“ta Carne ssa SAO elt eM oN a ok S sented e tad) Ps ioe che y, Abin < wettcens eats Pe Street 4 SESH he e oy Kite. ite % itera hy eataler Fees ; Mead sages es : ‘ Bet De taghst Bek cteaengetgeehy Cra Meatehytacksert %s Feehaay eh Tate ‘F - ef Yas a ‘ sae ot sith veti AS 5 rae trate Be TH - 1 ors Seleran at Shit) Pet >t oy pana eehe ft ti eee ep dite CY ae OK » sh Sys N, ey (! ‘ 4 ua 4 “aia AG x 5-29 SS . s iS THE COLLECTION OF THE LATE DAVID C. LYALL ON VIEW DAY AND EVENING AT THE AMERICAN ART GALLERIES FROM WEDNESDAY, FEBRUARY FOURTH, UNTIL THE MORNING OF THE DAY OF SALE, INCLUSIVE SALE AT MENDELSSOHN HALL FORTIETH STREET, EAST OF BROADWAY TUESDAY EVENING, FEBRUARY TENTH BEGINNING PROMPTLY AT EIGHT O’CLOCK y “ er ee ork Le hort bt f ILLUSTRATED CATALOGUE OF PAINTINGS, PASTELS AND WATER COLORS COLLECTED BY THE LATE DAVID GC. LYALL OF BROOKLYN TO BE SOLD AT UNRESTRICTED PUBLIC SALE THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK: 1903 d BY THE AMERICAN “ART CPA CY Press of J. J. Little & Co., ) 2 ; ! 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 im- mediately 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 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, 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 upon the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold themselves respon- sible if the Lots be lost, stolen, damaged, or destroyed, but they will be lefi at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty 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; fail- ing 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 settlement of the Purchases, no Lot can, on any account, be re- moved 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 priate 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 Con- dition is without prejudice to the right of the Auctioneer to en- force the contract made at this Sale, without such re-sale, if he thinks fit. Tue AMERICAN ART ASSOCIATION, Manacers Tuomas EK. Kirsy, Auctioneer i ti y % . : INTRODUCTION For a number of years the collection of pictures owned by Mr. David C. Lyall of Brooklyn was the goal of a pilgrimage of very many lovers of art, and par- — ticularly of those whose predilections were in favor of the French school. He began his collection with the distinct purpose of assembling as thoroughly a repre- sentative group of pictures by notable French artists who have flourished during the past fifty or sixty years as it was possible to obtain by careful selection with- out overloading it with a multiplicity of examples of any one painter or by expanding the collection beyond the limits of a reasonably extensive private gallery by the purchase of large exhibition pictures. With a few exceptions the works are, thus, of cabinet size, and no one of them is, indeed, too large to be properly placed in a room of the average size. Bouguereau’s “ Crossing the Stream” and Cot’s “ Springtime,” both of them very well-known paintings, are the largest on the list, and two of the most important and interesting of the figure subjects are Jules Breton’s *‘ La Fin du Travail ” and De Neuville’s ** The Destruction of the Telegraph Line: An Episode in the Franco-German War.” The first of these was painted for Mr. Lyall, and has never been pub- licly exhibited except in the Salon of 1887. It is a frequent experience of those who give commis- sions to artists that the very fact of painting to order tends to weaken the impulse to produce, and the result is, mure often than otherwise, somewhat disappointing. But in this fine work by Breton we find all the charm,_ all the sympathy and all the refined artistic qualities which distinguish his best pictures, and he himself frankly states his opinion in a letter in which he writes: “This picture has been very much praised by my col- leagues of the jury,” and in a second communication : “ You should see how the French and the foreign press praise this picture, which I regard as one of my best.” There is a certain exceptional interest attaching to De Neuville’s picture, from the fact that it is the last im- portant work executed by him before his death, which occurred in 1885, the year after the picture was painted. In his letter describing the circumstances under which the work was undertaken and produced, he says: “ The incident is described in a very vivid way by Ludovic Halévy in his book, ‘ L’Invasion.’” And he goes on to say that, for artistic reasons, he changed the uni- forms of the Prussian dragoons, and also omitted some of the unpicturesque features of the village of Etretat, where the incident occurred. Many of the figures in the composition are actually portraits, a fact which adds not a little to its historical significance. It would be easy to multiply interesting stories of a more or less personal character about many of the pic- tures in the collection, for Mr. Lyall often bought di- rectly from the artists and established friendly relations with them. Certain of the works have become widely known through reproductions, but none of them have been cheapened by being made too familiar. The most casual study of the pictures will induce the conviction that it is a remarkable collection, testifying to the ex- ceptional taste and judgment of the late owner. With the Millets, the Rousseaus, the Daubignys, the Corots as a nucleus, not to mention examples by Courbet, Michel, Gérome, Delacroix, Diaz and many others, this list covers a wide range of French art, and one for which it would be difficult to find a parallel. The few English and American pictures in the collection make it seem prob- able that Mr. Lyall, if he had lived, would have studied these schools with the same interest which he showed for the French. F. D. MILLET BIOGRAPHICAL NOTES AND INDEX ACHENBACH, OSWALD Born at Diisseldorf in 1827. He was a pupil of his brother Andreas, and became one of the most eminent of the German landscape painters, his work being dis- tinguished by great conscientiousness and fidelity to cer- tain facts in nature. He received medals at Paris in 1859, 1861 and 1863, and was made Chevalier of the Legion of Honor in the latter year. ON THE MEDITERRANEAN 103 ADAN, LOUIS EMILE Born at Paris in 1839. He was a pupil of Picot and Cabanel, and has loyally carried out the traditions of his masters in his historical and genre pictures. He received medals at the Salon in 1875 and 1882. THE SLY BUTLER 1 -BASTIEN-LEPAGE, JULES Born at Damvillers, Meuse, France, in 1848. He studied under Cabanel in Paris, but soon threw off the shackles of the academic style and became an apostle of the open-air school, striking out a new path for him- self and creating a sensation in art circles with his mar- vellously sympathetic and poetical interpretations of nature. Some of his most important work; notably the ** Joan of Arc,” is owned in this country. He received medals at the Salon in 1874, 1875 and at the Expo-— sition in 1878, and was made Chevalier of the Legion of Honor in 1879. Died in Paris in 1884. RIRE D°’AVRIL 37 BECKER, CARL LUDWIG FRIEDRICH Born at Berlin in 1820. He was a student in the Berlin Academy and a pupil of Cornelius, Hess and Von Klober, and held scholarships of the Berlin Academy at Paris and Rome. He was elected vice-president of this Academy and member of the Academy of Vienna and of the Royal Society of Letters and Finé Arts of Belgium. His duties as professor have not prevented him from diligently pursuing his art, and he is well known as a painter at home and abroad. OLD BEAUX 85 BOHM, PAUL Born in Bavaria. He studied his art in Munich, and has devoted himself exclusively to painting genre subjects of peasant life, in no way distracted or diverted from his purpose by the influence of the ephemeral schools which flourish in Munich as elsewhere. His work is always characterized by great solidity, strength of effect and careful finish. MOTHER’S PRIDE 21 BOLDINI, GIOVANNI Born at Ferrara, Italy, in 1845. He studied his art in Florence, and remained in his native country until 1872, when he went to Paris. In that city he soon made a reputation as a painter with brilliant technique, and his pictures attracted the notice of Fortuny, who not only became his friend, but influenced him very much in his work. However, not even so strong a personality as that of Fortuny could affect his style so far as to take away the charm of individuality, and he has always retained his own strong characteristics. THE BOUDOIR 38 BONHEUR, FRANCOIS AUGUSTE Born at Bordeaux in 1824. He was the son of an unsuccessful artist, Raymond B. Bonheur, and the younger brother of Rosa Bonheur. The glamour of the reputation of the sister naturally kept the brother somewhat in the background, but his talents were recog- nized and esteemed by his contemporaries in the pro- fession, and he received medals at Paris in 1852, 1857, 1859, 1861, and was made Chevalier of the Legion of Honor in 1867. His work is strong and faithful, and quite as striking in quality as that of his sister. Died in 1884. SUMMER TIME &3 BONNAT, LEON JOSEPH FLORENTIN — Born at Bayonne in 1833. He first studied under Madrazo in Madrid, and after some time with this Spanish master he went to Paris and became a pupil of Léon Cogniet. In the competition for the Prix de Rome he took the second prize, which did not entitle him to a full scholarship. His friends, however, came to his assistance, and he spent four years studying in Italy, where he painted a good many Italian subjects, chiefly studies of peasant life. He has received many honors in his profession, the chief of which are medals at the Salon in 1861, 1863 and at the Exposition of 1867, and a medal of honor at the Salon in 1869. He was made Chevalier of the Legion of Honor in 1869, Officer in 1874, Commander in 1882 and Grand Com- mander in 1897. Member of the Institute of France. THE BROKEN PITCHER 86 BOUGUEREAU, WILLIAM ADOLPHE Born at La Rochelle in 1825. He began life as a shopkeeper’s assistant in his native town, and while en- gaged in this occupation in Bordeaux he attended the Alaux Art School, and made such progress that he gained the prize, exciting the dismay and the resent- ment of his fellow-students. He now resolved to be- come an artist, threw up his employment and painted portraits at a few francs each until he succeeded in sav- ing enough money to take him to Paris. There he entered the Ecole des Beaux Arts in the studio of Picot in 1843, and in 1850 won the Prix de Rome. After his four years’ sojourn in Rome he returned to Paris well equipped to undertake the commissions for both public and private works which were speedily intrusted to him, and from that time on his career has been one of unin- terrupted success. The following are a few of the honors he has received: Medals at the Salon in 1857 and the Expositions in 1855 and 1867. He was made Chevalier of the Legion of Honor in 1859, Officer in 1876, and Commander in 1885. He was elected a Mem- BONHEUR, FRANCOIS AUGUSTE Born at Bordeaux in 1824. He was the son of an unsuccessful artist, Raymond B. Bonheur, and the younger brother of Rosa Bonheur. The glamour of the reputation of the sister naturally kept the brother somewhat in the background, but his talents were recog- nized and esteemed by his contemporaries in the pro- fession, and he received medals at Paris in 1852, 1857, 1859, 1861, and was made Chevalier of the Legion of Honor in 1867. His work is strong and faithful, and quite as striking in quality as that of his sister. Died in 1884. SUMMER TIME 88 2 BONNAT, LEON JOSEPH FLORENTIN | Born at Bayonne in 1833. He first studied under Madrazo in Madrid, and after some time with this Spanish master he went to Paris and became a pupil of Léon Cogniet. In the competition for the Prix de Rome he took the second prize, which did not entitle him to a full scholarship. His friends, however, came to his assistance, and he spent four years studying in Italy, where he painted a good many Italian subjects, chiefly studies of peasant life. He has received many honors in his profession, the chief of which are medals at the Salon in 1861, 1863 and at the Exposition of 1867, and a medal of honor at the Salon in 1869. He was made Chevalier of the Legion of Honor in 1869, Officer in 1874, Commander in 1882 and Grand Com- mander in 1897. Member of the Institute of France. THE BROKEN PITCHER 86 BOUGUEREAU, WILLIAM ADOLPHE Born at La Rochelle in 1825. He began life as a shopkeeper’s assistant in his native town, and while en- gaged in this occupation in Bordeaux he attended the Alaux Art School, and made such progress that he gained the prize, exciting the dismay and the resent- ment of his fellow-students. He now resolved to be- come an artist, threw up his employment and painted portraits at a few francs each until he succeeded in sav- ing enough money to take him to Paris. There he entered the Ecole des Beaux Arts in the studio of Picot in 1848, and in 1850 won the Prix de Rome. After his four years’ sojourn in Rome he returned to Paris well equipped to undertake the commissions for both public and private works which were speedily intrusted to him, and from that time on his career has been one of unin- terrupted success. The following are a few of the honors he has received: Medals at the Salon in 1857 and the Expositions in 1855 and 1867. He was made Chevalier of the Legion of Honor in 1859, Officer in 1876, and Commander in 1885. He was elected a Mem- ber of the Institute of France in 1876, and received a medal of honor at the Exposition in 1878 and at the Salon in 1885. CROSSING THE STREAM 100 BRASCASSAT, JACQUES RAYMOND Born at Bordeaux in 1805. He first studied land- scape art in Paris, but devoted his attention soon to ani- mal painting, and is considered the founder of the school of which Troyon is the most eminent follower. He was a pupil of Richard and of Hersent, and gained the second prize for Historic Landscape in 1825. He painted for several years in Italy. He received medals at Paris in 1827, 1831 and 1837; was made a Chevalier of the Legion of Honor in 1837 and a Member of the Insti- tute of France in 1846. Died in 1867. BULL AND DOG 56 BRETON, JULES ADOLPHE Born at Courriéres, in France, in 1827. He studied under Drdolling and Devigne, and made his first success in Paris as early as 1849. Within a very few years he established his reputation as a painter of peasant sub- jects, and when his picture “ Blessing the Harvest ” was bought by the French Government he took his place at once in the front rank of French artists. Many of his best pictures are now in the United States, and he is represented in most of the notable collections of modern art the world over. No artist has been more popular, and no one has been given a greater number of medals and other distinctions. He received medals at Paris in 1855, 1857, 1859, 1861, 1867, and the Medal of Honor in 1872. He was made Chevalier of the Legion of Honor in 1861, Officer in 1867 and Commander in 1889. He is a corresponding member of the Academies of Vienna, Stockholm, Madrid and London, and a Member of the Institute of France. LA FIN DU TRAVAIL 95 CABAT, LOUIS Born in Paris in 1812. He was a pupil of Camille Flers, and was a successful landscape painter. Without being identified with any particular group, he occupied a dignified and influential position. He received medals at Paris in 1834 and 1867; was made Chevalier of the Legion of Honor in 1843 and Officer in 1855. He was elected a Member of the Institute of France in 1867, and Director of the French Academy at Rome in 1879. LANDSCAPE 66 CAZIN, JEAN CHARLES Born at Samer, Picardy. He began his studies as a figure painter, became a pupil of Lecoq de Boisbau-— dran and gained considerable reputation with figure subjects, receiving medals in 1876 and 1877. He turned his attention, however, to landscape, and _ his triumphs in that branch of art brought him into world- -_ wide prominence. He was made Chevalier of the Legion of Honor in 1882, and previous to his death was made a Commander. Died in 1901. MON JARDIN ; 59 CHAPLIN, CHARLES JOSHUA Born at Les Andelys in 1825. He made his prelimi- nary studies at the Ecole des Beaux Arts in Paris, and was for some time in the studio of Drdlling. Notwith- standing his training, he never entered upon the field of historical painting, but confined himself to a simple line of idealistic subjects, in which he has achieved dis- tinction. He received medals at Paris in 1851, 1852 and 1865; was made Chevalier of the Legion of Honor in 1865, and Officer in 1877. Died 1891. THE BATHER 5 COOPER, THOMAS SIDNEY Born at Canterbury, England, in 1803. He was a student of the schools of the Royal Academy, London, lived for some time in France and Belgium, and was for - a few months a pupil of Verboeckhoven. He was elected an Associate of the Royal Academy in 1845 and a full member in 1867, and has received many foreign honors. He was a very conscientious and diligent worker, and his career was a most remarkable one, for he painted al- most up to the day of his death, which occurred in 1902. LANDSCAPE AND CATTLE 4 COROT, JEAN BAPTISTE CAMILLE Born at Paris in 1796. His father, who was a well- to-do tradesman, at first apprenticed him to a linen dra- per, but finally yielded to his desires to become a painter and sent him to Paris, where he studied under Michallon and Bertin. He made several trips to Italy, and painted in that country many landscapes, mostly of the aca- demic order. It was not until he was past forty years of age that he began to develop his art in the direction which made him famous. In this change from the formal academic style he was much influenced by Rous- seau, but became, in his turn, a source of great influ- ence on modern landscape art. He received medals at Paris in 1833, 1848, 1855 and 1867; was made Chey- alier of the Legion of Honor in 1846 and Officer in 1867. Died in Paris in 1875. NEAR THE SEA 47 THE FOREST PATH (ie LE BOULEAU 70 COT, PIERRE AUGUSTE Born at Bévarieux, France, in 1837. He began his studies in the Academy at Toulouse, and from there went to Paris, where he entered the Ecole des Beaux Arts, where he took most of the important prizes. He was a pupil successively of Cabanel, Cogniet and Bou- guereau. While with Cogniet he assisted him in the decoration of the great hall of the Hotel de Ville. His ability and his talents as a designer brought him to the notice of Bouguereau, and he entered his studio and remained there for several years. His first works were similar in subject to those of his last master, but after the Exposition at Vienna in 1873, where he reccived a medal, he chiefly occupied himself with portraiture, al- though he worked occasionally on figure subjects, several of which were left by him in an unfinished state at the time of his death. Died in 1883. SPRINGTIME 105 COURBET, GUSTAVE Born at Ornans in 1819. He was engaged in the study of the law when his disposition toward art began to manifest itself, and in 1839, at the end of two years, he went to Paris. ‘There he studied in a somewhat ir- regular manner with various painters, the chief of whom was David d’Angers, and exhibited first in 1844. He became an active and aggressive realist, received medals at Paris in 1849, 1857 and 1861, but became in- volved in various quarrels, exhibited independently of the artistic organizations, refused to take from Emperor Napoleon III. the cross of the Legion of Honor, but accepted various foreign distinctions. During the Commune he was elected Minister of Fine Arts, and became chiefly notorious through the overthrow of the Colonne Vendéme, for which act he was first imprisoned, then exiled and condemned to bear the cost of restoring the monument. His art partook, naturally, much of the nature of the man, and is essentially bold and personal. Died in Switzerland in 1878. ENVIRONS OF ORNANS 88 COX, DAVID Born near Birmingham, England, in 1783. He be- gan his career as a scene painter in a Birmingham theatre, and went to London in 1803, where he became a teacher of drawing and painting, and practised his profession with great success. His name is identified with a flour- ishing school of English landscape painters, of which he was one of the leaders. In 1844 he settled at Harborne Heath, near Birmingham, where he died in 1859. CROSSING THE COMMON & DARGELAS, HENRI Born at Bordeaux in 1828. He studied under Picot, who at that time was a favorite master, but turned his attention to genre rather than to historical subjects, and was a frequent exhibitor at the Salon, where he re- ceived medals in 1867 and in 1881. THE SEWING LESSON 35 DAUBIGNY, CHARLES FRANCOIS Born at Paris in 1817. He came of a family of artists, and was reared in the profession. He was first a pupil of his father, and then studied under Paul Dela- roche with the intention of becoming a figure painter. But he soon found that his inclinations were in the direc- tion of landscape, and he devoted himself to that branch of the art. He began to exhibit in 1838, and in the course of ten years gained recognition, and, although the youngest of the Barbizon group, he was not the least esteemed among them. He painted particularly on the Seine, Marne and Oise rivers, making his studies from a floating studio. He received medals at Paris in 1848, 1853, 1857, 1859 and 1867; was made Chevalier of the Legion of Honor in 1859 and Officer in 1874. Died in 1878. . BORDS DE RIVIERE 53 SUNSET ON THE RIVER 60 TWILIGHT 61 EARLY - SPRING 92 DE BEAUMONT, CHARLES EDOUARD Born at Lannion, France, in 1821. He went to Paris as a student, and became the pupil of Boiselier. He first called attention to himself as a landscape painter, but he became interested in figures and made a consider- able reputation as a painter of genre subjects as well as an illustrator of books. He exhibited first in the Salon in 1838. A SUMMER IDYL 10 THE PARROT el DELACROILX, FERDINAND VICTOR EUGENE Born at Charenton in 1799. He made his début as a painter at the early age of twenty-three with his “Dante and Virgil,” when he was still a pupil of Guerin. But he did not long follow the banner of the classicists, for he broke new ground for himself, travelled in Eng- land, Spain and North Africa, and, although always in feeble health, produced a marvellous number of pic- tures, covering a great range of subjects and notable for wonderful richness of color and boldness of execu- tion. He received medals at Paris in 1824 and 1848, and the Medal of Honor at the Exposition in 1855. He was made Chevalier of the Legion of Honor in 1831, Officer in 1846 and Commander in 1855. He was a Member of the Institute of France. Died in 1863. L’ENLEVEMENT DE REBECCA 96 ‘ DE NEUVILLE, ALPHONSE MARIE 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 successful. The Franco-Prussian War gave him, however, the necessary stimulus and op- portunity, and his pictures of that epoch are among the most remarkable war pictures ever painted. 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 DESTRUCTION OF THE TELEGRAPH LINE: An Episode in the Franco-German War 97 DIAZ DE LA PENA, NARCISSE VIRGILE Born at Bordeaux in 1807. His parents were refu- gees from Spain, and, his father having died, his mother brought him to Paris. He had lost a leg through the bite of a poisonous insect, but succeeded in getting em- ployment in the porcelain manufactory at Sévres, where he worked for a while, and then set about painting little pictures of nymphs and cupids by himself. The fame of the Barbizon school attracted him to the forest of Fontainebleau, and under the influence of the painters there, chiefly of Rousseau, he developed his art and gained success as a landscape painter. He received medals at Paris in 1844, 1846 and 1848, and was made Chevalier of the Legion of Honor in 1851. Died in 1876. FOREST OF FONTAINEBLEAU ae CUPID'S FESTIVAL Th. DUPRE, JULES Born at Nantes in 1812. As a lad he worked at painting porcelain in the Sévres manufactory, but in his leisure he studied from nature, and in the course of time began to paint landscapes. He visited England, and was very much impressed by the work of Constable. On his return he exhibited two pictures in the Salon of 1833, and was at once acknowledged a master. With Rousseau, who was his lifelong friend, he became a leader of the Barbizon group, and held a distinguished position among his contemporaries as one of the founders of this school. He received medals at Paris in 1833 and 1867; was made Chevalier of the Legion of Honor in 1849 and Officer in 1870. Died in 1889. THE COMING STORM 39 SUNSET ds A BRITTANY FARM Lb LANDSCAPE—AUTUMN 54 ERDMANN, OTTO Born at Leipsic in 1834. He was a student in the Leipsic Academy, and was brought up in the traditions of the German school of genre painting, from which he has not departed. He painted for some time in Dresden and in Munich, but finally settled in Diisseldorf in 1858. "IS TT FOR ME?” 104 ERNST, RUDOLF Following closely the school of Géréme, this artist finds his subjects in the Orient, and paints with great fidelity the details of Oriental architecture, the textures of the rich draperies and the types of the interesting peoples of the East. DESPATCH BEARER 19 FABRON, LOUIS This foilower of the Spanish-Italian school of water- color painting keeps up the tradition of the school in his lively studies of figures in costume, the most attractive of which are Orientals whose dress gives an opportunity ~ for the skilful imitation of textures and for the employ- ment of rich colors. A TURKISH SOLDIER 32 FOSTER, BIRKET Born at North Shields, England, in 1825. He was a pupil of E. Landells, a well-known engraver of the time, and worked as an illustrator until 1859, when he began to exhibit as a water-color painter. His choice of subjects and the skill with which he handled his ma- terial soon made him popular, and established his repu- tation as one of the leaders of the English school of water-color painters. He was elected Associate of the Royal Water Color Society in 1860, and a year later was made full member. Died in 1901. : A SEASHORE SCENE 6 MENDING BABY’S CARRIAGE tf FRANCAIS, FRANCOIS LOUIS Born at Plombiéres, Vosges, France, in 1814. He studied his profession in Paris under Gignoux and later with Corot. Although he was strongly influenced by both these masters, his tendency toward the formal and rather academic style of composition was never greatly modified by the example of the latter artist, and he re- mained loyal to his early traditions, producing much agreeable, dignified and noble work. He received medals at Paris m 1841, 1848, 1855 and 1867, and a medal of honor at the Exposition in 1878. He was made Chevalier of the Legion of Honor in 1853 and Officer in 1867. Died in 1897. ENVIRONS DE ROME—SUNSET 58 ENVIRONS DE PLOMBIERES 64 FRAPPA, JOSE Born at St. Etienne, France, in 1854. As a youth he worked in a silk manufactory designing patterns for silks. By the time he was twenty years of age he had saved some money and, ambitious to become an artist, he went to Paris, studied under Pils and, later, under Compte and Vibert. He has apparently been more strongly influenced by the latter artist than by his other masters, and has gained a wide reputation as a painter of genre subjects. IN THE ART GALLERY 78 FROMENTIN, EUGENE 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 dis- covered that his tastes were stronger in the direction of art than toward the practice of law, and he became a pupil of Cabat and Rémond. He had visited Algeria as a youth, and, attracted by Marilhat’s paintings of the — Orient, now made up his mind to return 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 and poetical painter of Oriental subjects, and became, indeed, the leader of a school. Meanwhile he established his reputation as a 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. SOUVENIR OF ALGERIA 93 GEROME, JEAN LEON Born at Vesoul, France, in 1824. He went to Paris in 1841, and entered the Ecole des Beaux Arts, becom- —seak ing the pupil of Paul Delaroche, whom he accompanied to Italy three years later. On his return he studied with Gleyre, and in 1847 exhibited at the Salon a picture, * Cocks Fighting,” which won him a medal. During the next fifteen or twenty years he travelled in various coun- tries and painted a wide range of subjects, from the Oriental to the classical, exhibiting in all of them the same irreproachable accuracy of execution and profound observation. A little later he turned his attention to sculpture, and he has produced several statues of great merit. His serious purpose in art, coupled with his mas- tery of his method and his wide knowledge, has gained for him a place in modern art in which he has no rival. He has received most of the honors that an artist can have, and among them may be enumerated medals at the Paris Salon in 1847 and 1848 and at the Exposition in 1855: Member of the Institute of France in 1865; Medal of Honor at the Exposition in 1867, at the Salon in 1874; Medal for Sculpture and Medal of Honor at the Exposition in 1878. He was made Chevalier of the Legion of Honor in 1855, Officer in 1867 and Com- mander in 1878. A STROLLING MERCHANT 89 HANOTEAU, HECTOR Born at Decize, Niévre, France, in 1823. He went early to Paris and studied there under Gigoux. He has had a successful career, and has made himself known for his agreeable rendering of Nature in her pleasant moods. He received medals at the Paris Salon in 1864, 1868 and 1869, and was made Chevalier of the Legion of Honor in 1870. GARDEUSES D’OIES Uhek HEBERT, ANTOINE AUGUSTE ERNEST Born at Grenoble in 1817. He was intended by his family for the profession of law, studied in the Lycée at Grenoble, and afterwards in the Fcole de Droit at Paris. During his studentship he frequently worked at sculpture in the studio of David d’Angers, and also be- came a friend of Paul Delaroche, through whose influ-— - ence he determined to become a painter. He sent a picture to the Salon of 1839, which was bought by the Government. He thereupon entered the Ecole des Beaux Arts, and in due time gained the Prix de Rome and was fairly launched on a successful career. He received a medal at the Paris Salon in 1851, and at the Expositions in 1855 and 1867. He was made Chevalier of the Legion of Honor in 1853, Officer in 1867 and Com- mander in 1874, Director of the Academy of France at Rome in 1866 and Member of the Institute of France in 1874. Medal of Honor in 1895. LA VOIX CELESTE 101 HEILBUTH, FERDINAND Born at Hamburg in 1826. He studied long in © Paris, and became a naturalized French citizen. He is said to have been influenced by Alfred Stevens in his art, but his pictures, with their piquancy, their freshness and their originality of impression, scarcely show this. They are essentially modern and essentially French. He received medals at the Paris Salon in 1857, 1859 and 1861; was made Chevalier of the Legion of Honor in 1861 and Officer in 1881. Died at Paris in 1889. IN THE GARDEN 29 HENNER, JEAN JACQUES Born at Bernwiller, Alsace, in 1829. His father was a peasant and without means, but the municipality, after the young student had shown promising talent in the studio of Gabriel Guérin at Strasbourg, sent him to Paris, where he entered the Ecole des Beaux Arts and gained the Prix de Rome in 1858, while a pupil of Drélling and of Picot. He spent five years in Italy, and afterwards travelled in various countries in Eu- rope. Attention was first called to the great qualities of his work during his scholarship in Rome, and his '* Susannah,” exhibited in 1865, established his repu- tation once for all. He has been a consistent idealist all his life, and his work combines the great charm of purity with a virile strength of effect. He received medals at the Paris Salon in 1863, 1865 and 1866, and at the Ex- position in 1878. He was made Chevalier of the Legion of Honor in 1878 and Officer in 1878. Medal at the Exposition in 1878; Member of the Institute in 1889. PENITENT MAGDALEN | 51 HEREAU, JULES Born at Paris in 1830. He was one of a large coterie who threw themselves heart and soul into the art move- ment of the time, and he became a pupil of Troyon and a devoted follower of the school. His landscapes, usu- ally with sheep or cattle as a prominent feature, are solid, strong in effect and vigorously executed. He re- ceived medals at the Paris Salon in 1865 and 1868. Died in 1879. SHEPHERDESS 69 ISABEY, EUGENE LOUIS GABRIEL Born at Paris in 1804. He was the son of a well- known miniature 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 ma~- rine painter with the French expedition to Algeria, and _ although he executed many important commissions for sea pictures, he continued to paint those remarkably facile, vivacious and rich-toned figure pictures for which he is now chiefly known. He was at one time very suc- cessful as a water-color painter and also as a lithog- rapher. He received 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. THE CARDINAL’S BLESSING 90 JACQUE, CHARLES EMILE Born at Paris in 1813. Im early life he was ap- prenticed to a map engraver, and during his enforced term of service in the army he practised wood engrav- ing and etching, and after leaving the army devoted himself to these branches of the profession. It was through these mediums that he first gained pubic at- tention, but it was not until 1861, after he had been painting sixt_en years, that he was accepted as a painter. He had a great fondness for animals, particularly for ‘sheep and pigs, and not only bred poultry, but wrote a book on the subject. He was the last survivor of the Barbizon group, and, unlike most of his friends, ended — = his life in comparative affluence. He received medals at the Paris Salon in 1861, 1863 and 1864, and at the Expositions in 1867 and 1889, and was made Chevalier of the Legion of Honor in 1867. Died in 1894. SHEEP | 23 LANDSCAPE AND SHEEP 72 JOHNSON, DAVID Born at New York in 1827. He showed early in — life a distinct aptitude and a taste for art, and received at one time a few lessons from J. F. Cropsey, N.A. He has never been abroad, and although he has admired and studied the works of European masters of landscape, he has worked in his own way, which has proved a very suc- cessful and individual one. He was made a National Academician in 1862, received a medal at the Centennial Exhibition in 1876 and was one of the founders of the Artists’ Fund Society. | ON THE ESOPUS CREEK © ok STUDY FROM NATURE, RAMAPO 50 LANDSCAPE | bY KLIMSCH, EUGENE A professor in the art school of Munich, this painter has devoted his artistic life to the production of histori- cal genre pictures which suggest the strong influence _ of the old Dutch masters, and command admiration for their sterling qualities of execution. THE CAVALIER 3 LAMBINET, EMILE Born at Versailles, France, in 1815. He was first a pupil of Boiselier, but studied subsequently with Drdol- ling and Horace Vernet, and sought the motive for his early pictures in North Africa, in the Orient and in Holland. He finally devoted himself almost exclusively to domestic landscape, and particularly to that of the Seine near Bougival, where he lived. He received medals at the Paris Salon in 1848, 1853 and 1857, and was made Chevalier of the Legion of Honor in 1867. Died in 1878. LANDSCAPE 33 LEADER, BENJAMIN WILLIAM Born at Worcester, England, in 1831. He showed early in life a decided talent for painting and, after some preliminary studies, went to London and entered the schools of the Royal Academy. Figure painting and sculpture alone are taught in this school, but he was not diverted from his purpose to become a landscape painter, and in a short time began to exhibit. His ex- ceptional skill and his choice of subjects soon made him popular, and he has long been a most successful painter of domestic landscapes. He was elected an Associate of the Royal Academy in 1883 and a Member in 1896. STORMY WEATHER: CAPEL CURIG, NORTH WALES : 56 LELOIR, MAURICE Born at Paris in 1853. He belongs to a famous family of artists, and was a pupil of his father, J. B. Auguste Leloir, and of his elder brother Louis. He, naturally enough, has been much influenced by his mas- ters and by his surroundings, and continues to paint genre subjects with invariable skill and sentiment. He received a medal at the Exposition in 1878, and was made Chevalier of the Legion of Honor in 1895. THE FAIR ANGLER 13 FEEDING THE PIGEONS 14 THE FAREWELL ) 49 MADOU, JEAN BAPTISTE Born at Brussels, Belgium, in 1796. He began his career as a lithographer, and for many years drew on stone with great success. But he was not satisfied with this medium, and occasionally painted a small genre pic- ture, and soon gained a wide reputation in this line. He was for years the professor of drawing in the military school of Brussels, and was made a member of the Acad- emies of Antwerp and Brussels. He was made Chevalier of the Order of Leopold, received a medal at the Ex- position in 1855, and was made Chevalier of the Legion of Honor. Died in 1877. THE SMOKER 37 GRANDFATHER’S PRESENT 40 MADRAZO, RAIMUNDO DE Born at Rome in 1841. His father and his grand- father before him were artists, his brother is an artist, and Fortuny was his brother-in-law, so he may be said to have been born and bred in the profession. He stud- ied first with his father, who was at the head of the Madrid Academy, and then went to Paris, entered the Ecole des Beaux Arts under Cognict and studied later under Winterhalter. Intimately associated with the famous group of Spanish-French painters of whom For- tuny was the chief, he has made a wide reputation for skilful technique and vivacity of color. His first great — success was made at Paris at the Exposition in 1878, where he received a first-class medal and was made a Chevalier of the Legion of Honor. At the Exposition of 1889 he received a medal and was made Officer of the Legion of Honor. : A GUITAR-PLAYER | Qh MAUVE, ANTON Born at Zaandam, Holland, in 1838. He was a pupil of P. F. Van Os, and from his master acquired the habit of painstaking finish which is exemplified in his early works. But after leaving his master he speedily acquired a more free and broad manner, and his work gained also in sentiment and refinement of tone. Both in water color and in oil he has rendered the charm of Holland and of Dutch life in an individual and sym- pathetic way, and his pictures are full of subtle quali- ties which are eminently personal. He received medals at the Vienna, Philadelphia, Amsterdam, Antwerp and Paris Expositions. Died in 1888. CATTLE AND LANDSCAPE 28 MEYER VON BREMEN, JOHAN GEORG Born at Bremen in 1813. His. family name was Meyer, but he was called von Bremen from his birth- place. He began his preliminary studies in his native Bc. Hut soon went to Diisseldorf, the Mecca of Art at that time, and studied in the Academy under Sohn and Schadow. After leaving the Academy he painted, at first, large religious pictures, and then turned his atten- tion gradually to peasant genre, taking his subjects from life in the valleys of the Bavarian and Swiss moun- tains, where he was a frequent traveller. He was a most popular painter, and was a highly esteemed professor in the Academy at Berlin. Among other honors he was made a Member of the Amsterdam Academy, and he re- ceived the gold medal of Prussia in 1850, and other medals in Berlin, Philadelphia, etc. Died in 1886. MEDITATION 70 MICHEL, GEORGES Born at Paris in 1763. He had a strange and checkered career, for he ran away with a laundress in his teens, restored pictures and earned money in various ~ other ways to support a large family, and sketched and painted whenever he could buy, beg or borrow materials. Through all this he had a distinct and individual pur- pose in his art, an intention doubtless founded on his study of the old Dutch landscapists, which he carried out so thoroughly that he, although unrecognized dur-_ ing his life, is now esteemed as the forerunner of Rous- seau and of his school. His pictures, which are seldom signed, are easily distinguishable from their great breadth of effect and solidity of treatment. Died in 1843. LANDSCAPE 68 LANDSCAPE AND SHEEP 50 MILLET, JEAN FRANCOIS 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 draw- ing in his leisure moments, it was decided that he should study art. He consequently went to Cherbourg and be- came 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 pur- sue 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 picture, ‘* The Winnower,” and went to Barbizon. His pictures, at first unrecognized, gradually gained public attention and esteem, and at the Expo- sition of 1867 his reputation was finally assured. He finished only about eighty oil paintings in all. He re- ceived medals at the Salon in 1853 and 1864, the Grand Medal at the Exposition in 1867, and was made Chev- alier of the Legion of Honor in 1868. Died in 1875. GARDEUSE DES VACHES 16 THE SURPRISED BATHER 26 LA NAISSANCE DU VEAU 73 NICOL, ERSKINE Born at Leith, Scotland, in 1825. He began life as a house-painter, and while he was thus engaged he studied drawing in the Academy in Edinburgh. He became, later, the instructor of drawing in the high school of his native town, passed some years in Dublin as a drawing master and finally settled in London in 1863. He has long been known as a popular painter of domestic genre subjects, many of them of a humor- ous nature, and is greatly esteemed as a colorist. He is a Member of the Royal Scottish Academy and was elected an Associate of the Royal Academy in London in 1866. NOTHING BETTER TO DO 76 CLUB LAW §1 O’NEIL, G. B. This artist is one of a few genre painters whose © work lends itself particularly to reproduction. Some- what in the vein of the English painters of the eigh- teenth century, his subjects often recall those of Wilkie and Morland, and are usually popular peg the me- dium of engravings. | : SAMPLING WHEAT 63 PALMAROLI, VINCENTE Born at Madrid, Spain, in 1835. He studied at the Academy of Fine Arts, Madrid, under Frederico Madrazo, and later continued his studies in Rome, where he became, after some years’ residence, the Director of the Spanish Academy there. He is well known as a- portrait painter, but more widely recognized, perhaps, as a painter of historical genre subjects. He received a medal at the Exposition at Paris in 1867. A PRETTY MODEL | 84 PASINI, ALBERTO Born at Basseto, Italy, in 1826. He was a pupil of Ciceri in Italy, and afterwards a student under Isabey and Rousseau in France. After his preliminary studies he went to the Orient and spent several years painting in Turkey, Persia, Arabia and Egypt, accumulating a mass of material and innumerable motives, which he has employed to great advantage in the production of his vigorous, characteristic and brilliant pictures. He re- ceived medals at Paris in 1859, 1863, 1864 and 1867 and a Grand Medal of Honor at the Exposition in 1878; was made Chevalier of the Legion of Honor in 1868 and Officer in 1878. He received many other distinctions, and was honorary professor of the Academies of Parma and Turin. Died in 1899. ENTRANCE TO THE MOSQUE 41 PECRUS, C. Most successful painters of historical genre have studied with profit the Dutch masters, and this artist is no exception to the rule. He has evidently been much influenced by Jan Steen, and his work shows a careful observation and a calm patience which were distinguish- ing attributes of the Dutch artists. THE DOCTOR’S VISIT 36 PELOUSE, LEON GERMAIN Born at Pierrelaye, France. His career has been distinguished by a steadily growing popularity which has kept pace with his progress, and he has recorded many successes in landscape art. He received medals at the Salon in 1873 and 1876 and at the Exposition of 1878, in which year he was made Chevalier of the Legion of Honor. Died in 1890. EARLY MORNING—FINISTERE eat ON THE SEINE y de PERRAULT, LEON BAZILE Born at Poitiers, France. He was a student at the Ecole des Beaux Arts, and a pupil of Picot and Bougue- reau. ‘The influence of the latter master has been the stronger, and his pictures are often suggestive of him. They are painted with conscientious care, and are usually life-sized domestic genre subjects. He exhibited first at the Salon in 1861, received medals at the Salon in 1864 and 1865, and was made Chevalier of the Lem of: Honor in 1887. “WILL YOU HAVE ONE? © 48 ee - o = V2 Os POLLET, VICTOR FLORENCE ; Born at Paris, France, in 1811. He studied in the Ecole des Beaux Arts under Delaroche and Richomme, and in the competition won the Grand Prix de Rome in 1838. His stay in Rome did not seem to have converted him to classicism, for he devoted himself as a painter chiefly to genre subjects. He received a medal at the Salon in 1845, and was made Chevalier of the Legion of Honor in 1855. Died in 1882. THE CONVALESCENT Z PROTAIS, PAUL ALEXANDRE Born at Paris in 1826. He was in a sense court painter of France, for he was a friend of the Imperial family. When he died, the Empress Eugenie sent the following message to the brothers of the painter: “I am deeply grieved at the death of your brother. France loses in him a distinguished artist, and I a faithful friend.” His pictures are comparatively rare, and the reason for this is given in a letter to an American client, written about fifteen years ago, in which he says that he has never painted for dealers, but only for public in- stitutions and on commissions from private individuals. Died in 1890. PRISE DUNE BATTERIE ; 94 ROUSSEAU, THEODORE ‘Born at Paris in 1812. He was the son of a tailor, and, having a taste for mathematics, he was intending to enter the polytechnic school, but, fortunately for art, he entered the Ecole des Beaux Arts instead, and became the pupil of Lethiére. Like many others, he could not accept the traditions of the Academy, and, leaving the school, went direct to nature. He first went to Fontaine- bleau in 1833, and in the following year painted the first picture which attracted much attention, the “ Cotes de Grandville.” During twelve or fifteen years following this success he was unrecognized by the artistic institu- tion, and it was not until 1855, indeed, that his repu- tation was at last established, and he was properly hon- ored as a master of the French landscape school. But years of poverty and the weariness of his long struggle for recognition had told upon his health, and finally he broke down under the strain of his wife’s insanity, and under the attacks of his opponents in the profession, who bitterly resented his success. He received medals at the Salon in 1834, 1849 and 1855, and a Grand Medal of Honor at the Exposition in 1867. He was made Chevalier of the Legion of Honor in 1852. Died in 1867. LANDSCAPE 43 THE OAK—SUNSET 46 PLOUGHING 52 : : : | : : : RUIPEREZ, LOUIS Born in the province of Murcia, Spain. He went to Paris after having made preliminary studies of his pro- fession in his own country, and became a pupil of Meis- sonier, whose style he has followed with success. He has long been a resident of Paris, and is well known as a painter of historical genre subjects. THE CARD PLAYERS 27 FENCING MASTERS 31 AN INTERESTING GAME 34 SCHREYER, ADOLF - Born at Frankfort-on-Main in 1828. He studied first at the Stadel Institute at Frankfort, and then in the schools of Stuttgart and Munich. Having inde- pendent means, he supplemented his studies by frequent and extensive journeys. In 1848 he travelled through Hungary, Wallachia, where his family had estates, and Southern Russia. In 1854 he followed the Austrian army in its march through the Danube principalities, and in the following year accompanied the regiment commanded by Prince Taxis to the Crimea. He next wandered through Asia Minor, Egypt and Algeria, and finally settled in Paris, where he became closely asso- ciated with French art and artists. He received medals ROUSSEAU, THEODORE ‘Born at Paris in 1812. He was the son of a tailor, and, having a taste for mathematics, he was intending to enter the polytechnic school, but, fortunately for art, he entered the Ecole des Beaux Arts instead, and became the pupil of Lethiére. Like many others, he could not accept the traditions of the Academy, and, leaving the school, went direct to nature. He first went to Fontaine- bleau in 1833, and in the following year painted the first picture which attracted much attention, the “ Cotes de Grandville.” During twelve or fifteen years following this success he was unrecognized by the artistic institu- tion, and it was not until 1855, indeed, that his repu-. tation was at last established, and he was properly hon- ored as a master of the French landscape school. But years of poverty and the weariness of his long struggle for recognition had told upon his health, and finally he broke down under the strain of his wife’s insanity, and under the attacks of his opponents in the profession, who bitterly resented his success. He received medals at the Salon in 1834, 1849 and 1855, and a Grand Medal of Honor at the Exposition in 1867. He was made Chevalier of the Legion of Honor in 1852. Died in 1867. LANDSCAPE “43 THE OAK—SUNSET eke PLOUGHING 52 at the Salon in 1864 and 1865 and the Exposition in 1867, the Brussels Exposition in 1863, the Vienna Ex- position in 1873, and has been given many decorations. Died in 1899. A SORTIE | Sg SIGNORINI, GIUSEPPI This artist, who has devoted himself exclusively to costume subjects, has gained a considerable reputation for his accurate and vivacious studies of figures, which — are executed in the so-called Spanish manner. He is one of the group of Italian painters who were strongly influenced by Fortuny and his associates. A BEDOUIN 19 SIMONETTI, ATTILIO Born at Rome, Italy. He was one of the coterie of Roman painters who fraternized with the Spanish artists and who followed closely the methods of the school which flourished in Rome during the residence of Fortuny in that city. He became a friend and a pupil of Fortuny, and founded his style on him, confining himself, how- ever, to much less elaborate subjects. He was appointed professor in the Academy at Naples, and established himself in that city. He received the title of Cavaliere from the King of Italy, and has gained various other distinctions. THE DECLARATION 18 TISSOT, J. JAMES Born at Nantes, France, in 1836. He was for some time a student in Antwerp under Baron Leys, by whom he was strongly influenced, and his first pictures bore a very strong impression of his admiration for his master. He studied in Paris under Flandrin and Lamothe, and spent years in Paris and in London painting scenes of every-day life, always investing them with his own par- ticular charm. For fifteen years or so he was engaged in painting a series of water colors illustrating the life of Christ. He received a medal at the Salon in 1866. Died in 1902. ON THE SERPENTINE 30 TROYON, CONSTANT Born at Sévres in 1810. He worked for a while painting porcelain in the manufactory at Sévres, at the same time with Diaz and Dupré, and, like them, soon de- termined to devote himself to landscape art. He studied under Riocreux at Paris, and first exhibited at the Salon in 1833. Up to the time of his visit to Holland, in 1847, he painted landscapes exclusively, and became well known in this branch of art. His studies in the Netherlands apparently changed his purpose thor- oughly, and from that time on he made his landscapes subordinate to his cattle. His ** Oxen Going to Work,” now in the Louvre, was painted in 1855, and represents him in the apogee of his career. He was a legitimate successor of Brascassat, but his art has no rival in its grandeur of simplicity, virility and serenity. He re- ceived medals at the Salon in 1838, 1840, 1846, 1848 and 1855, and was made Chevalier of the Legion of Honor in 1849. Died in 1865. CATTLE 91 TURNER, JOSEPH MALLORD WILLIAM Born in 1775. He showed decided aptitude for drawing at a very early age, and, after coloring prints and washing in backgrounds for architectural drawings for some time, became a student of the Royal Academy schools at the age of fourteen years. Up to the year 1802 he was chiefly occupied with water colors, and the collection of studies in monochrome, which he called ** Liber Studiorum,”? in imitation of Claude’s ‘* Liber Veritatis,”’? is one of the monuments of his ambition to rival this master. From this date on he painted mostly in oil, and produced the remarkable works for which he is justly famous. He made various trips to Italy, and accumulated a large fortune from the sale of his pic- tures. He was elected an Associate of the Royal Acad- emy at the early age of twenty-four years, and made'a Member in 1802. Died in 1851. A SOUVENIR OF THE RHINE 9 VAN BOSKERCK, ROBERT WARD Born in New Jersey in 1855. He graduated as an engineer in the School of Mines, Columbia College, and studied landscape painting under A. H. Wyant. He has painted a large number of successful pictures from motives found in this country as well as from subjects chosen during his frequent trips abroad. He is a Mem- ber of the Society of American Artists and an Associate of the National Academy of Design. SHEEP AND PASTURE 65 VAN MARCKE, EMILE Born at Sévres in 1827. His father was a landscape painter of Flemish descent, and his mother a painter of flowers. He was a successful art student, and, marry- ing early, secured through his father-in-law, who was the director of the works at Sevres, the position of deco- rator of porcelain, which he occupied for nine years. Troyon frequently visited Sevres, made the acquaintance of the young porcelain painter and encouraged him to study nature. This he finally did, and opened a studio in Paris. His early pictures show Troyon’s influence very strongly, but the later ones are quite individual, and are masterly in drawing, color and arrangement. He received medals at the Salon in 1867, 1869 and 1870, and at the Exposition in 1878. He was made Chevalier of the Legion of Honor in 1872. Died in 1891. LANDSCAPE AND CATTLE 8&2 VERBOECKHOVEN, EUGENE JOSEPH Born at. Warneton, West Flanders, in 1799. His father was a sculptor, and he began to learn drawing from him. Later he studied in Germany, France, Eng- land and Italy, and finally settled in Brussels. He re- ceived medals at the Salon in 1824, 1841 and 1855, and was made Chevalier of the Legion of Honor in 1845. He was a member of the Royal Academies at Brussels, Antwerp and St. Petersburg, and received many deco- rations. Died in 1881. EWE AND LAMB 20 VIBERT, JEHAN GEORGES Born at Paris in 1840. He studied at the Ecole des Beaux Arts first under Picot and then with Barsias, and turned his attention at the outset of his career to his- torical subjects. These pictures were not successful, and he struck out a line of his own in cynical or in hu- morous motives and made a great success of it. He has a high reputation as a painter in water colors, and was one of the leaders in the movement which resulted in the foundation of the Society of French Water Color Paint- ers, a powerful artistic organization. He received medals at the Salon in 1864 and 1868, at the Expositions in 1867 and 1878, and was made Chevalier of the Legion of Honor in 1870. WATER CARRIER a hy / VOLLON, ANTOINE Born at Lyons, 1833. He was a pupil of the Acad- emy of Lyons, but spent most of his life in Paris, where he came to study under Ribot. Although he is known as the master of the art of painting still life, he has achieved great success with figures and with landscapes, which he first began to exhibit in 1876. He received medals at the Salon in 1865, 1868 and 1869, and at the Exposition in 1878. He was made Chevalier of the Legion of Honor in 1870, Officer in 1878 and Member of the Institute of France in 1897. Died in 1900. SETEL ALLIES te 25 MOISSONNEUSE 102 WORMS, JULES Born at Paris in 1837. He was a pupil of Lafosse, and to his careful training is due the conscientious exe- cution which is notable in the genre pictures for which this artist is famous. He has never left the field of do- mestic and humorous subjects, and is well known for both his oil and water-color works. He received medals at the Salon in 1868 and 1869, at the Expositions of 1867 and 1878, and was made Chevalier of the Legion of Honor in 1878. THE CHIDING CUPID 12 ZAMACOIS, EDUARDO Born at Bilbao in 1842. He was first a pupil of Balaco in his native town, and then of Frederico de Madrazo in the Madrid Academy. While he was still a youth he went to Paris and studied under Meissonier, becoming an active member of the group of talented Spanish painters who were fast making enduring reputa-~ tions. He first exhibited at the Salon in 1863, and his brilliant costume pictures, full of life and wit, were soon the rage. He received a medal at the Exposition in 1867. Died in 1871. A PICADOR 15 ZIMMERMANN, REINHARD SEBASTIAN - Born at Hagenau, Switzerland, in 1815. He stud- ied at the Munich Academy of Fine Arts, and was chiefly influenced by Robert Eberle. He painted genre pictures for a time, and then, in 1844, went to Paris, where he passed two years, chiefly in painting portraits. After visiting England and the Netherlands, he returned to Munich in 1847, and devoted himself to painting genre subjects, many of them of a humorous character. He was elected a Member of the Berlin Academy in 1886. THE CONFESSIONAL 62 WATER COLORS, PASTELS AND SEPIA DRAWINGS L. EMILE ADAN aise ag q° Water Color Seated in an armchair beside a table covered with tea-things and decanters, an old butler, in the | ornate livery of the eighteenth century, leans back and empties the remnants of a decanter of white wine down his throat. His mistress is Just open- ing the door behind him. In the foreground is a newspaper hastily thrown down on the floor. Signed at the right, L. Eure Anan. Height, 14% inches; width, 10 inches. " VICTOR rar 2—THE CONV ALESCENT Water Color A half-length figure of a young lady in a black, fur-trimmed wrap is languidly seated in an easy-chair upholstered with mauve silk. In front of her is a Japanese table with red-lacquer tray top, holding a decanter of wine and a plate © of cakes. In her right hand she has a Japanese fan. Signed at the right, V. Poxter. Height, 9 inches; width, 64% inches. | 1] dD. EUGENE KLIMSCH / 8—THE CAVALIER Water Color A cavalier in deep orange-velvet costume, with yellow sleeves and blue stockings, is seated with one arm around the waist of a serving maid who is lighting his long pipe. On a cask behind the cavalier are a pewter tankard and a glass of sack; in the foreground are cabbages and various kitchen utensils. Signed at the left, Evckne Kuimscu. Height, 5% inches; width, 4 inches. THOMAS ee Cog ot \ > 4—LANDSCAPE AND CATTLE Sepia Drawing This is a drawing in sepia of a cow, three sheep, and a lamb in sunlight in a broad, open country. The sky is simple in design, with a few rolling clouds near the horizon, and the dis- tance suggests a region diversified by woods and low hills. Signed at the right, T. S. C. Height, 8 inches; length, 10 inches. . CHARLES J.. CHAPLIN A, Ry, rho 5—THE BATHER Water Color A young woman, partly undressed, is stand- ing on the edge of a pond in the forest, her head turned away as if she heard some one approach- | ing through the wood. Behind her on the ground are the outer garments she has just thrown off, and near at hand is a basket of roses. Signed at the right, Cu. Cuapuin. Height, 10 inches; width, 6 inches. BIRKET FOSTER me iy 6—A SEASHORE SCENE Sse Water Col On the downs above a seaside village two Ilit- tle girls are teaching a young child to toddle across the turf from one to the other. Beyond the group is a cottage half hidden by the slope of the hill, and, farther away, sheep are feeding in a field at the edge of a cliff. In the distance is a line of blue water with white sails, and over all a delicate gray sky. Signed at the right, ™B. R.W.S. Height, 5 inches; length, 7 inches. PaintTeD For Mr. LYALL BIRKET FOSTER % ( ' 7—_MENDING BABY’S CARRIAGE 4 Water Color A small boy, seated on a stile beside a country road in England, is busy trying to repair a broken toy cart. In front of him a weeping child clings to her elder sister, who, carrying the baby on her right arm, watches the boy at his task. In the distance are a roadside cottage and a stretch of pleasant landscape. Signed at the left, B. R.W.S. Height, 5 inches; length, 7 inches. Partntep ror Mr. Lyatt. > a COX g 8—CROSSING THE COMMON Water Color A broad, open moorland in Wales with a deeply rutted cart-path between patches of grass. Two children, one with jug in hand, are strolling down the path toward the bend of a brook in the foreground. In the distance are houses, cattle, a few trees, a line of sunlit hills, and the gleam of water. In the sky is a large mass of cumulus clouds. Signed at the left, D. Cox. Height, 9% inches; length, 14 inches. Paintep For Mr. Lyatt. 4 > ’ “TURNER WwW Ey Se 7 pe TE td a! Ai SR Ra teh, SE Ay i DD Naat AB 1, Dats aS, i ry 9 ead BES ee 9—A SOUVENIR OF THE . Water Color The junction of two streams in a gorge among: the hills. Ruined castles crown the steep crags which overhang the river; a slender tree, growing on the rocky bank in the foreground, where are seen two kneeling figures, rises against the hillside and the sky on the right. In the ex- treme distance looms up the form of a high mountain. Signed at the right, J. M. W. Turner. Height, 9% inches; length, 12% inches. E. DE a [0A Vie 7 Water Color The figure of a maiden half draped in orange pink and holding a flageolet in her hand is seen seated on a stone step in the midst of a rank growth of flowers. In the distance is suggested a fertile valley, beyond which the horizon is lost in the summer haze. Signed at the right, B. pe Beaumont. _ Height, 91% inches; width, 6 inches. |s0 o E. DE B eee: %y 11—-THE PARROT Water Color ' ; The nude figure of a young girl is seen sitting on a pile of draperies thrown down carelessly on a red-tiled floor. She is swinging by a string at- tached to his perch a red parrot, balancing in a ring hung from the ceiling. Behind her is a yellow curtain, and on the floor near by is a pair of green slippers. Signed at the right, E. pp Beaumont. Height, 9 inches; width, 6% inches. on My S WORMS J 0 12—THE CHIDING CUPID Water Color Before a seated figure of Cupid on a simple pedestal stands a girl inSpanish costume of black- ribbon headdress, yellow jacket, and blue petti- coat. A carved swag decorates the wall behind the figure, a richly upholstered chair is half hid- den by the dress, and a plant in a glazed pot stands beside the pedestal. Signed at the right, J. Worms. Height, 14% inches; width, 10 inches. = MAURICE Ae ty 18-—THE FAIR ANGLER Water Color A young lady has tied her boat to a tree over-_ hanging a broad, quiet stream and, half kneeling in the stern of the boat, she holds her fishing rod and languidly watches the float in a bit of open water among the lilies near the bank. She is dressed in a red-striped dress, and a blue and gray rug hangs over the side of the boat near the bow. | Signed at the left, Maurice Letom, 1885. Height, 10 inches; length, 144% inches. Patntep For Mr. LYALL. 7 MAURICE ELOIR | Be erpive | HE PIGEONS Water Color In a garden rich with flowers, where stands a statue of Leda and the Swan on a low pedestal, a young lady has thrown herself on the grass to feed the pigeons which flutter around her. She wears a pink silk sun-bonnet and a salmon pink dress, with a black shaw] falling around her hips. Signed at the right, Maurice Letom, 1885. Height, 10 inches; length, 14% inches. PatntTep For Mr. LYALL. \ 15—A PICADOR © a> EDUARDO ZAMACOIS Light, Cdhy Water Color This is a study of a stalwart Spaniard dressed as a picador in broad-brimmed hat with rosette, a flowered jacket with silver ornaments, yellow breeches, and thick leather leggings tied with red cord and tassels. Over his right shoulder he carries his pike. Signed at the left, Zamacots. Height, 11% inches; width, 8 inches. VACHES i g Q as s ag QA S S BY JEAN FRANCOIS MILLET rae a xepe sr pete Bs [ 3 OA ow JEAN rE Ae LLET @ 146—GARDEUSE DES V ACHES Pastel A peasant girl in blue jacket and petticoat, with her head and shoulders covered by a white shawl, is seated on a little knoll busy with her knitting, while a friendly cow is grazing close at hand. In the distance is a village, with a rank of tall, slender trees beyond an open meadow. 1b ib yD Ss Signed at the oS J. F. Mrvret. Height, 11% inches; length, 17% inches.. na fl The me ier ror + J,, G. VIBERT “27—WATER CARRIER Water Color A young man in white shirt and full petticoat breeches, a red sash and sleeveless jacket and orange turban and socks, stands holding a green- glazed jar while he is waiting for a second recep- tacle to fill with water from a bronze tap in a rough brick wall. Signed at the right, J. G. Visert. Height, 14 inches; width, 10 inches. Y, NS mae oMoNm oI A, 18—THE DECLARATI a Water Color Hl Stretched at full length on a sofa in an atti- tude of careless ease is a young lady in Spanish dress, shading her eyes with a small fan, while an old beau, flower in buttonhole and hand on | heart, leans over the sofa behind her. ‘The acces- sories are a leopard skin on the floor, tapestries on the wall, a gilded table with silver ewer and china cup, and a rich screen and curtain. Signed at the right, Arriio Stmonertt, Roma, 1874. Height, 14% inches; length, 18% inches. 4 A 4 /GUSEPPL/SIGNORINI qv : 19—A BEDOUIN a Water Color A stalwart Bedouin is standing like a sentinel in the desert, with his long gun held in port position across his body. ‘The brim of an im- mense hat, lined with red stuff and embroidered with barbaric patterns, frames his head with a mass of color almost as large in proportion to the figure as an open umbrella. Signed at the right, Gruser StcNortnt. Height, 27 inches; width, 17 inches. OIL PAINTINGS | Sy KHOVEN | 64 | 202—EWE AND LAMB A study of a freshly sheared ewe, who stands, half ashamed of her appearance, on a bit of rough ground near a rude fence. Her lamb lies in front of her, and a butterfly has just alighted on the ground beside her. Signed at the right, Euctne VersoecKHoveN, 1847. Height, 4% inches; length, 5% inches. Pr o3¢9.?PAUL oe in 21—MOTHER’S PRIDE A peasant woman in dull pink jacket, red kerchief, blue apron, and striped green petticoat | is seated on a bench in a rustic courtyard peeling Ls cucumbers. Beyond her, equally relieved against —__ hs a sunlit wall, is her child, with a doll and various i toys. On the left is a gate in the rough wall and | on the right a string of drying leaves. Signed at the right, Paut Boum, MUncuen. Height, 6 inches; length, 8 inches. DAVID JOHNSON { | () | pa? + ESOPUS CREEK A typical bit of American river scenery in summer time, with a great clump of elms over- hanging the water and cattle seeking the shade or cooling themselves in the stream. In the dis- tance is a humble farm-house, and across the river are flat meadows and woods. Signed at the left, p 76. Height, 6 inches; length, 8% inches. 23—_SHEEP WwAtemnr A farm scene with a flock of/sheep, some of them feeding, others lying down in the shadow of a tree. Here and there are friendly barn-yard fowl. In the background is the farm building, where a cackling hen interrupts the peace of the hour, and beyond is a suggestion of meadows and hills. Signed at the left of centre, Cu. Jacque, 1867. Height, 6 inches; length, 7% inches. CHARLES EMILE “7 Ny Sot I — ‘\/ * tan ‘\ » RAIMUNDO wis Lo A GUITAR-PLAYER This is a study of a Spanish guitar-player in a typical costume of blue and black, seated in a chair with his left leg thrown back, and holding with his left hand his ribbon-bedecked guitar, resting upright on his left thigh. ' Signed at the upper left, R. Mavrazo. Height, 8 inches; width, 4% inches. Grorcr I. Seney Coxtection, 1885. W? HY. #43267 kh | é ae | iy. * . ah, ; ” - - ale é ' ¥ Pgs ANTOINE VOLLON | Yo 4 26—STILL LIFE al A richly painted jar on a metal base, a bunch ~ of violets lying on a yellow book, and an old gold watch and fob casually placed on a piece of deep green velvet gave the variety and richness of color, texture, and form which attracted the artist to paint this bit of still life. Signed at the left, A. Votion. Height, 9% inches; length, 12% inches. : 4, Wo . BRANGOIS ced )9 be | 26-—THE SURPRISED BATHER A half-crouching nude woman is seen forcing her way through a tangle of tall reeds, in the shelter of which she has apparently been bathing in fancied security from observation. The flesh is strongly accented in light and shade and is solidly relieved against a deep shadow in the masses of gray green. A 2 ‘ Signed at the right, J. F. Mrtzer. Height, 7 inches; length, 9 inches. S oe Cl lath 27—THE CARD PLAWERS A group of three men interested in a game of cards played between two of them in a su- perior sort of a cabaret with wainscoted walls mellowed by the wear of years. The players are seated at a table, and one of them is referring a doubtful point to a friend who stands behind, pipe in hand. On the table are a few cards, a coarse-glazed pitcher and a glass. The sole deco- ration of the interior is an engraving in a black frame. Signed at the right, Ruirrrez, 1861. Height, 10% inches; width, 8 inches. vr ps - ANTON ey | 50 ANTON MaUye j 28—CATTLE AND LANDSCAPE / The sky occupies two-thirds of this composi- tion, and across it stretches a low band of clouds broadening to the upper left-hand corner of the canvas, suggesting the moist atmosphere of the Netherlands. A wide meadow reaches away to a low line of distant trees, and here and there peas- ants at work indicate the busy season of the hay harvest. In the near foreground are two cows, the focus of the picture. Signed at the righi. A. Mauve. Height, 9 inches; length, 14% inches. role? Aan aah Gt yn 228 oA Bev ————— FERDINAND Pe UTH ‘ ij re. | i, « iM ' w / i i 1 i iid On the soft grass carpet of a field sloping to the river from the garden of a summer residence, a mother, in black gown and hat and a white wrap, sits, holding a small child in her lap. Near by lies a brown dog half hidden by the rank grass. Beyond the little group are a rose bush covered with pink blossoms, the corner of the house with trees, and a stretch of distant river landscape. 4 a / 6 : —— 7 a ai Se aml fas : ~ Ie Oy ee 3 ibe. aaa Bae. = | & 29—IN THE GARDEN Signed at the right, Wermsurs. Height, 11 inches; width, 7 inches. s 380—ON THE SERPENTINE This subject was evidently suggested by a walk in Hyde Park on a summer afternoon. In the foreground are a lady and a little girl leaning against the iron railing along the terrace over the water, and a man seated on a lawn bench. In the distance is a high-arched bridge with foot passengers and the familiar hansom, and, below, the quiet water reflects the arches and the great trees beyond. Signed at the right, J. J. Trssor. Height, 11% inches; width, 8 inches. L. RUIPEREZ YS Walle a ee eR - _ '31—FENCING MASTERS The title indicates that the artist did not in- tend to represent a scene of actual conflict, and therefore we do not look for dramatic action or a suggested tragedy. In a vaulted guard-room of an old chateau, seven men-at-arms, in a variety of military costumes, are passing a leisure hour with a fencing bout between two experts. The masters are evidently rehearsing a parry, the re- sult of which is not so doubtful as to attract the interest of a pair who are playing cards on a bench in the background. Signed at the right, Rurprrez, 1865. Height, 10 inches; length, 13% inches. é i Bigecd} oe 382—A TURKISH SOLDIER A study of a Bashi-Bazouk, or irregular sol- dier of Turkey, in full costume, drawing his yataghan with his right hand and in his left hold- ing his long flintlock, much ornamented gun. He wears a tall red fez with fringed kufia, a blue jacket, a red sash with broad leather belt, white breeches, and black gaiters. The background is a plain gray wall. Signed at the right, L. Fasron. _ Height, 13 inches; width, 7% inches. EMILE LAM MBINET Orth Wgr— —LANDSCAPE Four tall plume-like trees, reflected in a sheet of water, rise against a late afternoon sky which is covered by lowering clouds. Beyond the trees ___ are a meadow and a single house, and on either side of the pool are clumps of willows and reeds. fs © ‘ia Ave Signed at the right, Eun Lamsrer. Height, 11 inches; length, 154 inches. 84—AN INTERESTING GAME Ae. L. RUIP Pe ho A French . interior with simply decorated walls, a fireplace with garniture and mirror, and | an Aubusson carpet. ‘Two friends in the costume | of the end of the eighteenth century are seated at a table absorbed in a game of backgammon, while a third gentleman in a red coat is leaning over a chair watching the game. Signed at the left, JurPEerez. Haigh, 12 inches; width, 9 inches. =. | 35 THE SEW 1G LESSON i. ee ey. This is a simple domestic scene, where a mother, in red kerchief, blue dress, and pink apron, is seated in the full light of the window of a modest interior, teaching her little daughter the rudiments of sewing. Signed at the right, Darcetas, 1866. Height, 14 inches; width, 10% inches. ~~ 86-—-THE DOCTO ° Ee VISIT A Dutch interior in the middle of the seven- teenth century, with walls of Spanish leather, a hooded fireplace, and furniture of the period. An invalid lady in a red jacket and yellow petticoat is seated in an armchair, while the doctor in som- bre suit of black velvet is feeling her pulse. On [| the left sits the husband, and behind stands the nurse holding a porringer. Signed at the right, C. Pécrus. | Height, 13 inches; width, 10% inches. APTISTE MADOU JEAN B ym oe) ibe ee ppl sieintattss + r y\) ‘JEAN BAPTISTE, MADOU , f 37-THE SMOKER be An old man in a broad black hat, a ruddy — brown coat, gray waistcoat, and blue breeches is — seated, facing the spectator, stick in hand and short pipe in mouth. On the floor beside him is a pewter mug, and the background is a simple gray wall with a door at the right. Signed at the left, Mavovu, 1871. Height, 10 inches; width, 74% inches. E BOUDOIR. BY GIOVANNI BOLDINI : F p ae . y 7 ; i ; - 7 md - : > \ ‘ My g oe a> + - ' “ ey Fe ee ge ee ‘ T', yggia eae : < \x 88—THE BOUDOIR N GIOVANNI Cyn A young lady in a rich soft blue gown, with a profusion of lace and ribbons, is seen in her bou- doir, apparently surveying herself in a murror, part of which appears in the picture above a richly gilded table. Over her right arm, which is gracefully supported by a long malacca stick, is draped a black silk mantle. The surface of the polished floor is broken by reflections of the wall, of the furniture, and of the figure itself, and the notes of red in the flowered gown are repeated in a vase on the table. Signed at the left, Botp1n1. Height, 12 inches; width, 9 inches. pres 4) ee DUPRE. AA eNY / \ 39—THE COMING STORM | /] The vivid light from the setting sun has burst through the storm clouds, flashing on their jagged edges and repeating part of its bril- hancy in the reflections in a small pool in the foreground. The landscape is simple and som- bre, with a single building, an isolated tree, and a figure or two on a broad path which leads across the sandy ground to the pool. Signed at the left, Jutes Dupre. Height, 12 inches; width, 14 inches. Rosert Graves CoLLEcTIoN, 1387. f° af. 4, 3 ee {* Berrien YVoSe 2, Ats*. » Ba Cow fow o4é ee ey ype 209 oe os ‘40—GRANDFA THER’S PRESENT In a humble interior toward the end of the eighteenth century, a mother, with a child on her lap, is seated in the middle of a family group. The grandfather, leaning on his cane, is holding a toy horse just out of reach of the child, while the father and the half-grown daughter look on with interest. ; Signed at the left, Mavov. Height, 14% inches; width, 12 inches. _ Georce I. Seney Cotection, 1885 ff Bee ef # fn, yf C = O Ceram A Ae 41—ENTRANCE TO THE MOSQUE The corner of a partially arcaded courtyard in the Orient, with a white gateway making a strong note in the line of rich-colored roofs and — spandrels on either side. A few figures are re- lieved against the sunlit walls and the gloom of the entrance; a gray Arab horse with attendant natives stands in the foreground to the left, and, beyond the screen of arches and gateway, a group of trees on the one side and the dominating mass of a mosque with its minarets come out strongly — against a simple blue sky. Signed at the right, A. Pastni, 1878. Height, 12% inches; length, 16 inches. J. Asner Harper CoLtection, isso. 42 [07 - 4. ade Abd Kew a? BY N a A A = a ce = a.) RM Ww i | © aes =a Zz (o,f WARCISSE VIRGILEEI \° | 42—FOREST OF F ON TAINEBLEAU A remote nook in the forest, with groups of hardy trees and a canopy of dense foliage, through which, in the distance, is seen a sugges- tion of summer sky. The light from behind and above the spectator falls sharply on the rough tree-trunks, here and there in the confusion of undergrowth and grass, and on small pools of water and a gray boulder. Sas Signed at the left, Vente Diaz. ya) @ u Height, 12 inches; length, 15% icehes. HL Ket iSso BY THEODORE ROUSSEAU \ )° THEODORE ROUSSEAU ~ 48—LANDSCAPE J. rN \ | eat A gently sloping hillside covered with sturdy — 3 oak trees and rough boulders is touched by a strong flood of warm light from a late afternoon sky, which brings out the red tones of the autumn foliage and throws a deep shadow over the fore- ground. To the right, against a sunlit meadow, is the figure of a peasant woman, and in the dis- _ q tance beyond the meadow is a rank of dark trees and a line of blue hills. The sky is broken by warm gray clouds alternaty g with patches of pale blue. - Signed at the left, Tu. Rovsseav. ae" 12% inches; length, 14% inches. ~~ ca = =) 23 en | yr 7 JULE PRE are 44—SUNSET Low-lying meadows, with a quiet bit of water — 4 in the foreground echoing the tones of a sunset sky; the mass of a great oak rises on the right; to the left a farm-house among the straggling trees, and the figure of a woman in a boat is re- flected in the water near the middle of the pic- ture. The light from the sun, which has just dipped below the horizon, defines the long lines of clouds and diminishes in vigor until it loses it- 7 self near the zenith. dbl, i, — “4 ; Prod ( a x | v u” Signed at the left, J. Dupre. ; Height, 12 inches; length, 18 inches. #ho- BY JULES DUPRE NE ny Rate ULES 43—A BRITTANY FARM A thatched cottage in a gladed country, with rounded masses of large trees and a bit of open ground with a winding path leading to shady — meadows in the distance. The peasants are busy at their out-of-door occupations, and restless fowl are seeking food near the cottage. | Signed at the left, Jures Dupré. Height, 8% inches; eaihe 16 inches. BY - THEODORE ROUSSEAU THEODORE ROUSSEAU v ~ f\ 46—THE OAK—SUN. A sunset with a riébly tinted sky, against which a rugged, lee a is in full relief, perched on a rocky eminence. Beyond is a glint of distant water in a rough country, and in the foreground is a broken heath with boulders and ragged undergrowth. Signed at the right, Tu. Rousseau. Height, 12% inches; length, 16 inches. tAken | i © as © Ss) S) a = ry Sor ye J. B. C. COROT A corner of a daisy-sown meadow, where a peasant woman is watching her cows. Against the sky on the left, and casting mysterious shad- a 0 ows on the rich grass, rises a line of slender trees, \\ \o \- 4-which is continued in perspective across the mid- “ev dle distance, where, through openings, is caught — a glimpse of the sea and of a low headland against a glowing sky. Signed at the left, Corot. Height, 17% inches; width, 14% inches. a + i 48—" WILL YOU E ONE?” This is a life-sized head and shoulders of a curly-haired, dimple-faced child who holds an orange tightly clasped in both hands, as if afraid her invitation would be accepted. A simple, dark, indefinite background relieves the head and figure. Signed at the upper left, L. Perravtr. Height, 154% inches; width, 13 inches. — i) \S MAURIC i Ry 1S. 49—THE FAREWELL A young lady in a pink dress stands in the doorway of an old chateau throwing a kiss to her lover, who, having just left her, has crossed a tangled flower-bed and is clambering over a wall near the corner of the house. The costumes are toward the end of the eighteenth century. Signed at left, Maurice Letom. | Height, 174% inches; width, 14% inches. Tuomas Rem Co.LiEctTiIon. RAMAPO Ar FROM NAT aS DAVID JOMUNSON- 50—STUDY FROM NATURE, RAMAPO 04 A summer afternoon in a pleasant, rolling country, with a sky full of slowly moving cumu- lus clouds. There are hills beyond a distant sheet of water and a dense wood bordering a flower- strewn meadow, with here and there a large tree, near one of which is a small group of figures, suggesting the proximity of a country residence. Signed at the left, D 76. Height, 1314 inches; length, 21 inches. 52 East 23d Street, February 18, 1890. Dear Mr. Lyall: I write to express my thanks and gratification at the selection you have made in your purchase at my sale, “ Meadow at Ramapo.” - You may be pleased to know that it was one of my pets, and - regarded by me as one of the most entirely successful studies from nature I have ever made. I am more than delighted that it has found such friends for a resting-place. Sincerely, (Signed) DAVID JOHNSON. QUES HENNER rac 4 re pear, Sexes, ln hl Dal aly et Aree, EN ye 3 JEAN TAC HENNER 51—PENITENT MAGDALEN Ve In the gloom of a cavern, or a deep rocky ra- vine, under the strong light from above, the fig- ure of an auburn-haired young woman, nude to the waist, with blue drapery tightly wound around her legs, crouches with her head in her hands. She is seen in profile, and, above and be- yond her, through an opening in the rock, ap- pears a small patch of simple blue sky. Signed at the left, HENNER. Height, 16 inches; width, 12% inches. .° THEODORE ROUSSEAU , | \v OL h 52—-PLOUGHING ‘ Through a narrow rift in a stormy sky, where - the brilliant sunset ight breaks through near the horizon, comes a strongly reflected glow which, in the mystery of gathering twilight, touches sharply a great white farm-horse drawing a plough held by a peasant. Among the great clods of newly turned earth is seen the stooping or kneeling figure of a peasant woman, and be- yond are green meadows bordered by woods, with here and there laborers at work. The strong blue and red trappings of the horse make a focus of intensely deep and rich color. The foreground, which is divided by a rough path, is covered with strongly growing weeds and wild flowers. Signed at the left, Tu. Rousseau. \A‘ wee Height, 15 inches; length, 18 inches. Ned Cacti d rR S DAUBIGNY [ERE v Col \RLES FRAN ‘ . . ™" cee ae Ra EN a gE Fi MEE TSI Al Ent TOs D4 | g? — C. F, DAUBIGNY » _ 63—BORDS DE RIVIERE ee | Vor ¥ This is an aia corner of a f: Ree country, where a broad pool fringed with trees reflects a : summer-morning sky. On the left a peasant — woman is washing clothes at the water’s edge, and another is standing near by on the gently — sloping, grassy bank, holding a red cow. Signed at the left, Dausieny, 1869. Height, 12% inches; length, 23% \ inches. OnrMlik pA AUTUMN P JULES DUPRE | " ee OEE All \ 54—LANDSCAPE—AUTUMN oe A group of sturdy oaks, the advance guard of a forest, occupies the middle of the composi- tion in silhouette against an early autumn sky, where patches of intense blue break through the masses of rolling clouds. In the distance is the dense and sombre forest, and the foreground is enriched by ruddy-hued undergrowth. A gleam of strong light touches the figure of a peasant woman on the left, flecks the surface of a small __ stream beyond, and accents the prominent tree- _, AAA G Signed at the right, Jures Dupre. Cwadd : Height, 16% inches; length, 23 inches. R. BRASCASSAT J ade ee 5 a” sos. R. BRASCASSAT \ Ae 55—BULL AND DOG | ; A black-and-white spotted bull, teased by a large tawny-colored dog, is endeavoring to strike i his tormentor with his horns. With lowered head, and angrily pawing the earth with his near foot, he faces his active antagonist. In the back- _ ground, to the left, is a clump of trees, in the shade of which a flock of timid sheep is scamper- ing away. . Signed at the left, R. Brascassat, 1858. Height, 15% inches; length, 20% inches. Henry Prosasco Coiztection, 1887. We “of - thy North Wales rig, Cu ' Ceae 56—STORMY WEATHER: : CAPEL CURIG, NORTH WALES ye BW a A scene among the low, rugged Welsh hills, | where a rapid stream runs between low banks and is met by a foaming tributary just below a | | rude stone bridge. A farmer is driving a herd of black and white cattle across the bridge and a. fisherman with his boy and a dog is seated on the river bank. Low clouds drive « over the hills and threaten rain. 1 Signed at the left, B. W. Leaver, 1885. Height, 18 inches; length, 26 inches. Paintep For Mr. LYALL. DAVID 2 | 67—LANDSCAPE “ Softly the evening came. The sun from the eastern horizon like a magician extended his golden wand o’er the landscape.” Through a park-like country a herd of cattle is seen wandering at sunset toward a pool in the foreground. Under the great rounded trees in the middle distance, which form the chief feature of the composition, are seen the stragglers of the herd, and on either side are vistas of a wide dis- tance with frequent clumps of large trees. On ‘the right, moving along a track which winds away over the broken ground, are laborers and a farm cart. Signed at the right, D. Height, 18 inches; length, 26 inches. 25% Beats ERANGAL ee 58—ENVIRONS DE ROME—SUNSET The Roman Campagna, with the noble lines of its low hills and plateaus, its arid wastes and its poisonous marshes, has fascinated many art- ists. Francais shows in this picture a small reach of the sluggish 'Tiber, a rough bank with shep- herds and a flock of sheep in the foreground, and, across the river, a hill and a scorched, low plateau with a castle-like building. In the remote dis- tance is the mountain range in the mauve haze of late afternoon, when the new moon is just visible. Signed at the left, Frangais. Height, 16% inches; length, 25 inches. Paintep FoR Mr. LYAtt. JEAN " ? ; z or AS) CHARLES CAZIN 2 4 FL | _ JEAN a SA ZIN 59—MON JARDIN Kee: We bY. 4 SES This is a study of a corner of the artist’s own garden, enclosed by a tile-topped wall with an espalier and a tall, irregular hedge of trees. On the left is the corner of the house, with daffodils _ growing near the base. Lines of garden paths divide the vegetable beds, and the figure of a laborer is seen in the background. Signed at the right, J. C. Cazin. Height, 18 inches; length, 21% inches. ors ‘DAUBIGNY | | 5 , Y Mie ¢ we | . | seer ‘ yi So 2 ke &S S. B. Fares CoLiection. ORIENTAL AGATE CUP AND SAUCER. Similar to the preceding. S. B. Fares CoLiection. CHINESE BELT BUCKLE. Jade medallion. Relief and open-work carving of chrysanthemum flowers, mounted in gilded brass. CARNELIAN VASE. On an agate base. ; 7 Height, 5% inches. STATUETTE OF GOD OF LONGEVITY. In carved stone, mounted on a carved stone base in design of tree trunk. Height, 7% inches. SEATED FIGURE OF HOTEI. In carved stone. Height, & inches. © STATUETTE OF PRIEST. Holding a branch of peach tree. Carved jade of milk- white texture. Finely carved teakwood stand. Height, & inches. / 206 TWO CARVED JADE STATUETTES OF CHIL- DREN. Milk-white texture. Mounted on a carved teakwood stand, which is inlaid with ivory. Height, 7 inches; width, 6 inches. S. B. Fares Coniecrion. 207 FLAT. OVIFORM JADE VASE. Of greenish-white texture. Finely carved lizards in bold relief. Scroll handles at neck. Height, 6 inches. 208 JADE INCENSE JAR. Globular shaped. Of milk-white texture, and with bold relief carving of lizards. Has finely carved teakwood stand. Height, 24% inches; diameter, 4 inches. 209 JADE BOWL AND SAUCER. White texture, with greenish veins; highly polished sur- face. Height, 3 inches; diameter, 6 inches. 210 CARVED CARNELIAN GROUP. Figure of mandarin and sleeping child. Has teakwood stand. Height, 4% inches; width, 3% inches. JADE COVERED VASE. Flat bottle-shaped. Fine milk-white texture, with bold relief carving of lizards, and open-work scroll handles. 21 _ Has finely carved teakwood stand. : Height, 6% inches. S. B. Fares Co.iection. 212 GROUP OF THREE FIGURES. Priest and attendants, in carved soapstone. Height, 8 inches; width, 7% inches. 213 JADE COVERED VASE. Flat oviform, greenish-white texture, with three lizards carved in bold relief and undercut. Elephant head handles. Height, 8% inches. a S. B. Fares Cotiecrion. 214 GREEN JADE VASE. Form of three tree trunks. Relief carving of pine and plum branches, bird of immortality and.fungi. Carved teakwood stand. Height, 4 inches; length, 7% inches. 215 LARGE JADE VASE. Milk-white texture. Graceful oviform, with scroll and ring handles. Fine carving of archaic design in low relief. Height, 8 inches; width, 4 inches. 216 CARNELIAN COUPE. Carved in relief and undercut. Figure of lizard and fungi. Has carved teakwood stand. Height, 3 inches; length, 6 inches. 217 LARGE JADE VASE. Greenish-white texture. Peony design, with bold relief and undercut carving of branches of plum blossom. Finely carved teakwood stand. Height, 3 inches; length, 7 inches. _ 218 CURIOUS SPECIMEN OF JADE. Resembling a Chinese fruit. With carved teakwood stem and stand. ss 219 LARGE JADE ORNAMENT. 220 221 222 223 Greenish-white texture, with mandarin, duck, lotus pods and fungi in relief and open-work carving. Has group of finely carved teakwood stand. _ Height, 6 inches; length, 8 inches. JAPANESE IVORY CARVINGS AND LACQUER IVORY CARVING. Father and son. Nineteenth century. Height, 2% inches. IVORY CARVING. Urashima taro and a turtle. By Kogetsu and signed. Nineteenth century. Height, 3 inches. S. B. Fares CoLiecrion. IVORY CARVING. “Miko,” or darling of gods. A fine carving. Nine- teenth century. Height, 5 inches. IVORY CARVING. A priest and his watch-dog. By Shunmei and signed. Nineteenth century. Height, 4 inches. 224 225 226 227 228 229 230 IVORY CARVING. A young Samurai with a gourd and sake cup. N ine- teenth century. PP eight, 3 inches. _ IVORY TUSK. ’ Frigates ‘‘ Constitution’ and “‘ Java” on one side, and “The Orpheus” on the other. Etched. ; Length, 6 inches. | PAIR IVORY VASES. Ancient court noble hunting near Mount Fuji. Nine- teenth century. Height, 3% inches. IVORY CARVING. A group of performers: daikoku and his companions. By Komin and signed. Early nineteenth century. Height, 4 inches. S. B. Fares CoLectrion. IVORY CARVING. A priest and a boy. Nineteenth century. Height, 4% inches. IVORY CARVING. Jurojin and a boy. By Unpo and signed. Nineteenth century. Height, 5 inches. IVORY CARVING. Genii and boy, with horse and gourds intricately carved. Nineteenth century. Height, 6 inches. aa ne nly 231 IVORY CARVING. A skeleton figure, with monkey and a demon skilfully carved. By Mitsunaga and signed. Nineteenth century. Height, 5% inches. S. B. Fares Coiiecrion. 232 IVORY CARVING. A group of three boys playing with mask, drum and afan. By Shunji. Nineteenth century. Height, 4 inches. 238 IVORY CARVING. — Fagot gatherers. By Muneshige. Signed, Icurriusar Munesuice. Nineteenth century. Height, 4 inches. S. B. Fares Coiiecrion. - 984 IVORY VASE WITH STAND. Subject from a legendary story. Kinkosennin riding on a carp, and a genii carved in bold relief. By Giokuri. Nineteenth century. Height, 7 inches. S. B. Fares CoLiectrion. 235 IVORY CARVING. Priest carrying a basket of fruits and a tengu holding an image of Buddha. By Munenori and signed. Nineteenth century. | Height, 5% inches. S. B. Fares CoLiectrion. 236 IVORY CARVING. Samurai, his daughter and his son. Skilfully carved by Komin and signed. Nineteenth century. - Height, 5 inches. 237 238 239 240 241 242 IVORY CARVING. A big skull, upon which are a skeleton fine frogs and snake at play. By Giokuju and signed. Skilfully carved in open-work. Nineteenth century. Height, 5 inches. IVORY CARVING. A figure of ancient fisherman and a female figure stand- ing on sea beach. Fine example. By Ittokusai Rakumin and signed. Early nineteenth century. - Height, 5% inches. IVORY CARVING. Street performer, with monkey and child. Nineteenth — century. Height, 6% inches. IVORY CARVING. Jurojin and his companions, a stag and a boy. Carved — by Naohide. Signed, Icuryusar Naonipr. Early nine- — teenth century. : Height, 6% inches. REMARKABLE IVORY CARVING. Group of Buddhist disciples, most intricately executed in relief carving. By Kogetsu and signed. Early nineteenth century. Height, 6 inches. IVORY CARVING. Figure of an ancient Chinese warrior. Skilfully carved. Nineteenth century. With lacquer stand. Height, 10% inenes. 2438 IVORY CARVING. Court lady, Buddhist priest and prayer bell, skilfully carved by Suzuki Nobuyoshi and signed. Nineteenth cen- tury. With lacquer stand. Height, 8 inches. 244 EXCEEDINGLY FINE IVORY GROUP. Representing warrior returning from a victory, who is about being presented with a sword and floral tribute. Set on a magnificent gold lacquer stand elaborately decorated in raised gold lacquer. Has glass and silver-plated case. Height, with stand, 11 inches. S. B. Fates Coiiecrion. 245 PAIR MAGNIFICENT IVORY TUSK VASES. Mounted on elaborately lacquered stands. Subject— ancient battle scene: figures of warriors on _ horseback, carved with great skill and decorated and_ lacquered. Carved by Chika-hiro. Signed, Sururiusai CuiKa-HrRo. Height, with stand, 26 inches. 246 INRO. Four sections. Gold lacquer. Nashiji inside. River scene and boats in raised gold lacquer and polished. By Kajikawa and signed. Eighteenth century. 247 INRO. Five sections. Gold and black lacquer. Landscape and waterfall, artistically executed in raised gold lacquer. Nashiji inside. Signed, Kasixawa. Early eighteenth century. : 248 INRO. Four sections. Powdered gold lacquer. Gold Nashiji lacquer inside. Storks and pine trees decorated in raised tury. 249 BOX WITH FOUR LEGS. Black lacquer. Decorated with floral vines in gold lacquer, ornamented with silk cord. Eighteenth century. | Height, 2% inches. 250 CABINET. With three small drawers inside and fly door. Black lacquer with silver mountings. Fan designs and landscape painted in gold lacquer. Nineteenth century. Height, 4 inches. 251 CABINET. Of gold lacquer. Three small drawers inside with a fly door. Panel decorations of black lacquer. Gold Na- shiji inside. Nineteenth century. Height, 4% inches. 252 DAIMIO SMOKER’S CABINET. Black lacquer, with silver mountings, silver fire holder and silver ash receiver. Decoration of peacock elaborately painted in gold lacquer and inlaid with mother-of-pearl. Eighteenth century. Height, 7 inches. S. B. Fares Coiiection. Sree and powdered gold. Signed by Toyosar. Eighteenth cen- * c. 253 CHINESE CINNABAR LACQUER VASE AND BOX. Arabesque designs, deeply carved in relief. Eighteenth century. S. B. Fares Co.iiecrion. 254 CHINESE CINNABAR LACQUER TRIPOD AND STAND. Arabesque decoration, deeply carved. Metal-lined. Eighteenth century. Height, 5% inches. S. B. Fares Coniection. 255 GRAND SAKE SAUCER. Red lacquer. Warrior lifting rock standing near water- _ fall. In bold relief, painted in gold lacquer and partly inlaid with ivory and mother-of-pearl. Eighteenth century. Diameter, 22 inches. EUROPEAN BRONZES AND OBJECTS IN BRASS 256 MINIATURE STATUE OF MICHAEL ANGELO. 257 Wrought in solid silver with ornaments of gold. Base of rose antica and verde antique marble. Executed by Marchessini of Florence and exhibited at the Centennial Exhibition, Philadelphia, 1876. Height, 7% inches. S. B. Fares CoLiection. PAIR MINIATURE. BRONZES. Stag and greyhound. Modelled in bronze by P. J. Mene. S. B. Fates CoLiection. 2572 TWO MINIATURE STATUETTES. Crusaders. | S. B. Fares Coniiecrion. 258 PAIR BRONZE CANDLESTICKS. Egyptian design, dark green patine ; Height, 7 inches. S. B. Fares Cotiecrion. 259 MODEL OF THE ARC DE TRIOMPHE. Wrought in bronze; black marble base. S. B. Fares CoLiection. 260 BRONZE GROUP. Two greyhounds at play. By P. J. Méne. Height, 642 inches; length, 8 inches. S. B. Fares CoLiecrion. 261 BRONZE GROUP. Combat between lion and tiger. S. B. Fates Coniection. 262 BRONZE GROUP. Monkey jockey riding greyhound. 263 BARYE BRONZE. Jaguar and crocodile. By Barbédienne. Height, 3% inches; length, 9 inches. 264 BARYE BRONZE. Walking tiger. By Barbédienne. | Height, 6 inches; length, 15 inches. 265 BARYE BRONZE. Bull with head low. By Barbédienne. Height, 7% inches; length, 11 inches. 266 TWO BRONZE COLUMNS. The Obelisk and Colonne Vendome. S. B. Fates CoLiection. 267 ROMAN LAMP. Reproduction from the antique. S. B. Fares CoLiection. 268 BRONZE BAS-RELIEF. The Village Dance. 269 ROMAN BRONZE FIGURE. Winged Mercury. Black marble pedestal with bronze bas-relief of dancing fawns, nymphs and satyrs. Height, 32 inches. S. B. Fatzs Coiiecrion. 270 ANTIQUE BRONZE GROUP. Adriana and Panther. On Sienna marble base. Height, 21 inches; length, 16 inches. S. B. Fares CoLiEection. 271 BRONZE BUST. Bismarck. By L. Mantel. 1867. 272 BRASS WALL BRACKET. Reproduction of antique. 273 WROUGHT BRASS WALL BRACKET. Chinese design of dragon, and open-work pattern. 274 WROUGHT BRASS WALL BRACKET. - Antique open-work design. 275 REPOUSSE METAL SHIELD. Roman battle scene. 276 ANTIQUE CLAY VASE. Bottle-shaped. Ornamentation of archaic designs and — symbols carved in low relief in gray and yellow paste. Carved teakwood stand. Height, 8% inches. S. B. Fares CoLiecrion. 277 ANTIQUE CHINESE PORCELAIN VASE. Quadrilateral shaped. Coarse crackle texture and mot- tled sray and brown glaze. Elephant head handles and peach-shaped medallions in low relief. | Height, 8 inches. 278 SUNG GALLIPOT. Clair de lune glaze over a pronounced crackle. Height, 8% inches. CHINESE POTTERY AND PORCELAIN 279 CHINESE GALLIPOT. Clear white hard paste. Decoration of dragons amid cloud forms and flames, chasing the sacred pearl of omnipo- tence, painted in brilliant enamels. Has tall teakwood stand. Height, 9% inches. 280 PAIR OLD CHINESE COVERED JARS. Thick porcelain. Decoration of battle scenes in bril- liant enamels. Boldly crackled throughout and relief orna- ments and bands in imitation of iron. 35b: Height, 14 inches. 281 TURQUOISE BLUE VASE: YUNG-CHENG (1723- 1735). Chinese porcelain. Carved teakwood stand. Height, 13 inches. 282 LARGE BOTTLE-SHAPED VASE: CHIEN LUNG (1736-1795). Thick porcelain. Covered with a brilliant red glaze. Carved teakwood stand. Height, 20 inches. — 283 TALL VASE: CH’IEN LUNG (1736-1795). Oviform, with spreading mouth and base. Thick porce- lain, which is coated with a mottled red glaze of the sang-de- boeuf type. Carved teakwood stand. Height, 23 inches. 284 285 286 287 288 289 MISCELLANEOUS OBJECTS JAPANESE SILVER PERFUME BURNER. Engraved ornamentation. S. B. Fars CoLiection. ANTIQUE SILVER MINIATURE KETTLE. Hall mark: Brrmineuam, 1787. S. B. Fares CoLiection. ANTIQUE SILVER MINIATURE BASKET. Open-work pattern. French. Eighteenth century. S. B. Fares CoLiecrion. ANTIQUE POCKET-BOOK. Mother-of-pearl and filigree silver. Medallion of hunt-— ing scene. S. B. Fares CoLiection. ANTIQUE SNUFFBOX. Tortoise-shell, inlaid with silver and gold. Florentine mosaic inserted in lid. S. B. Fares CoLiecrion. EGGSHAPE ORNAMENT. Made with various woods. S. B. Fares CoL.ecrion. 290 VALUABLE WASHINGTON RELIC. Snuffbox made of various woods, the lid inlaid and in- scribed as follows: “ Birk of Aberfeldie,’ “ Thorn aboon the Well,” “ Heart of Mid-Lothian,” ‘ Planted by Milton,” “Elderslie Yew,” “Oak of Torwood,”’ ‘“ Trysting Tree,” “Oak of Allowway Kirk,” and “ Broom of Cowden Knowes.”’ On the bottom a stanza of “ Auld Lang Syne,” surrounded by a wreath of thistles. Within the box is a lock of Martha Washington’s hair. Note.—THE ABOVE WAS GIVEN BY Martua WASHINGTON TO Mrs. James MarsHatut, By HER TO Mrs. SusAN AMBLER, AND OBTAINED FROM THE LATTER BY Mr. EK. KretTzmMsr oF PHILADELPHIA AND PRE- SENTED By HIM TO Mr. S. B. FAtgEs. S. B. Fates CoLiecrion. 291 TORTOISE-SHELL AND IVORY BOX. Containing ivory counters, with etched ornamentation. From Bombay. 292 HANDKERCHIEF BOX. Tortoise-shell, ivory and sandal wood. From Bombay. \ 293 TWO SPECIMENS OF CONCH SHELL CAMEO. Mounted on plush panels. 294 OSTRICH EGG. With network for hanging. 295 COVERED CUP AND SAUCER. Clear hard paste, from the Berlin Royal factory. Tur- quoise blue glaze with festoons of roses and bow-knots in gilding. Mark, K. P. M. and sceptre. 1830. S. B. Fates Coiiecrion. - 296 CUP AND SAUCER. Copeland’s eggshell porcelain. Richly enamelled deco- ration, with borders in imitation of pearls and other gems. Mounted on plush panel. S. B. Fares Couection. 297 CUP AND SAUCER. Copeland clear white paste; pale-green ground with ~ exquisitely painted floral medallions, which are surrounded by borders in embossed gold. S. B. Fares Coiiectrion. 298 CUP AND SAUCER. Vienna porcelain, dark-blue ground; rich decoration of Oriental design. S. B. Fares Coniectrion. 299 BOCARO JAR WITH COVER. Oviform, with decorated band of sic design. S. B. Fates CoLLECTION. 300 AVENTURINE GLASS EWER. : Salviati. S. B. Fares CoLiecrion. 3800a VENETIAN GLASS PITCHER VASE. S. B. Fates Cotiection. 301 ROYAL WORCESTER TEAPOT. Splash glaze in imitation of old Japanese, and relief decoration in gold of fern leaves. : S. B. Fares CoLiectrion. 302 303 304 305 806 307 OLD KUTAN A SAKE BOTTLE. Decoration of figures and other designs in green, purple and yellow. Signed Krvupo. S. B. Fares Co.iecrion. FRENCH PORCELAIN VASE. Amphora shape. Mottled glaze; decoration in gilding. Height, 11 inches. S. B. Fares CoLiecrion. PERSIAN METAL EWER. Decoration of equestrian figures; arabesques and diaper patterns in blue, red and other enamels and gilding. TWO ANTIQUE ITALIAN MAJOLICA PLATES. One decorated with landscape, figures and river view and border of shells, the other decorated with pastoral subjects, leafy scroll border and coat-of-arms. HIZEN PORCELAIN VASE. Clear hard paste; oviform, with spreading neck and base; decoration of equestrian figure, Daimio, and cherry tree in blossom in brilliant enamels and gilding. Locust- shaped handle in relief. Made by Fukukawa. From the Centennial Exhibition, 1876. Height, 11% inches. S. B. Fares Coiiection. JAPANESE BRONZE CYLINDRICAL VASE. Relief castings of bats and cloud forms; gold finish. Height, 5 inches. 308 PAIR OVOID VASES. White-metal repoussé ornamentation of lotus in bloom. Signed, Van Houten. Height, 10 inches. 309 OLD FRENCH PORCELAIN TEAPOT. Yellow glaze, with sprays of flowers ; painted in OE colors and gilding. S. B. Fates CouLiecrion. 810 OLD DELFT OVIFORM JAR. Decoration of lilies and butterflies in dark cobalt blue. Height, 8% inches. 3811 ANTIQUE WEDGWOOD PLATE. Sage-green ground, with relief ornamentation; exqui- sitely modelled in low relief; classical subject in centre medallion. Mounted in plush frame. | Diameter, 9 inches. S. B. Fates Coiiecrion. 812 BRONZE FIGURE OF PSYCHE. Height, 13% inches. 313 WALNUT AND BRASS-MOUNTED GAME BOX. : Containing ivory chessmen, counters, chips and checker board. 814 CRYSTAL GLASS AND BRASS-MOUNTED BOU- QUET HOLDER. Height, 14 inches. 315 OLD WEDGWOOD CUP AND SAUCER. Sage-green ground, with exquisitely modelled relief ornamentation of floral and fruit festoons. Rams’ heads and cameo medallions. S. B. Fares Coniectrion. $16 ROYAL VIENNA CUP AND SAUCER. Rich maroon and gold decoration and finely painted medallion. By Von Boucher. S. B. Fares CoLiecrion. 317 OLD DRESDEN CUP AND SAUCER. . - Rich decoration in gilding. S. B. Fares CoLiection. 318 AVENTURINE GLASS CUP. With dragon handle. S. B. Fares CoLiection. 319 SIX INDIVIDUAL SALTED ALMOND TRAYS. Carnation design, with Cupid. 320 FINELY ENAMELLED VASE. Goblet-shaped. By Paul Soyer, of Paris. Medallion portraits of Francis II., King of France, and Elizabeth of Austria, surrounded by scrolls and floral design en grisaille. S. B. Fares Coniection. 321 RARE MAXIMILIAN TEA SERVICE. Consisting of teapot, chocolate-pot, pitcher, sugar bowl and six cups and saucers. French porcelain, with decora- tion of medallion portraits of Achilles, Mercury, Helen, Hercules and other mythological personages, en camaieu; and other ornamentation in gilding. Signed, ScHorLcHer. The above set, which belonged to Maximilian, was originally bought at the sale of the effects of Napoleon I., and after the death of Maximilian was bought at the sale of the con- tents of Indian Castle, Martinelli, Mexico. 3822 ANTIQUE CAPO DI MONTI MEDALLION, “The Infant Christ.”” Mounted in a wood and metal frame, which is inlaid with various stones. Height, 9 inches; width, 7% inches. . 323 ANTIQUE CAPO DI MONTI BAS-RELIEF. Mythological subject. Mounted in elaborate wood and a metal frame, the inner border of which has various stones | ag inserted. . Height, 11 inches; length, 13 inches. 324 TWO ROYAL WORCESTER LAMPS. With shades. 825 WASHINGTON PITCHER. By E. Walley. 1856. 326 JAPANESE LAMP. Kaga porcelain. A globular-shaped vase supported by a group of priests and animals assembled on a rocky cliff. 327 328 20 330 331 332 333 334 PAIR LARGE VASES. French porcelain. Equestrian portrait of Francis I. and his queen. Painted in brilliant enamels. Height, 20 inches. LARGE FAIENCE VASE. Greek form. Mottled red glaze and decoration of flow- ers and parrot in low tones of enamel. Height, 23% inches. TWO LARGE JAPANESE PORCELAIN VASES. Lacquered ornamentation of flowers, birds and other designs. With wood and lacquer stands. Height, 4144 inches. TWO CARVED WOOD AND GILT STANDS. Old Japanese. | CARVED WOOD AND GILT STAND. Elephant head support. JAPANESE EMBROIDERED BANNER. From a Buddhist temple. GRAND PIANO COVER. Elaborately embroidered Japanese silk. TWO PAIRS OF BUFFALO HORNS. Polished and mounted for hanging. 835 FINE BRONZE FIGURE. “The Moorish Arms Seller.” By E. Peynot. With — plush pedestal. . Height, 26 inches. 336 FINE BRONZE FIGURE. “ Bacchante.” By F. Duret. Height, inches. 337 ELABORATE JARDINIERE. In burnished brass. Height, 19 inches; diameter, 17 inches. 8388 ELABORATE PEDESTAL. In bronze and brass. Figure of Neptune. Height, 44 inches. 339 PAIR GRAND SEVRES VASES. Graceful oviform shape, with spreading mouths and bases. Enamelled with a clouded blue glaze in imitation of lapis lazuli. Height, 45 inches. 3840 PAIR ELABORATE PEDESTALS. In carved wood and gilt. Louis XVI. style. Height, 28 inches. 3841 ANTIQUE CHINESE LARGE FLOWER-POT. Hard paste; elaborate decoration of dragons, birds of paradise, peony and chrysanthemum flowers and leafy scrolls, painted in brilliant enamels. Border of symbols, arabesque and diaper pattern. Height, 17 inches; diameter, 184% inches. 342 343 344 — B45 346 347 348 CARVED TEAKWOOD PEDESTAL TABLE. India marble top. BRIC-A-BRAC TABLE. Wrought brass. WROUGHT BRASS TABLE. Marble top and glass shelf. GEM CABINET. Carved and gilt wood, lined with plush. LOUIS XV. GEM CABINET. & Rosewood, with brass mountings; glass shelf underneath. FINE-ART BOOKS AND CATALOGUES CERAMIC ART OF JAPAN. By George Ashdown and James Lord Bowes. Profusely illustrated with colored and half-tone plates. Two vol- umes, folio. London, 1875. — THE WORKS OF ANTONIO CANOVA. In sculpture and modelling, with descriptions from the Italian of the Countess of Albrizzi and a biographical memoir by Count Cicognara. Heliotype edition. Two ~ volumes, folio. Boston, 1876. 349 THE TURNER GALLERY A series of 60 engravings from the principal works of Joseph Mallord William Turner, with a memoir and illustra- tive text by Ralph Nicholson Wornun, Keeper and pone of the National Gallery. London, 1875. 350 FIGARO SALON. Various numbers. 851 ILLUSTRATED SALON CATALOGUES. 1884, 1888, 1889. 3 volumes: 352 CATALOGUE OF THE WORKS OF BARYE. Exhibited in New York, 1890. Large paper copy, private limited edition. 353 MARY J. MORGAN COLLECTION. Catalogue de Luxe. Edition limited to 500 pope ra which this is number 31. New York, 1886. 354 A. T. STEWART COLLECTION. Catalogue de Luxe. Edition limited to 500 copies, of which this is number 78. New York, 1887. 355 COLLECTION COTTIER. Illustrated Catalogue. Paris, 1892. 356 TWO ILLUSTRATED CATALOGUES. Collection Roederer. Paris, 1891. Vente Alexandre Dumas. Paris, 1892. ‘HE CRABBE COLLECTION. a ‘Illustrated Catalogue. Paris, 1890. ‘HE SECRETAN COLLECTION. Illustrated Catalogue. Paris, 1889. Collection Barbédienne. Paris, 1892. Atelier Emile Van Marcke. Paris, 1891. AMERICAN ART ASSOCIATION, = ; . MANAGERS Tuomas i Kirey, ‘ Auctioneer — 1 tt a ewe _— wets — nes - — ~ i ee tt, a eatin (= =eereee a oe ee Se eee G BL i 4 ™ 8 { G it Ay ys . 7 , Aho ve \ At y h t it ¢ ¢ 2 = fore eee = 4 de eT OL ye oe 3 hy? 42 3 face wb in cae wept Saale tx, ene, ee ey ie anes eee? ry S 7 te i RAS on Sltgtace# eee ee Ps 5 Nad aE a Bes 0, 7 heh ay BSS, ra ee, Of sy De 7 * - st > ney Sz