LIBRARY a |M.Knoedler&Co. 667 | 14Fast 57th St |= >| New York Jura | N PETG NTIS a - | } | q | | | lection made by a THE SULLIVAN COLLECTION OF PAINTINGS. At the American Art Galleries an ex- hibition is being held of the paintings: col- 4 lected by the late Mr. H. Wood Sullivan jof Brooklyn, which are to be sold at auction | |on Friday evening next. | With a very fewexceptions they are all ensemble of. erican art has never been seen béfore.in public in this city.. It is true} | that the exhibitions which preceded the) Clarke and Evans sales were remarkable| | ones, more remarkable than this in view of) , certain pictures, but the present displays an evenness of standard and with all its va- riety a uniformity of taste and selection! that give it a delightful evenness. It: rep-! resents, indeed, the fine: qualities of a col- pagan of unusually sen-| | sitive cea) e result is an ex-} hibition widely representative and of such’ a character as.te, prove that a real judge’ | and lover of pictures need not go beyond the limits of Ajerican art in order to gratify his taste. > Like mday collectors, Mr. Sullivan ‘had | some personal. preferences, and: one of} them was for J. Francis Murphy. It is a‘ preference that a great many other people share, but unless they happen to be intimate with this artist’s pictures they will hardly | have realized before the charm and. range, of his work. Here, he is discovered to be a master, not of one or two moods, but of many with a quality of expression almost unrivalled in modern landscape painting. Certainly of its kind it is unique,.for Mr. Murphy, self-taught and. severely self- critical, is entirely .individual. Viewed in relation to the choice of subject, such examples as “The Brook,” “Hazy October” and “Afternoon in September”. represent a charm that can scarcely be surpassed. They are pictures that must live and be competed for in the future with increasing eagerness. ! Another artist for whom Mr. Sullivan displayed a preference’ was Frederick W. Kost, by whom there. are ten examples. He again is a painter of marked individu- ality and many moods, and finely repre- sented. “Jow strong is “The Kelp Gather- ers;” vigorous and splendid {n color, “Surf Fishing”; solemnly vaprocel ts the “Moon- light on the Kill von Kull,” and how tender \“The Net Reel”! His other exhibits are } the work of a painter who combines more) | than usual manliness’ with sensitiveness lof feeling.’ And again, it is true of his work | that. probably none of us has seen on one | loceasion so many really fine examples assembled, such stirring confirmation of | the estimation in which we hold him. It is characteristic of Mr. Sullivan’s range of sympathy; an evidence, in fact, of the very personal way in which he made his choice, that he included a great many of the so-called impressionistic pictures; and the visitor may note how naturally they by. or eae and a more charming) take their places with the rest of the collec- tion. There are three examples of Theo- Gore Robinson, charming in their sim- plicity of observation and delicate intuition , of the spirit of the scene. There are nine, examples by Childe Hassam, and the “Isle of Shoals,” painted in 1899, with all its charm of color and animation, in both these quali- ties is inferior to his later work, and proves his continual development. Nothing, for instance, could be more exquisitely subtle than “Spring Morning, Fifth Avenue and Fifty-sixth Street,” a heavy load of title for so delicate a subject; or a more vigorous bit of impressionistic realism than “Snow- storm in the City,” while “The White Dory” with its single occupant, a dainty girl, is quite the most charming of all his figure subjects, seeming to reach most com- pletely the unaffected naturalness and idealization through light and atmosphere at which he aims in his use of the figure. By John H. Twachtman there are three examples, and by another deceased artist, Robert A. Hichelberger, a single _land- scape, “The Road to Sag Harbor,” a pict- ure of remarkably beautiful” quality “of color and with that tender’ elegiac feelin that one. associates: with Cazin; while,.stil another landscape, “Solitude,” is a. re- minder of an artist who passed*away too early, one of quite unusual power and depth of sentiment—Richard Pauli, Nor in this connection should “The Sentinel,” by William Bliss Baker, be omitted,a work of delicacy and breadth, already far re- moved in its qualities of observation and rendering from. the minute, though mas- terly, precision of his, earlier subjects. By George Inness there are four examples, and by Homer Martin one. Some of the names which are familiar to an increasing number of collectors and | are signed here to pictures of sterling merit, are: Horatio Walker, Charles H. Davis, Bruce Crane, Paul Dougherty, George H. Bogert, Ben Foster, Alexander Harrison, Robert C. Minor, Leonard Ochtman, Arthur | Hoeber, Carleton Wiggins, Arthur Parton, | Julian Rix and Henry W. Ranger, while ‘among the painters of the figure are Hliza- beth Nourse, Benjamin Heelnien, Albert B®. Sterner and Gilbert Gaul. The exhibition is one that everybody interested in native art should on no ac- count fail to see. | SALE OF AMERICAN PIOTORES. BEST LOT OF THE Lr iede Ar THE HA. eave SS LLIVAN A Frederick S.“Gibbs Gets the Most tienen. sive One of the Lot—Bird, _Coler a Buyer Too—A J. Francis Night —The Antics of a Five-D One hundred paintings, ,all but about half a dozen of them by Am@rican artists, belonging to the estate ofthe late H. Wood Sullivan of Brooklyn ore sold at the American Art Galleri last evening for $25,270. Taken as a whole, they made up the finest lot of American canvases which have been offered at public: sale this winter, and when Mr. Kirby announced in open- ing the sale that the collection was the most even one of American paintings which he could remember handling there were’several persons ready to support the | | evzeee ae Mend aocuracy of his memory. The sales gallery was crowded before the hour for beginning the auction, and many persons stood throughout the evening. Among the purchasers were ex-Senator Frederick S. Gibbs, Bird S. Coler, W. M. K. Olcott, John Gellatly, William T. Evans | and A. Augustus Healy, and among other ersons in the audience were Hugh J. rant, Col. Abraham Gruber and Ben anda number of the other artists. The highest price of the sale, of course, |was paid for a foreign work, a fine Cazin called “A Village Street,” which sold at $3,000 to a firm of dealers. But far from discouraging the admirers of American | paintings, this seemed to lead them to strike out for a good work more vigorously | than they had before appeared to feel like doing. - The next canvas up was one of rare charm by J: Francis Murphy, “Afternoon in Sep- tember,” and the bidders got after it at once. . There was considerable fun over the ‘bids of a “$5 man,” who persisted in offer- ing only $5 at a call, even when the bids had got well into the hundreds. His chief antagonist tried to run him out once by advancing abruptly from $1400 to $1,500, with his bid, but the “five-dollar man” tried $5 again. The painting was finally knocked: coh at $1,550 to Senator Gibbs, who.is no longer called the Wicked One, now that he buys paintings. This was the highest figure paid for an American pictur at the:sale... The next picture offered was another Murphy, ‘ “Silence,” and Bird Coler bought it for $900. The same painter’s “Indian Summer” went to E. C. Fuller for $350, and altogether it was something of a Murphy night. The auction was called a successful one, although the prices paid ran very unevenly. The paintings which sold at $100 and above, with the artists’ and purchasers’ names and the prices. follow: . » “#10 the Catskills, 5 Marting ©. S. Mersick... Bidder. , oster | “Old Willows,” ile WA. eek one , Olcott Shite oe wachtman; W. M. K. COMMS ee prey Meas ssc. See ices ost ew Berea ccc cossere ; Prait s_- meuete Horning’ in Normand W. Macbeth _ Hea: Hee. is GARR aR EE ole x wee Pee RIREY 170 The Brook,” Murphy; W. E. Ward 465 ae Gloucester Dock,” Hassam; Lee. 160 52—“The Brook,” Eggleston, E. C. Fulle 130 54—“Hazy October,” Murphy; Lees. 370 55—“Summer Moonlight,” Boston; A. Gros 135 56—“ White Horse,” Bonheur; A. Plaut...... 830 57—* Frosty Morning,” Wiggins; F. J. Quinlan 150 58—"“Spring Morning, Fifth gles and Fifty~sixth Street,” Hassam; A. A, Healy. 320 | ey Moone on the Kill Von Kui Kost; ; bods 0jn equsabsde yar teeta reqbralerncelncs «ca uansiehe s'est sional Sec 150 60 —iteay Twilight,” Davis; Macbe th. cores 340 61—“Spring, Bloomfield, N. J.,” L. C. Earle: . M. Tb. Sivese wanton cae on eee te 200 62—“The White Dory,” Hassam; J. Gellatly... 170 63—“The Road to Sag Harbor,” Eichelberger: Dra PWNS ae, Se a ee a a 140 65—“A Cape Ann Moor,” Crane; Fuller...... 290 67—"“The N et Reel,” Kost; Sire... ....005.... 260 68—" Winter Morning jn the Catskills,” Has- brouck; W. AN GGESOD @iaticd. ec oes 5 140 69—“Indian Summer,” Murphy; E. C. Fuller, 850 70—"“Surf Fishing, “ Kost: L. ‘Etlinger Bens aa 150 7i—“Sunrise,” Dougherty: AEIGTOSS i ie sia oe 205 72—The Last of the Year,” Crane; W. H. Beardslee. .. .\ 7:00 tater onan gars seer 165 55, 73—“The Passaic Valley,” Hoeber; Anderson. 100° & 74—Twilight,” Crane; CUR Gives... horace d70: FF rgads oe | Morning,” Foster; Li G.. Bloom- Bs ee bid tates 16 6 se Nls ETC a center chee 190 76—“Frosty Morning, Fontainebleau,” Wig- gins; A. Plantis ig. )fiwin eee oo ee ee 200 Ti—"A May Seen Crane; Se ecaning 100 woplauti. cis Y Brena: Talrd. cis Me caine sce peel 82—" A Vitae Street,” Cazin; Knoedler & Co. a See in September,” Murphy; F. S. so Showery See. iwi t Bogert: M. CIS OR i gale 5 CR peaiiea Aer ely 03 1 eats 2 Pe 89—“Moonrise at Sunset,” Hassam; G. D. 93—‘‘Marine,” Harrison: J. Si Ullman s. eo—“Autumn Leaves,” Eggleston; Fuller 92—"Halt ‘on the "Tow-Path, » Robinson; TT SSRI MPA iy eee ee: 4: 200 css enue ashe Noaci a see Te 93-—"Evening After Rain,” Wiggins; W. T. Bik Nek) 1, Nene gait wea lenmnpen ev nuke es ire gr a oy" 94—-"The Kelp Gathorors, ” Kost: Etlin er. 95—"“The Milk Carrier, Etaples,” ourse: Mey rowiltgiicnictc coven eere cee peat 96—"“ Chareing the Battery,” Gaul; W. © Sree suas aided eat hans wk Cseld «coe ste sa Rae remain | WOOD-SULLIVAN The Rosa Bonheurs—Recent Work by Murphy and Kost. Nearly 100 paintings, belonging to the estate of H. Wood Maayan of Brooklyn are at the Ameri a Galleries, 6 East ‘Twenty-third Ste where they will be sold’ on Fri Ng ing next, ril 8. For the greater xt they are by¢ ing or re- cent American painters; on few Huro- pean pictures are among then?. Mr. Sullivan seems to ha#e been a stead- fast patron of a numberof our younger artists, notably of & Francis Murphy, ‘Ghilde Hassam, and} tederick W. Kost. ‘Blakelock was anotigr of his admirations, and he certainly managed to obtain several of the) better sort from that very unequal ; painter's tonal bits of landscape. Lovee which is ‘catalogued under No. 32 yee better aerial perspective than is usual | with him; the warm glow of light.late in ptme afternoon is rendered with measurable | teuth to nature. “Sunset on the River cz {is another attractive panel, on a very small seale as to size, scarcely 4 by 6 seen Le Evening Glow ’’ and “ The Hunt- | crs are little pieces with shining faces of the usual kind. | \ Perhaps it is Francis Murphy who should t carry off the honors of this gallery. Sev-~ yorak painted last year have the tones that Suggest pastels, but not disagreeably so; on Fue ‘contrary, No. 69, ‘‘ Indian Summer’ ; lo i ‘Afternoon in September ” ; No. jd, Hazy October’? ;'. No.: 49, , “The Brook,” and No, 43, “After a Rain,” are Pe eo nOny good specimens of Mr. Mur- fee oes work. In the last mentioned ithe yellowish green of the wet pz rei FL pasture is in accord with the golden light of thea sun, which is trying to pierce the broken pet clouds near the horizon; the level | sere enrich the greensward with a very | different light from that which falls from above at other times. In No. 49. we have farm land, a wood on the right balancing » more distant hill on the left, and the ¢ ouds playing their part to enliven a land- eae which suggests happiness and peace. eds warm tones are in ‘' Hazy October,” where the foreground has the colors of the sare on grasses and shrubs. The birch be on 2 slope in the. background have C orot effects, with their scattered leaves against a white cloud. Much in the same fe spirit is the September landscape, the finest example of this “ crop of 1902” is No. 84, Silence,” ‘with a hilltop in sunlight and its foot in shadow, the dis- See acces mele fields, orchards, and é use, a ainte vit ie = joyment of the Sains. oe f ee canvases by Childe Hassam are di- Ena ed between townscapes taken here in | Aci el deagee and glimpses of Gloucester and e Tsles of Shoals. “Snowy Day in the City,” and ‘' Snow Storm, Seventh Avenue and Fifty-seventh Street,” give the broad facts of the case with no great subtlety of touch. More atiractive is ‘Spring Morn- jing, Fifth Avenue and Fifty-sixth Street.’’ } More curious than convincing is the young woman with straight straw hat who sits in “‘ The White Dory ”’ in the sunlight; for Mr, Hassam’s method is better suited to lan apes than figurework. At a proper send the distance that is nroper a PICTURES. — Garly Paintings by American Artists— itrue decorative qualities and would glow isva jong one—the OIL OL LOCK ald etree ss of sunlit sea in ‘Isles of Shoals’’ ‘stand, out in brilliant colors that might well em- pellish the dark rooms of a city house. ‘Another fine canvas is a recent* shorescaps rad >) it has called ‘‘ Moonrise at Sunset ’’ (1902 from a shadowy Wall ina, corridor with the best effect.‘ Indian Summer, Colonial Daye,” was painted in 1899 for the exhibi- tion of Colonial Dames jin Boston, where it received a prize. It contains an antique wooden dwelling of the modest Colonial sort, and two figures in old-fashioned garb, The late Theodore Robinson, whose ict, ures have Manhy } i admirers, is: seen in a view taken at Giverny, the home of Claude Monet, in “ Halt on the Towpath,’ a New Jersey. bit, and in ‘ Willows and Wild Flowers.” The last was painted four years before his death, and may be considered the best. The pollard willows and. the pasture dotted with flowers, are painted with the greatest lightness and feeling for out-of-door effects. Impressive in its quiet robustness ‘is am early Ochtman dated 1888 called ‘ Mit wood.’ It is a grove of noble beech trees in Autumn, and pep the solitudes of) the sylvon deities in 4 big spirit. An earls George Inness, Jr., ‘A bans) picture by : 1 ewe and lamb in«a spowy: dicated: doned,” gives waste, the pleating of the ewe inv py her raised muzzle and the streagm, ‘OLS breath that becomes visible as it issnes into | frozen air. ‘Twachtman, whose studio was sold the other day in these galleries with | gratifying results, appears in these exam- ples—-‘* Indian Summer,” “ Autumn After+ | noon,’ and “A&A Gray Day.” The second appears to be a view of his house at Green- wich, Conn., seen through the' rich foliage | of Autumn from the front, with one gable end in the sunlight. Tt vies with “A Gray. Day” in quiet eharm. Metta Among the foreign work ‘appear two. small specimens of Cazin, hardly re resent= ative of his latest work; ‘A Wood Nymph.” in water color by Charles Chaplin; a pleas= ing little jandscape by Veyrassat, ‘calle “Harvesting,” and. three pictures by Ros Bonheur, “* Plowing,’ a small picture oxen, is from the Bonheur sale; ‘* White Forse in Sunshine” is not without merit; pest is the largish “ White Forse,” painted in the stable near a hayrick. Tt-is a’ very accurate, conscientious portrait of one 4 Miie. Bonheur’s equine pets, a, horse of “distinguished pedigree and a hide that does’ not usually attract puyers—a real farmey horse for the cart. It is an unusually | good example of the minor work of this” much-decorated and much-medaied lady.) Aaa] A good early example of Horatio Walker is a landscape with cattle called ‘in the Meadows *’; among the four Bruce Cranes the best is ‘' Winter’; Charles H. Davis is represented py a fine “Rosy Twilight’ jandscape, dated 18&8:. Du Bois EF. Has- brouck by a very attractive ‘* Winter Mern-— ing in the Gatskills,’’ full of color; Arthur Hoeber by three landscapes, Robert oe Minor by a “Twilight.” and TH. Bolton Jones by @ “ Spring.” landscape. in No less than ten pictures are signed Kost, “Surf Fishing ’ and “The Kelp Gather- ers’ are rugged scenes of shore life paint- ed in 1901 and 1900; by comparison with ths eurlier work here to be seen they show what an extraordinary change for the bet- ter has taken place in his case, how much truer, more robust, and individual his pres- ent style is than it used to be, although that earlier work, chiefly dealing with views of the salt meadows of State Island, did not lack merit and often had particular charm. ety “One should not forget the peacock-colored sea of Alexander Harrison with the two: high-prowed galleys rushing forward under: stress from their lateen sails, nor the four early examples of George Inness. ‘These are works surpassed in later years py their makers, but they are not uninteresting. Homer D. Martin, William Bliss Baker, Be ‘A. Bichelberger, Harry Chase, Richard, 4 COLLECTION OF THE LATE H. WOOD SULLIVAN BROOKLYN, NEW YORK ON FREE VIEW DAY AND EVENING , FROM SATURDAY, MARCH 28TH, UNTIL THE DAY OF SALE, INCLUSIVE TO BE SOLD BY ORDER OF EXECUTORS ON FRIDAY EVENING, APRIL 3D, AT 8 O’CLOCK, AT THE AMERICAN ART GALLERIES, MADISON SQUARE SOUTH LC Vowmltz, Eis 64» “mating, Ales is Weak Day ‘katy, *Gésres’ ; : By Gipert Gauly? Paes aa Gee athe naa onine Paar ne ; aa which. took a bronze medal at the. b H Bogert; B. C.. Fuller... 6s: nerican, is one of the most suikis: ey bay & ge tag J the gallery. RRL EEE SE EES, M Eat th ii Bloomfield, N 4 Barle; M.: L. Sire.......-+-- |g pet A Cape, Ann Moor, Bruce Cr | i | ‘URES AT AUCTION: Mithen Wiles oases (cp ernee ees) 2 Indian Summer, J. Francis Murpt ‘4 Te i! eee Behe ponies Tee ae unrise, Pau ougherty; ross. ‘ The” «We | aiiven Collection or One Frosty | Moming,, Forest ‘ot wontainebléau, arleton iggins; A. BU cAvEe : Hundred Canvases Sold for $25, 270. After a Rain, J. Francis Murphy AinsSl€@ . cs ee eee cece tere teenies si Solitude, Richard Pauli; D. B, Prat In the | Meadows, Horatio Walker; he i The: sale of 100 paintings, principally by American artists, from the collection of the , S ° 5 aes 3 a te oO =} ot es te H. Wood Sullivan of Brooklyn filled | i Spe Th Bi a Saga ee 2 Murph W. : ‘the auction room at the American Art Gal- Nene ce ees pune ‘405 eries” to. the very doors last night. Sa he record price was $3,000, ee White Horse, oie! Bonheur; Albert Pi a B40 i the: painting py J. GC. Cazin called “A Vil- pring Morning, Fift venue and fty- i S 3 sixth Street, Childe Hassam; A. A. Heal 20: | | lage | Street,” and the purchasers were whe Ol) Medfield Bim, George Innes; G. ue i snoedler & Co., art dealers. The next D, Pratt (....csees- 420 | highest was a landscape by J. Francis Mur- ie ieee mene ue pias | S58 | hy, which fetched $1,550 and was bought ahs Nae os omaningy 2 siti TESOL Sec cee eee ee ewan . _by Senator F. W. Gibbs. Another Murphy; x Bi i eivemy, theodore Robinsons 3 ey “ Silence,’”? which was put up next in order, 250 « “was knocked down to Bird §. Coler for . $900-—-this being the third best price, Mr. Coler bought yet another Murphy, ‘At Sunset,” for $225, The total proceeds of | the. sale of the hundred pictures was | $25,270. The following are the more important BIRD S. COLER BOUGHT “SILENCE” (Pais zon with the names of the artists, : BOUC the purchasers, and the prices: | | Spring Ploughing, Frederick WwW. Kost; ‘ Fred 8. Gibbs and Other Politicians at i a Guede a? KX oe ae Seas ac nope ey $225 Sullivan Art fale. : njamin eston i paette 2 i 1 hia IoNtespis oe as ee econ ee Politicians and Brooklynites were the | A Wood Nymph, Charles Chaplin; A. “4 : principal figures at theGale of the H. Wood _ Obrig eid die Woe ea selene © We 6 50 < Sieg eee. 48 6 8's er ‘ Sullivan collectio aintines ints bite Horse in” al Hone Bonheur; Hoes | Near Ki $4. ¢ gs in the evens Ulmann....---:ccseesseecee? : d ican Ar, afiePies la is ; B , ‘rhe ee é Glow, R.. A. Blakelocks; es would MN 4 oa they eis el Ne a a no?dier Direc Wa Nal vaeiaders: aia ce $e pas 4 { ; “? é » 0: a aie Savas Canin, “ ‘A. Murtay. ape \ ators of Aferican art, for the chief inter- e Hunters, 5 akeloc eg... \ i ‘ ‘ ‘ Ploughing, Rosa Bonheur; C. 8: Mersick. 110; est in the sale NERS HE: the prices brought eet co on ihe River, R. A. Blakelock; a by the works of native painters. ; r. A 51 Oh eae eS SPOR RG. ks 10° Mr. « oe : “Twilight, Hobert C. Minor; William Glau- 00 Sena ee one ba ne a mat ant pie Pee Sadr eer eee Wa ER 2 ures by foreigners ‘The Bdge. of the ‘Forest, George Inness; a among his paintings. One of mee = ae Gs Butt Gis HL Wo Heneesy ae 182) course, brought the high priga of the sale, Dic GG tiie) ie eis oto ole nO ais SP de 27 190 | $3,000. This was paid by Kiwedler & Co. ote oe in the City, Childe Hassam; A en a aaels “Vilage Stree and the next | John’ Zimmerman... : : j ighest price was $1,550, 1d by f Sug: . E. | Senator Fred S. Gibbs y former Waar ore Oe rats aye eas 430 | sue ave S. Gibbs for J.’ Francis Mur- ‘A. Frosty. Morning," Southfield ET eS, ie phys Atternoon in Sepfember,” the bid- ~ Frederick W, Kost; J. G. Gillespie...... 125 g starting at $500 andYgoing up slowly |. Willows and ee Flowers, Theodore Rob- ai De ako ee pe Seas Coler bought Mur- inson; John BEY wie tee es EER 325: Y | In naked ‘Woods, George Inness; M, bi : oe oe for ee s@le’ was $25, 270. ‘Some aay Poser Age ae ares Cae AAEM MIE 3 , pictures, Uys an Southfield Marsties, S. iL, Frederick ‘wi =~ | Leonard. Ochtman’s “ Reed: oN. ia Kost; William ‘H. Cummings.......-... 190° erowitz, $410; Theodore Robinson’s “Halt es | Landscape, R. A. Blakelock; BH. C. Fuver ’ the Towpath,” T. E. Maine, $42 ine ares a eae Pee xe ‘the Slumbrous , ; H. Bogert’s ‘Autumn Morne? ices a, Fe akéloc hee. ao, Da] 2 i ag the Catskills, J. Francis Murphy; A. y Pullers HR Muroue eee — EAS age RPS gg = ote Gol ee eon 27 r is ' Landscape, Arthur Hoeber; Mr. Graham.. ub Mea $165; Horatio Walker’s “In the Mead- | Halt on the Tow Path, Theodore Robinson; ou E. Montross, $575; Julian R’x’s eR tm Wialibes kao as Pees slew cess = 425 Near Little Fal's,” Charles Stolberg, $525; | fhe Kelp Gatherers, Frederick W. Kost; \ George Inness’s “Old Medfield. Eim.’’ G. Pe Douis Htlingers.<..sss--ebeetee seen ert aae 250 Pratt, $420; Blakelock’s “The Sun, Serene, a | The Milk Carrier, Staples, Elizabeth, } 1 D. Lee, $475. and RUBY, s ‘ ‘Sugar “Nourse; E. B. Meyrowitz......2.-+.00++ 200 House, ” W. EX Ward, $430. «i CATALOGUE OF THE MODERN PAINTINGS PRINCIPALLY BY AMERICAN ARTISTS COLLECTED BY THE LATE H. WOOD SULLIVAN BROOKLYN TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF MR. WILLIAM SULLIVAN AND MRS. CLARA V. SULLIVAN, EXECUTORS THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK 1903 Press of J. J. Little & Co. Astor Place, New York 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 wp 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 gwe 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 seitled for to the satisfaction of the Auctioneer, on or before delivery; im default of which the undersigned will not hold themselves respon- sible if the Lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or 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 ceasioned 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 private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This 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, Manasrrs THOMAS E. KIRBY, AucrionEER CATALOGUE SALE ON FRIDAY EVENING, APRIL 3p, BEGINNING PROMPTLY aT 8 O’CLOCK AT THE AMERICAN ART GALLERIES H. BOLTON JONES ae A litttr¢ JI—SPRING | Cc? JAD tea oe Ce : 7 f U/ Pastel A deeply-rutted wagon track leads over a green pasture, where grow straggling trees among gray ledges of rock. In the distance are rugged hills, and near the foreground is a pool, which is crossed by the road and reflects the summer sky. Signed at the left, H. Botron Jones. Height, 54% inches; length, 10 inches. ‘ J. J. VEYRASSAT : | 2—HARVESTING «pap fe Two hay wagons, each drawn by a black and a white . horse, are standing near a half-finished hayrick, both of | them partly hidden by the mass of hay. Peasant women on the rick are busy trampling down the hay which is pitched upon the pile from the loads. In the distance is a pleasant sunlit landscape, with low hills at the horizon. | & Signed at the right, J. Veyvrassar. Height, 34% inches; length, 64% iches. FREDERICK W. KOST : . am ie ag uae (2 Veet | | f : 3I—SPRING PLOUGHING The landscape is simple in line with a distant hill in the haze of early spring and a broad, flat field in which a farmer is ploughing the sward. The horse is turned away and the ploughman is guiding the plough to start another furrow. Signed at the right, Kosr. Height, 6% inches; length, 10% inches. HOMER D. MARTIN eee THE CATSK is, 24 Ag v TVUAL eR In the foreground is a pool of water, where noe rocks form a natural dam across a stream, and near by on the left is a slender birch tree. In the middle dis- tance is a building and beyond is the forest, above which rise distant hilltops; all in the warm glow of late after- noon. L Height, 5% inches; length, 9 inches. R. A. BLAKELOCK ~~ A a /\ ee b fy pe : 5—EVENING GLOW yi J li 4 Cee Bue: © BAL Against a sky flecked with small cloud forms, and in the golden glow of sunset rise the broken forms of tree tops, through which the light breaks and sends a warm reflection into the dense shadow of the foreground. Signed at the right, R. A. BuaKetocx. Height, 6 inches; length, 8 inches. J. FRANCIS MURPHY | 6—OLD WILLOWS 4 Vi ais Bae Vy | a fe co we : In a meadow beside a rushy pool grows a clump of ' straggling willows, lifting their slender boles against the sky. Beyond are farm-houses and leafless trees and : a low hillside with cultivated fields. The gray sky is broken by a gleam of strong light near the horizon and by modified accents above it. Signed at the right, J. Francis Murrwy, 1901. Height, 8% inches; length, 12 inches. to - MAN Z J. H. TWACHT oD ee Ar : |) J : Via i ve ee, { CH Wi 7—INDIAN SUMMER ~<23> {=F GF 0 Against a hazy sky arise the gable ends and chimneys of a white house, which is surrounded by trees, the near- est of which make prominent features of the composition. Over all is the veil of autumn atmosphere. ¥ Signed at the left, J. H. Twacurman. Height, 10 inches; length, 14 inches. GEORGE INNESS 8—THE EDGE OF THE WOOD jf xO ats A bit of open, sunlit ground near a great wood, where, on the left, high trees rise out of a dense under- growth. On the right, beyond a ledge of rock, is a bit of blue distance suggesting a distant forest, and above, the sky is faintly seen through the foliage. Signed at the right, G. Innzss. Height, 10 inches; length, 14 inches. HARRY CHASE 9—NIGHT ON THE SOUND 27 ? £7 ; S : 6. OS. Ihageranir In the mystery of moonlight the half-defined shape of a vessel is seen sailing on the gently rippling water. The moon struggles through the clouds, its disk softened by a ruddy haze, and beyond the sparkling reflection is dimly seen the distant shore with the lights of houses and forms of trees. Signed at the right, H. Cuase. Height, 12 inches; width, 10 inches. HENRY W. RANGER 10—ON THE RIVER MAAS rs he M 5 6’, | pee /¥- MAI IA oy ; In the foreground on the right is a Dutch fishing ji ® boat with two figures in blue, and farther away and on é the left are barges and sail-boats, with the low line of the land beyond broken by the dominating form of a windmill. Above, the summer sun bursts through a rift in the clouds and strikes the distant water with a broad flood of light, which is echoed over the surface of the river. Signed at the left, H. W. R. Height, 12 inches; width, 14 inches. FREDERICK W. Kost / / « ae 0 1J1—FISHERMAN’S HUT AT HICKS BRIDGE, MASS. Oo pt Sor ner [ILA Ie gd§Pwang On the shore, half hidden by a clump of willows which, grow on a rough bank, stands the simple cottage of a fisherman, who is at work on his nets near by. The | house and the irregular line of nets are in silhouette against a sheet of water, distant low hills and a simple | sky. Signed at the right, Kost. f ! Height, 12 inches; length, 18 inches. CHARLES MELVILLE DEWEY rs, [/ Ay 12—SUNSET Ary it — Olan ie * An isolated knoll covered with tall trees stands on the left beyond a broad winding stream, and, on the right, the view extends to the blue distance, where a church stands out prominently against the sky. The soft, rosy glow of early twilight extends over the sky and is re- flected here and there in the water. Signed at the left, Cuartes MEtvitte Dewey. Height, 12 inches; length, 16% inches. GUSTAVE HENRY MOSLER 183—VALLEY IN THE CATSKILLS Y/ D> —— = is Ares Through the lush meadows in the foreground winds a narrow stream reflecting the light from a cloud covered sky. In the distance, beyond a rank of trees which border a field where the grain has just been harvested, is seen a range of wooded hills. Signed at the right, Gustave Henry Mosier. Height, 13% inches; length, 17% inches. BENJAMIN EGGLESTON e — 4 ee Ee ap: y 14—A LOAD OF WOOD 4 a yi 4 SAAR 4L This is a bit of quiet country, with man in red shirt driving a cartload of wood across a field toward the spectator. On the left is a clump of pine trees, and on the right a few bushes and wild flowers. A spot of deep blue shows through the clouds at the top of the sky. Signed at the right, B. E. Height, 14 inches; width, 11 inches. CHARLES CHAPLIN 15—A WOOD NYMPH FO sey. [~ @. Ube £ : Watér Color ve This is a study of the nude figure of a young girl seen to the knees. She is in profile perdu, and leans against a rock on which pink and white garments are lying. The background is an indefinite suggestion of forest foliage. Signed at the right of the middle, Cu. CHaptin. Height, 144% inches; width, 9 inches. ROSA BONHEUR | A ( hice We 16—WHITE HORSE IN SUNSHINE / AQ A white horse is standing in an open pasture, which is bounded in the distance by an irregular growth of stunted trees. The strong sunshine outlines the animal with crisp lights, casting a deep shadow on the grass. Signed at the left, Rosa BonHEUR. Height, 11 inches; length, 144% inches. een = a turpis ae extends the golden glow of early & sunsetWhiich lights up the landscape with a strong reflec- _tién, throwing into relief the dark masses of trees along a winding stream and the forms of low hills in the dis- tance. Signed at the right, R. A. BuaKetock. Height, 6 inches; length, 81% inches. J. OC. CAZIN pa ; | = ; we [me ys i ; eo EE / \2 pA firAy v/, From the foreground a narrow brook winds away diagonally to the left into the far distance, through a flat meadow. Here and there it is accented by the reflection of the sunset sky, where a strong light touches the edges of heavy clouds along the horizon. On the right is a clump of rounded trees on a slight elevation. Signed at the right, J. C. Caz. Height, 5% inches; length, 7°4 inches. R. A. segues: /) ae f 73° AG. aes Aline 19—THE HUNTERS } A mysterious sunny landscape is framed in by a mass of foliage on the left, a tall tree on the right, and a deep shadow across the foreground. The shadowing forms of iwo horsemen are seen galloping across the open ground, and in the distance are indefinite lines of hills under a twinkling, luminous sky. Signed at the left, R. A. Buaxetocx., Height, 6 inches; width, 5 inches.. ROSA BONHEUR 2 ay? ig és a “pers : : P, 0—PLOUGHING i / é, fe. & *hthgee This is a study of a yoke of brown oxen dragging a plough through an open field. They are seen in profile and in full sunlight, which throws a deep shadow on the ruddy earth. In the distance is a rank of low trees and a simple blue sky. Signed at the left, Rosa Bonweur. Height, 454 inches; length, 8% inches. From tuz Vente BonHevr. R. A. BLAKELOCK 21—SUNSET ON THE RIVER Ve / Through an opening between clumps of low trees grow- ing in a rich meadow is seen the rosy light of the sun, which has just dipped below the horizon. Overhead are ragged clouds indicating stormy summer weather. In the foreground the bend of the river, with rush-grown banks, reflects the sky. Signed at the right, R. A. Buaxetock. Height, 334 inches; length, 5%4 inches. 23—AT SUNSET ROBERT C. MINOR / Ss ee 5 22—TWILIGHT sac’ oD On the left is a large group of trees and on the right a smaller clump, with one tall birch dominating the mass. The foreground is rough and marshy, with here and there a bowlder. In the middle distance three pools of water reflect the glow of evening from a sky covered with soft ruddy clouds. Signed at the right, Muvor. Height, 12 inches; length, 16 inches. J. FRANCIS MURPHY ih SaaS pe PF ot The rich orange glow of sunset illuminates the crest of a hill, which rises high against a simple gray sky. On the left, growing near a pool, is a group of small trees, some of them with rich autumn foliage and others with bare branches which rise against the sky and break the line of sunlight on the hilltop. The foreground is all in shadow and is varied by a broad patch of green indicating marshy ground. Signed at the left, J. Francis Murpuy, 1901. Height, 14 inches; length, 19 inches. sae e ) v/) Loe: } fe jp (eX col KT ere iad : I= IU, GEORGE INNESS, = FA Zi @ AL LO Sy, v (eS f i/ On the right, along the river oe overhanging trees with the figure of a man half in sunlight, and towering high above is the top of a nearer tree, which comes out darkly against the sky. On the left, on a low spit of marshy land, are willows and small trees, reflected like the opposite group in the quiet water. Beyond is a reach of the broad stream with low, wooded shores and here and there a house. A great luminous cloud makes the focus of the sky. Signed at the left, H. W. Ranerr, ’95. Height, 12 inches; length, 16 inches. 27—SUGAR HOUSE al / 5 CHILDE HASSAM a SNOWY DAY IN THE CITY This is a view up a broad avenue from the corner of a cross street. On the right are house stoops and area posts in perspective, and in the top of the picture and to the left is a row of houses. Freshly fallen snow covers the street and the sidewalk, and lodges on every project- ing feature of the houses. Vehicles and pedestrians hurrying along give an aspect of busy life to the scene. Signed at the left, Cu1tpe Hassam, 1901. Height, 16 inches; width, 12 inches. S J. FRANCIS MURPHY LY oY = § “VA C , / On the left, among a clump of slender trees with the sparse foliage of late autumn, is a red-roofed, white- washed house which gives the name to the picture.