS TER — hs CATALOGUE SALE AT MENDELSSOHN HALL FRIDAY EVENING, JANUARY 27, 1905 BEGINNING PROMPTLY AT 8.30 0’CLOCK D9. Reid DAVID OYENS / Contemporary INTERIOR OF A STUDIO A corner of the studio is shown in which stands a table, covered with bric-a-brac. In front of it, nearly in the centre of the composition, a lady reclines in an arm-chair, leaning her head upon her left hand. Her figure is seen in profile, facing to the left. In a recess on the right of the background stand a piano and stool. Signed at the lower left, Davin Ovens. Height, 11 inches; width, 9 inches. ae | ae ol No. 2 J H.-W. KERR, ARS.A. _ hand grasps a stick. 4 i re ANTON MAUVE MM . Contemporary & ¢ A CONNEMARA BAILIFF The figure is represented half length: an old man in high black hat, resting his scrubby chin on a red necktie; _ wearing a brown waistcoat, unbuttoned, over a black one. — His right thumb is inserted in the armhole, and his left — Signed at the upper right, H. W. Kerr, ’88. Height, 13 inches; width, 10 inches. = No.3 t. 1838—1888 COW IN STABLE — + The scene is the interior of a cowbyre, with whitish weather-stained plaster walls, and a rude stall on the left. Facing this and standing across the picture is a white cow with a black head and neck, and a spot of black on the left shoulder. Signed at the lower right, Mauve. Height, 914 inches; length, 12% inches. _ ‘camel iA een or we a No. 4 GEORGE POGGENBECK J 1855— NIGHT From the extreme left of the foreground projects a street lamp, behind which are some trees. Between their trunks and foliage appears a row of white houses which occupies the back of the scene, until, a short distance from the right, it terminates on a corner, where a line of trees runs back. ‘The misty whiteness of the buildings is in- terrupted by the yellow glow in one of the windows on the ground floor. Conspicuous against the roof, the gable of which mounts in steps, is a large dormer window. bf Signed at the lower left, Gro. PoccEnBEcK, ’89. Height, 10 inches; length, 14% inches. iy , Wo A No. 5 if J. H. WEISSENBRUCH , 1824—1903 AT TWILIGHT A house, with two tall, almost leafless trees close up on each side of it, stands dark against the sky, reflected in a stream which runs diagonally across the foreground. On the left of it is a green meadow. ‘The scene is per- vaded with the effect of waning light. Signed at the lower left, J. H. WrisseNsrucn. Height, 13% inches; width, 944 inenes. ee No. 6 J B. J. BLOMMERS ie | | 1845— : | q 4 wl? HAILING THE BOATS 0 \\\ Two women stand side by side on the sand, looking ~ out to sea, where a fishing smack approaches over the whitening water. Both wear white caps; the one on the left, whose dress is a dull slaty color, waves an arm; her companion holds her blue apron about a baby in her arms, and at her side on the sand lies a child in a straw hat. Signed at the lower left, Buommers. Height, 1444 inches; width, 11% inches. f x} ee . 's Ane JA UN No. 7 "3 i | e M'* \" n K /’~ MISS A. NUGENHOLTZ ff Contemporary THE CART The back view of a two-wheeled cart, driven by a man, is seen upon the sandy road, which stretches back from the foreground. On the left of it is a row of four slim trees, and on the opposite side another of three, whose foliage encloses an open space of white light, visible at the end of the road, while overhead the sky is gray and stormy. Beyond the trees on each side stretch flat polders. Signed at the lower right, A. Nucenno.rz. Height, 11 inches; length, 18 inches. : CM No. 8 j TONY OFFERMANS f\ « 1854— 4 0 \ IN A DUTCH FARMHOUSE “The fireplace is on the right, and under the hood of it stands a woman in dark skirt and white tippet and cap, tending the pot. To her left, a bluish cupboard, with two dishes on it, stands against the whitish drab wall. Overhead is a raftered ceiling. On the left is a timber construction of post and brackets, through which streams of light reflect upon a brass pot that stands on the floor. Signed at the lower right, T. OrrerMans. Height, 13 inches; length, 18 inches. No. 9 GEORGE POGGENBECK v4 1855— aa { CALVES IN A CLOSE We In a green spot, enclosed with @ stout timber fence and trees, lie three calves. ‘The black and white one in front of the group faces to the left; the others, respect- ively, brown and white and black and white, are turned in the opposite direction. A fourth calf, black and white in color, lies, facing us, under the shade of a beech tree on the right. (yU cs Signed at the lower right, Gro. PoccENBECK. Height, 12% inches; length, 18% inches. 5 r tee — 2 ee La ee eee | 46.3 “+ “No. 10 Fy: _ No. 11 i ft JACOB MARIS MK ; | a we y ~ J. S. H. KEVER 1854— DIVIDING THE PROFITS A little boy in blue shirt sleeves is sitting in a chair, his feet in sabots dangling above the floor. In front of him, to the left, stands a.smaller child, dressed in a dull blue | skirt, drab waist-body, and long-sleeved white chemise. Her hands are joined to his, and both heads bend down in — absorbed interest. Upon the left is the glow of the fire- place. Signed at the lower right, Kever. Height, 18 inches; width, 13% inches. 1837—1899 AT DORDRECHT The sky’s paling light is reflected in the water of the harbor, the scene otherwise being shrouded in gloom. Barges, one of them with a sail flapping loose, are moored on the right against a high bank, which is covered with trees. Above their tops, near the centre of the composi- tion, is visible the sloping roof of a church tower. ‘To the left an arched bridge makes a dark band between sky and water. Signed at the lower right, J. Maris. Height, 13% inches; length, 19 inches. a No. 12 WILLEM ms [ J J iy} jv P 1844— | | MILKING A Beside a post and rails on the right of the bright green pasture a boy sits milking a red and white cow, which faces the spectator. In the distance on the left appear other cows, and on the horizon indications of roof s, under a delicate pearly sky. Signed at the lower left, Wiu1em Maris. Height, 13% inches; length, 19 inches. re ae” ae F. P. TER MEULEN ee 1843— THE SAND CART The last light hovers pale along the horizon, and the scene is wrapt in gathering darkness, except where a faint reflection shows on a pool of water in the sandy fore- ground. A two-wheeled cart drawn by a brown and white ox is moving across toward the right.. As the driver walks beside it, his head and shoulders appear above the animal. Signed at the lower left, Ter Mrvuten. Height, 11 inches; length, 20% inches. ae pighinee eae Pea, o” pe 1° J MRS. M. P. BILDERS-VAN © 1837—1900 IN A BEECH FOREST fa, Sat of the other trees, stands a big gray trunk, Pras, smooth finger-like roots grip the mossy ground. aR The latter rises Conte toward the back, where feathery t trees _ show against a fresh gray-blue and white sky. The top of the picture is filled with tawny yellow foliage. } yon. Signed at the lower right, M. Birpers-Vawn Bosse. Height, 12% inches; length, 21 inches. MISS MARGARETHE V. ROSENBOOM Contemporary ROSES ; On the left corner of a table lies a spray of roses. There are three very full-blown white blossoms tinged with pink, and, projecting on the left, a bud. Signed at the lower right, Maret. Vocrr. RosrnBoom. Height, 13% inches; length, 20% inches. ) Knorr... No. 16 1e51-— _ A LANDSCAPE Against a gray sky, full of clouds, lies a dull olive- green hill, divided up into fields. On the right rises a slender tree. From the base of the hill water stretches pe to the front of the picture; a bright green spur of pasture jutting into it from the right, and another of lighter hue projecting from the left nearer the foreground. The banks and the water itself are sprinkled with rushes. Signed at the lower left, Tu. pe Bock. | Height, 14 inches; length, 21 inches. No: ¥7 JAN VAN ESSEN 1854-— LION COUCHANT The lion is lying with his head to the right, the cheek flat to the ground; the legs and tail extended on the left. His left hind paw protrudes between the other hind leg and the right front one. His eyes gaze sleepily at the spectator. Signed at the lower left, JAN Van Essen, S. 1894. Height, 13% inches; length, 22 inches. a Y (avh- THEOPHILE DE BOCK ¥ Q) a ee ee “siaacailiidhalipinse aon caicoaamdbamuad secaeiiittaienen swore “ay ee ee ee a ee ee : ‘feet No. 18 ; 2 ‘ 7 f ‘ANTON me 1838—1888 WINTER IN HOLLAND The level country is covered with snow, out of hich | stand up a few blades of grass, in the distance on the — right a single slender tree, and on the left of the fore- ground a scrubby hedge. Opposite to it on the right are indications of a ditch. The fence rail between these two is being lifted by the shepherd, around whom the sheep A are massed. ‘The sky is dark gray on the horizon, but _ slightly tinged with rose in the upper space, where a few birds are flying home. Signed at the lower right, A. MAvve. Height, 15 inches; length, 22 inches, No. 19 1837—1899 i TACoB. See We SUBURBS OF THE HAGUE From the centre of the foreground a stream winds back irregularly between mossy banks. Stretching al- most across the front of it is a punt; a man in blue sitting in the stern of it by the left bank. The meadow from this point extends back to a clump of trees. In the centre of the horizon roofs are visible. Over the horizon is a tall white sky, with a patch of blue half-way up on the left, and gray toward the right. Signed at lower left, J. Manis. Height, 16 inches; width, 13 inohes, r ig og es ae a lalallies No. 20 1844—\ A COOL SPOT dvvke _ There is a peep of sky in the upper right-hand corner; otherwise a profusion of greenery forms the background of the green bank, which slopes down to the limpid green pool that occupies the foreground. On the edge of' the water, while her little ones are coming down the bank or already swimming, a white duck is preening her feathers. On the bank itself rests a black duck with a white one be- hind it. WILLEM MARIS fe | 5 4 OD ‘ Signed at the lower left, W11tem Marts. Height, 17 inches; width, 12% inches. No. 21 a a WILLEM vi | 7 f | 4) U | 1844— vi A COWS IN THE MARSH we In the foreground appears a little pool, with rushes on its edge and some tall reeds on the right bending over in the wind. It reflects the shadow of,.a brown and white cow that stands on the side opposite to the spectator, facing to the right. A little farther back in the moist, green pasture is another, whose dark brown body is turned nearly square to the front. Others appear in the distance. Signed at the lower right, W1LteEm Maris. Height, 15 inches; length, 20% inches. aa ee / a> re ov Rate ee NO. 22) ae >» XX | , XY ¢- ANTON MAUVE 1838—1888 BOY AND COW In front of a hedge which crosses the ‘iene pect a gray and white lowering sky, stands a boy, holding bys rope that passes from its horn a cow; both facing to the right. The beast is white, with a black mark on her neck q and black patches on her flank. The boy, dressed in a blue shirt, drab suit, and sabots, holds a stick, which pro- — jects behind him. Signed at the lower right, A. MAvve. r Height, 16% inches; length, 23 inches. — ph JOHANNES BOSBOOM 1817—1891 IN A DUTCH BARN A row of timber stalls extends along the left of the barn. At the end of it is a large fireplace, with some — Delft plates resting against the wall on the mantelshelf. A woman stands in front of the fire, the hght from a win- dow in the right wall falling upon her back. Against this wall leans a spade and broom. ‘T'wo cats are sitting on the floor to the left. Signed at the lower right, J. Bosnoom. Height, 14 inches; length, 27 inches, No. 24 M. KAMERLINGH-ONNES \ s0- a 1860— FLOWERS h In a glass globular vase is a profusion of roses, of | white and delicate pink color. Behind them appears a screen with dark panels enclosed in gold mounts. Signed at the lower right, M. Kamertincu-Onnezs, 1890. Height, 21 inches; width, 16 inches. ect 1¢ Ph 7 No. 25 | LUDWIG DETTMAN v4 6 0 1865— THE POTATO HARVEST In the foreground of the field, toward the left, a woman kneels beside a basket, picking up potatoes. Her figure is seen in profile, facing to the right. Behind her, with his body turned in the opposite direction, a man is digging, and beyond him stoops another woman. Near her are little coils of smoke from the burning vines. On | the right of the picture a road winds up to the sloping horizon, above which hangs a pale moon in the darkened pale-blue sky. Signed at the lower right, L. Derrman, ’89. Height, 16% inches; length, 22 inches. a a a a ee ee | _ to an old woman who sits by a table near it stitching, and 1861—. SCHEVENINGEN FISHER- GIRLS ey The heads of the three girls, close together, mount ty a diagonal line from the right lower corner. Each wears — a white cap; the centre having metal disk ornaments at— the sides of the forehead, the others little tufts of rib- — ands. The hands of the girl in the middle are shown, — engaged in knitting, over which she bows her head. The — shoulders of the outside girls are crossed with the flaps of — their white aprons, while the other wears a black and white — striped gown. | : Signed at the lower left, P. pe Jossez1n pE Jone. Height, 16 inches; length, 25 ysl aes NO. O27 Lew q ced ALBERT NEUHUYS K. AN . 1844— \ blaae IN A DUTCH HOUSE The light streams through a window at the left, on on to a little child that stands by the table, facing the win- dow. On the left of this group and nearer to the front sits an older girl reading a letter. Dressed in a dark blue gown, her figure is seen in profile, facing to the right, and makes a dark spot against the light. Beside the gray wall on the right of the picture stands a reddish brown cupboard. Signed at the lower right, Aturrr Nevnvys. Height, 22 inches; width, 17% inches. 7 No. 28 JOHANNES BUS ROOM 1817—1891 (3 AY ie . IN THE CHURCH, MIDWOLDE, HOLLAND A portion of the church is shown in the foreground, separated by a pointed arch from the transept beyond, in which under a lancet window is a tomb with a recum- bent figure upon it. A man and a boy are standing in | front of it, facing the window, in which is colored glass, representing among other designs what seems to be a coat of arms. Outside the arch upon the right is a wooden pulpit, surmounted by a sounding-board, and in front of it are rows of dark oak pews. The following inscrip- tion appears at the bottom of the picture: “ Kerk met Graf Tombe te Midwolde, prov. Groningen.” Signed at the lower right, J. BosBoom. Height, 22 inches; width, 17 inches. The RO y wv W. B. THOLEN SA 1860— AT THE BUTCHER SHOP The scene represents the dim interior of a butcher shop, with a view through the open door at the end of a pale-lighted street. On the left of the shop a beef and a sheep are hanging from the ceiling. With his back to them the butcher in blue blouse stands at the block, cut- ting meat. His figure shows dark against the light in the doorway. Signed at the lower left, W. B. THOLEN. Height, 19 inches; width, 12 inches. 1838—1888 IN THE SHEEP STABLE, LAREN © The interior is of drab-colored boards, with a one the right that helps to support the ceiling. Along the back wall, above the feeding rack, is a slit, where the woodwork has broken away; and through it the light £ strikes on the blue blouse of the shepherd. He is stoop- ing to place an armful of food in the rack, and the sheep 3 are crowding to it. | | ' i. a M1 om ay a 7 Signed at the lower wight, A. Mavve. Height, 17% inches; length, 24% pecker: as No. 31 & ; Y v J. S. H. KEVER “ ‘\ vv 1854— \O THE NOONDAY REPAST In front of the window on the left, which is sereened _ with a white muslin blind, stands a table with two dishes _ on it. At the side removed from the spectator, so that — she is facing him, sits a mother with a baby on her lap, feeding it with aspoon. In the centre of the floor a little _ boy, in slate-colored trousers and blue shirt, kneels on the’ 4 tiles, eating his meal from the top of a box. Signed at the lower left, Krver. Tleight, 23% inches; width, 17% inches. ee sie wee io a fe hia ’ ; a Sa gre ae - ; ak Nol. 82 7. : | MISS WALLY MOES f 70 ae YOUNG DEVOTEES allt bowel a _ Five little girls with rosaries in their hands are kneel- . _ ing with their faces toward the left. Three of them are _ bowing their heads; one gazes sideways toward the altar, _ or whatever may be the object of their devotions, which is not shown in the picture, while the little one in front faces ; the spectator. Their costumes are slate and gray and _ black, with touches of red. _ Signed at the lower right, Watty Moes. Height, 22% inches; width, 14 inches, } = .— . }7o- i ry N | No. 33 3 i | HO VALKENBURG vA 1826—1896 THE SPINNER The kitchen is dimly lighted from a window at the back, and from another one, high up on the right, beyond a beam-supported opening. Beneath the former window stands the spinning wheel, in front of which sits a woman, feeding the wool on to a winder at her left side. Signed at the lower right, H. VALKENBURG. Height, 17% inches; length, 201% inches. COWS IN THE FOREST hae z F, P) TER MEULEN ee 1843— re: Ae wie - In the foreground of a leafy spot are orien ‘four S cows. In front on the left is a dun, almost facing | us, and to her right a black one, her body turned three- -qui r ters to the right, but the head full to the front as she grazes. Behind this one are two others. A little back on the left appear the head and shoulders of a girl among | the bushes. . art Signed at the lower left, Ter MEULEN. - Height, 17% inches; length, 28% incon Pel No. 35 7 / Be oa : 1845— o™~ GIRL KNITTING Ge A young girl is sitting on the left end of a window- — seat knitting. Over one of the casements a blind is — drawn, but the other is open, showing a view of palings — with trees beyond. The girl wears a blue apron, and be- — low it peeps out a bare foot. To her right a baby is seated on a chair, its little body shown in profile, with the toes — sticking up. | Signed at the lower right, BLomMeERs. Height, 24% inches; width, 19 pels “ ee aa eee te ke Sie ta sie Be oo ae Sa Te eee See res ne 1 Pa ay No. 36 _ OCTOBER—HOLLAND A. large slate-colored barn fills the right half of the background. In front of it is a flock of sheep, with a shepherd in blue coat and black trousers at their head, his black dog sitting to the right of him. Upon the left of the composition oaks and plane trees reach to the fore- _ ground, on the right of which is a pond interspersed with patches of green grass. Overhead is a gray hazy sky. Signed at the lower right, N. Basrert. : Height, 18 inches; width, 27 inches. fat ; : LOUIS APOL v6 1850— A WINTER MOON A driveway, covered with snow, leads back from the foreground to a gate between stone posts. The road is bordered on the left with low bushes, encrusted with snow, while on the opposite side the branches of trees are bowed down beneath their white burden. A pale moon hangs high up in the dark, slaty-colored sky, its hght gleaming on the tops of the stone posts and diffusing a gentle radiance over the drive and in and out among the masses of snow-laden foliage. Signed at the lower right, Louis Apot. Height, 20 inches; length, 26 inches. NICOLAAS BASTERT yy pe % 3° 6 1854— ee oS Re ee ee + - a ’ Ch y ey QO | *” No. 38 JHAN FRANCOIS MILLET _1814—1875 THE CLOSE OF DAY (an | Pastel Standing among the clods he has been hoeing, a laborer in drab clothes has laid down his mattock and is drawing j the sleeve of a dull red waistcoat on to his left arm. Far- | ther back on the left of the field, already silvered over with | % the paling light, stands a plough, the two horses appear-_ ing over to the right, on the way homeward to a village q indicated on the horizon. The lower sky i is slightly tinged — with rose, but high up, where the evening star gleams, it i 1S 4 pale blue. Signed at the lower right, J. F. Miter. Height, 28% inches; length, 3614 inches. From the Sale of the M. EK. May Collection, Paris, 1890. Catalogue Wo. a (Exposition Centennale de 1889) No. 39 I ae MRS. S. MESDAG-VAN HOUTEN 1834— 4 & Vi A PEASANT’S HUT Three corn sheaves stand erect on the right of the foreground. Behind them is a white-walled cottage with a pitched roof of thatch, which at the side slopes clear | down to the ground. Nestling close to it, on the right, is a haystack. On the left of the cottage a woman in a white cap stands with four hens dotted round her. ~ Signed at the lower right, S. Mespac-Van Houten. Height, 20 inches; length, 28% inches. AA. No. 40 — : Va 503 ALBERT NEUHUYS | 1844— i AA Be 5 ALONE IN THE WORLD \\‘ / In the middle of a comfortable kitchen an old woman _ sits peeling apples, her figure being turned a little toward _ the right. At her left stands a table with a white cup on it, and by the leg of the table a black hen is pecking on the floor. Behind the woman’s figure, to the right, a pot hangs over a bright fire. Signed at the lower right, Avpery Nrvunvys. Height, 21 inches; length, 27 inches. No. 41 g A tot JOSEF ISRAELS A % he 1824-— JAN IN THE BABY-CHAIR The chair occupies the centre of the picture, wheeled ~up with its back partly turned toward the fireplace on the - left. The brown woodwork rises above the baby’s head, and the cylindrical front of the chair encloses its legs. The rosy face, encircled with a white cap, bends down to watch a silvery black eat that, seated on the tiled floor, is reaching up with its paws against the front of the chair. The wall at the back is grayish blue below and darker blue _ above. Signed at the lower right, Joser Israéts. Height, 29% inches; width, 24 inches. (See letter of Josef Israéls under No. 74) No. 42 A. M. DE NEUVILLE 1836—1885 ' THE FLAG OF TRUCE From under the arched gateway in the ramparts, along — the snowy road, approaches a German officer, accom- panied by a bugler and a sergeant, carrying a white and black flag... Blindfolded, they are being escorted by a de- tachment of French troops. As the group passes a shat- — _ tered house on the right of the street, a woman with a — baby in her arms rushes forward, shaking her fist and _ hurling maledictions. A man checks her advance in his arms, and an old woman at her back seems to be implor- ing her to restrain herself. Other figures complete the — group. On the right of the foreground a man is rais- — ing the trap-door of a basement, and an old woman, at- — tracted by the outcry, stands beside him, peering out into — the street. On the extreme left of the foreground is a — barking dog. | 7 Signed at the lower right, A. p—E Nevvitte, 1884. Height, 26 inches; length, 36 inches. Exhibited at the Salon of 1885. MK. 522 9- Ain ie ent) ‘ No. 43 J. H. WEISSENBRUCH / f | ‘ae 1824-1903» ON THE CANAL Kk Golo On the canal which runs an from the front of the picture lie two barges, moored end on to each other beside the bank. ‘The latter is a village street bordered on the left by a row of houses, while on the opposite side of the water appear two other houses. In the foreground of the street, opposite to one of the landing stages, a woman in a white cap is walking away from us. A little farther back two other women are approaching, and a man stands by the gang-plank of the hinder barge. Cold gray clouds are rolling in the white sky. Signed at the lower left, J. H. WetsseNBRUCH. Height, 18% inches; length, 26 inches. jive NTINGS hy ae : ors ‘SAINT BONVIN : 18171887 , or and ; paved with fae squares of alter- d white marble. In the centre of it is a nd rd candlestick, ‘and in the left corner a nun, ic habit and white veil, kneels at a prayer-desk in of a _ crucifix: which iene upon the wall. Above ce ae another nun, similarly habited, is moving toward a brightly lighted court, the walls of which are x ecorated with rose and gray. _ Signed at lower Kt, F. Boxvin. Height, 13 inches; width, 11 inches. No. 45 s EUGENE FROMENTIN, | 1820—1876 ARABS ON THE MARCH — The scene is a level stretch bounded by Pocky hills. | $ on the right advances a camel bearing a howdah with curtains” | of striped red and blue. It is attended by footmen. and ; a rider on a gray horse. In advance of it, occupying the a centre of the picture, caracole two horsemen: the nearer to. us, with an amber-colored cloak over a red bodice, upon a dapple-gray; his companion, dressed in dark blue, upon a black horse. On the left of the picture, with his back to the spectator, is the leader of the cavalcade, mounted upon a a chestnut, with the white veil of his head-dress — falling over a black cloak. Emerging from a gully in the middle distance appear other men a-horse and on foot. Signed at the lower right, Eve. Fromentin, and dated Baty lower left,’75. Height, 12% inches; length, 16 inches. A// 0-0 - No. 46 a RICHARD NORRIS BROOKE 1847— THE HARVEST FIELD On the left of the foreground, where a dog sits beside a basket and sickle, two sheaves are lying in the stubble. From these a line of shocks extends diagonally across the field, near the end of which is the figure of a man at work. The view is terminated by two smooth hills under a whit- ish-gray sky. Signed at the lower right, R. N. Brooke. Height, 10 inches; length, 15 inches. No. 47 J. BAG COROT | 1796—1875. LAKE NEMI (tlre = | Beyond the foreground of richly aa by. grass a figure is descending the farther slope. left are two beech trees, on its right a willow and ¢ x = their trunks and branches showing dark against they rm, creamy sky, upon which the f. oliage 1 1S delicately fu urred, darkening toward each side. a Signed at the lower right, Corot. a wae on ¢ ni against a dark Becberonnd: The soft, o" le hair is short and parted down the centre. The ee oa ints have a soft gray bloom, the delicacy of which is heightened by the contrast of the double layers of white _ collar. The sleeve of the doublet is of dove-gray silk, — _ while flashes of rose and amber brighten the front of the garment. ' — ‘Signed at the sper left, F. Royser. ole { Height, 16% inches; width, 12% inches. — nal : a _ descends, and above the brink of the bank appears in the centre the pollarded top of a willow, from which a few No. 49 é ‘ J. B. C. COROT oo is