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 e end is not yet. 
 collections +o be dsberkar Se. 
 -are those of. John aN Talmage, 
 on. EEN at the. 
 oe auction sale 
 
 ‘on Thursday 
 
 Rips e Anderson gal- 
 on the eiieineeh and- evening of 
 the latter sale also including | 
 es. belonging to Mrs.| ‘Jane A. 
 
 in number, but their average 
 and the collection as a whole makes 
 agreeable impression. There are por- 
 erate and landscapes by the English — 
 uinters of the late eighteenth and | 
 early nineteenth centuries, an early — 
 itch and an eighteenth century Italian’ 
 tribution by Pieter de Hooch and. 
 ‘Francesco Guardi, respectively, and a 
 ; ig of French and Dutch modern 
 Cs pe and figure pictures by such 
 artists as Corot, Dupre, Diaz, Daubigny, 
 Rousseau .and the later men, Cazin, 
 ; yignies and Henner, the Holland 
 gent ..comprising Mauve, Israels’ 
 
 M aed Jacob Maris. 
 |. Looking ‘first at the older works, the | 
 | English’ portraits 
 Ef pee ne. likeness of the young 
 
 claim 
 
 e of Clarence, afterward William 
 IV., indicates rather frankly the un- 
 ‘formed character of the youth who was 
 to. become King of England. The 
 ‘painter has not failed to show the weak- 
 Mega of the lower part of the face, and 
 
 | ie brave color of the young man’s 
 | faval uniform and the formality of the 
 ‘Curled wig do not disguise these things, 
 and Gainsborough was no doubt quite 
 |aware that they would be perceived 
 This makes the portrait all the more, 
 interesting, On a nearby wall is the 
 portrait by Hoppner of the bewitching 
 M 
 
 ws 
 iar 
 
 favor of this weakling. The young | 
 
 woman is decidedly handsome, and her | 
 
 look is conquering. Hoppner painted 
 her with an appreciative brush, 
 
 Two Romneys are here, and both, 
 good. One is a conventional portrait, 
 large in size and agreeable in quality, 
 of Lady Blizabeth Twisden, seated at 
 
 f 
 
 full length, while the smaller is en- | 
 
 aimag> pictures are. onty ot | 
 
 - English © Pereraits 
 
 next at the, Plaza, -by the! 
 , and of Mrs, 
 
 | 
 
 attention... | 
 
 he hes suggested a corresponding Inde- — 
 
 elsion in his painting of the hands. pfijeq merely 
 
 \ be that of a member of. the De Vere 
 Jordan, who could scarcely have} 
 had much difficulty in winning the royal | 
 
 _ Offered ANS” Week. 
 
 LADY MARY ANNE BEAUMONT, BY SIR THOMAS LAWRENCE, IN 
 eee ee COLLECTION, TO BE SOLD BY AMERICAN ART ASSOCIA- 
 : “A; Lady. of Quality,” and | 
 shows the head and shoulders of a djs- | 
 tinguished young. woman, painted with 
 
 | was a young woman 
 |rather consciaus beauty. No member 
 of the English portrait painters’ group 
 a good deal: of freedom, yet with suffi- {could be sweeter than Sir Thomas, and 
 eient constructive sense to convey firm- | when he stopped just short of making 
 ness and actuality. The color is pleas- his color saccharine, as here, he seldom 
 ing, without being remarkable. Rae- [failed to make a picture that endures | 
 burn’s “Portrait of a Lady,” taken to | well the test of time. 
 
 Turner’s water color: of Fluelen, Lake | 
 of Lucerne, painted for John Ruskin’s. 
 father, about 1840, mates well with the 
 little collection of pictures by the Eng- 
 
 family of Midlothian, is handsome and 
 familiar as well, having been shown not 
 long ago in the Knoedler gallery at a 
 
 loan exhibition. It has. the character- |/igh master that were left by John 
 istie note of the sturdy Scotchman in Ruskin himself on his death and that 
 its composition, and the color, with its |were shown in London in 1900. With 
 quiet sobriety and richness, is marked /its rare union of breadth and detail, 
 by his enduring and satisfactory for- |one of Turner’s most celebrated quali- 
 mula, ities; this drawing carries to the be-{ 
 Lady Mary Anne Beaumont ‘as Sir holder a surprising strength andj 
 
 Thomas Lawrence has represented her } 
 
 ay Turner ‘Water Color. anne 
 _ Bouguereau’s “Lost Pleiad”’ Abend Those 
 
 of leisurely and 
 
* 
 
 east | 
 at wae 
 
 Fg 
 
 A LADY OF 
 
 paauty not easy to-resist. 
 ans, runhing down to the water, ands 
 € buildings:and figures in foreground 
 p OSition Wel] knit and symmetrical, It 
 fes One of: the most interesting 
 
 fin Mr... Talmage’s. coilection, .. With 
 Old 
 The ardi pas; the ever present little 
 Wetrokes of grayish white depicting the 
 sweeps of gondolas, or the tiny figures 
 of Venetians on barges or quays which 
 ‘are found throughout his competent and 
 Weecasionally inspiring work. ~ THis 
 wot @ great picture, but a pleasing one. 
 
 wants luminosity in its middle planes, 
 ut it has a capital little opening at the 
 "ark, through which warm light and 
 
 admitted. 
 
 The French pictures are representa- 
 tive of their kind. Those by the men 
 of 1830 offer nothing out of the common, 
 the familiar fields are traversed in the 
 haccustomed way. 
 
 The moun- | amples. 
 
 }and middle distance contribute to a com- |! aiso* characteristic. 
 pictures |: 
 
 rg ibe wmenitioned a prasmayt and an_ 
 
 §lie De Hooch is in the same category; 
 
 Wsome happy details of design are both | 
 
 They are good ex- | 
 
 QUALITY, BY GEORGE ROMNEY. 
 
 | Cow” has his well known breadth of 
 manner, and “Sheep on the Dunes” is 
 The Talmage col- 
 | lection will please most ODseEV ERE, and 
 startle none. 
 
 As remarked the other day. in a brief 
 review. of the Cary pictures, the, out- 
 standing canvas in this. collection is a 
 gecidedly unusual Bouguereau, . “The 
 Lost Pleiad” is strongly painted, the 
 
 firm, and the French painter of pretti- 
 {ness has secured, in this instance, an 
 { exceptional suggestion of the third di- 
 mension. 
 
 The legend of which Bouguereau took 
 advantage as a theme for this picture 
 is the old Greek myth recounting the 
 pursuit of the lovely daughters of At- 
 las by Neptune, son of Orion. When 
 they begged the gods to relieve them of 
 the unwelcome attentions 
 
 Jupiter turned them into white doves, | 
 
 in the sky,» In the beginning they were 
 
 number, but. Blectra, who is 
 
 i 
 | 
 
 and finally made them a constellation 
 [is in 
 
 modelling of this handsome nudé is) | 
 
 of Orion . 
 
 I 
 | 
 
 IN. THE TALMAGE 
 COLLECTION, TO BE SOLD BY AMERICAN ART ASSOCIATION. 
 
 Mauve’s “Peasant Leading a {the subject of this picture, 
 |away and was lost; 
 
 it is she that 
 Bouguereau has here recalled. Her’ sis- 
 ters are;seen far below, in the shadowy 
 regions of.space, while this lovely nympn 
 courses -upward,«her arms extended in 
 frert of her, as though in the very act 
 
 wandered | 
 | 
 of searing, \ | 
 
 Bouguereau naeree this in 1884, and 
 fit must have *been done in-one of his} 
 janilitant moods, as when he stood out 
 ag@ainst half the artists in’ Paris by ace 
 cepting the invitation ‘of. the Empress | 
 Dowager of Germiny to exhibit at the 
 Berlin - international exposition of fime] 
 arts:’in« 1885. The loyal Frenchman ? 
 
 | pJso 
 
 who had borne: anms in 1870, as,he had? 
 
 done: in 1848, declared, that if he | 
 had to go.to Berlin: alene, he would do | 
 so. : “Econsider it a.patrioti¢. duty,” he 
 remarked;-. “to. conquer . the,,German | 
 painters:in the very, capital of the Ger-| 
 man Jimpire.” 
 
“2 anlnieesowmedt) 
 
 Sie we 
 me Fy 
 
 vs 9s yd : : 
 rs eo. , . 
 : 5, Rs rs 
 ; ae 
 3 . 
 
A Ay 
 tht-a; beavis uded 
 3 salient ag work of 
 directness Be 
 ig tail is resolved i 
 ag simplicity, t 
 | and the peculi ee 
 Rha color make this 
 at painting, worthy of | 
 Henge ot he iet- 
 y the same artist, a view o 
 wey ae under a Hee 
 ibe Clou 
 = ows the eal 
 a 
 
 aa hast mas 
 
 the. pa 
 chnens and purity. 
 
 py Corot, a grass-grown road entering a 
 glade between sloping banks. The small 
 land. large ‘groups of trees character! 
 'Y | of the artist’s later compositions are on 
 ‘} either side of this work; there. are dis- 
 ‘tant hil “and a pond, with a group of fig- 
 ne wearing a bright-red waist—all 
 6 nl marks of a good Corot—and the 
 
 , exquisite silvery atmosphere to boot. ees 
 lwas indeed a‘! good’ Father Corot’’ 
 stick so bravely to his last and ‘turn on 
 so much beauty for the coming genera-! 
 tion to fight over and ‘spend its money’ 
 “ton... The picture was in the “hundred 
 |masterpieces ’’-of the 1892 exhibition and 
 \has its place in the book by Robaut and 
 Moreau-Nelaton, Another small anc 
 ‘beautiful Daubigny, the 
 
 “River Oise 
 ‘Near Andresy,’’ a peaceful, joyous pict-. 
 ‘bare: a f Coming storm” by Dupré, which 
 looks like a Diaz in its dramatic glitter, 
 ‘| |and a forest scene by Diaz complete the 
 list. of the Barbizon pictures. 
 
 The Dutch little masters have one rep- 
 
 king zc resentative, Pieter de Hooch, whose pict- 
 
 She infer. +» | jure, The Coneert,” is very interesting 
 eaumont, by | |in composition. Three figures are grouped 
 Ven is in the .|a little to the left of the centre, at the | 
 
 jar style. It was 
 the Loan Exhibition 
 Galleries. 
 
 right is a woman standing in an ‘open | 
 doorway, through which jis seen a glimpse 
 _|of the street. Te sail an wie eS the 
 steait diamond pattern characteristic o @ pe; 
 portrait — of ‘illiam | iviod. oe woman in a low-necked gown is 
 Clarence, aletwee looking languidly at a music book that 
 ) which came from the | ives ‘on her lap. Another woman just be- 
 8 sale at Christie’s,| hina her is keying up a lute. A man is 
 whe historical associa-| geated in front of a harpsichord. The 
 an cause the public. to} |mood: of the picture is languid rather 
 nterest heres Le ae ithan sprightly and fhe workmanship 
 : ch in 
 papa adie < inimortalizea | Seems later than that of the de Hoo 
 
 pa industrio «heath. The the Borden collection, 
 
 on the hilt of a sword, 
 a hat, are painted with 
 iighytness which made the 
 ial fame, exquisite hands, 
 “and blue-veined as_ befits 
 much more eloquent of. the |. 
 
 a Cow’ and 2 “ Sheep on the Dunés,” by 
 hana et a “Head of a Girl,’ by Henner;’ 
 
 Hamplentes and a “Venice, és by Guardi. 
 
 AT BABITIONS 
 
 eee brush and loses a shade, of 
 tiveness thereby. 
 
 ppner’s “‘ Portrait of Mrs. Jordan,” 
 
 and wholesome, an admirable por- 
 of the saucy type to which the 
 vr belonged, unusually whimsical and 
 
 Humorous in expression and fine in colo”, he Geen: Collection of Old 
 wi and Modern Pictures. 
 
 agpnelr auction room prestige has been |; 
 
 contested by J. M. W. ‘Turner, who] ; are Ae | 
 fy however, represented in the ‘pres-+ It'is not by any means unfortune te that | 
 nt collection by any of His more ambi-| the«American Art Assoiation, continuing 
 
 { Naious pictures. His one little water color 
 (is a pearl of price, nevertheless. It shows 
 \the bake of Lucérne lying like a great 
 diamond flashing back the rays of the 
 at while around it loonr vast mountains 
 pepehed, ee color and light.. It is ore. 
 the ae drawings made for the 
 father of eos Ruskin and was formerly 
 
 | just now in its! own, galleries the sale of} 
 the late Ir, Borden's books ‘and other 
 | treasures, has been obliged to show else- 
 | where the collection of, John F. Talmage. ! 
 This) group ot twenty-six old and modern | 
 
 | pal nee is presented the Knoedler 
 
 f 
 
 at 
 
 ee dj 
 ae ‘trate -here..a fashion 
 
 a 
 
 ore} 
 
 ‘in. the grand ballroom of the Plaza NeXt 
 
 The, most important picture of the Bar- | 
 bizon school is the ‘‘ Path Near the Pool,” { 
 
 Other pictures are a. ‘* Peasant Leading | 
 
 “ Moonlight.” by Cazin; a landscape by | 
 
 Sia i 
 
 | to. rather 
 
 {is not so radiant in color 
 
 Hcisely the intimate atmosphere which j 
 anost in hatmony with its special chataca 
 ter. Mr. Talmage appears to have bought) 
 his pictures because he liked them; they 
 jare’ of the sort that it is good to live 
 with. A few fine English portraits illus-) 
 recently current 
 ameng collectors, but. neither these ndr: 
 the landscapes rurrouaaiie them aré to7 
 be admired for a merély decorative sig-) 
 nificance. ‘The collection is rich in deéper) 
 
 and more interesting qualities. Its sale 
 
 24) Thursday evening will probably make 4} 
 a 
 
 a sensation. 4 
 | <The most notable of the portraits is” 
 | Romney's “Lady Wlizabeth Twisden,” a 
 i] large canvas in beautiful contrast to the? 
 | rather perfunctory performances by! 
 || Which her'is too often represented in| 
 
 tS. 
 
 || American ‘collections. 
 is) true, 
 
 The flesh tints; it 
 are a little hot, but this cannot 
 
 4 diminish the charm of the lady’s features,” 
 
 ‘and, besides, Romney ee posed her at 
 Well, against so g6od.’ sylvan back-/ 
 sround, that the ea ensemble can-_ 
 a1! ctusively takes us captive. 
 pe: he has superbly painted ‘his: sitter’s 
 creamy white dress. Technically, 
 a Romney of exceptional interest. It is aj 
 weightier souvenir: of his ‘art than ‘the 
 bust, ‘portrait. of | ‘A. Lady of -Quality,”*: 
 Which also bélongs to Mr. Talmage; but 
 this latter. more, popular work. a very 
 dainty, pretty thing, nevertheléss, has its 
 jmerita. The Raebuin and the Jawrence, 
 both portraits of women, are good reép- 
 ‘vesentative examples, but there is little 
 more to be said about them. Hoppner's 
 “Mrs. Jordan,’ on the other hand, strikes 
 a more penetrating note; it is a bewiteh- 
 ing bit .of characterization and it con- 
 tains some lovely color. Tt is its fresh, 
 brilliant color that partictilarly distin- 
 guishes Gainsborough’s “Duke of Clar- 
 ence;” that and the adroit, individualizcd 
 brush work which tell in the pa 
 of certain paits of the costume. 
 
 “There are other old English pictures, of 
 importance in the show, among them the 
 most satisfying Turner we have seen here 
 in years. It is,a water color, the “‘Fiuelen; 
 Lake of Lucerne,’ which, it is recorded, 
 
 he made for the elder Ruskin. The pict. 
 ure is full of romance and it is full of? 
 science, a leading souree of its beauty 
 
 a 
 
 being the simple truth with which Turner 
 expresses the mountain forms in the back- 
 ground. The very bone and sinew of 
 nature are in this work. Prismatic as it 
 is in color, too, it still is kept well in 
 hand. The blaze, one feels, is vight. A 
 water color like this worth a. thick 
 sheaf of Turner's ordinary fantasias. As 
 sober pendants to the little masterpieee 
 Mr. Talmage has two landseapes, likes 
 wise on a small seale, done respectively } 
 by Nasmyth and Old Crome. Both these’ 
 yames are not infrequently found attached : 
 dull pictures. In this instanée 
 i they belong to two genis of careful obser- 
 vation, sound execution and true pastoral 
 
 is 
 
 feeling. In somewhat unexpectsd associa- 
 tion with them we find a: capital small 
 Guardi, a typical glittering ‘Venice 
 
 marked by an. exceptional warmth of 
 color. The other old. thaster of Continen- 
 tal origin is a fine de Hooghe. “The Con- 
 
 as this interior with figures iS called, 
 as the picture 
 in the Borden 
 tones are crested 
 in the hand} 
 
 cvert,’’ 
 
 which has just appeared 
 sale, but its quieter 
 beauty. The episode 
 
 ae 
 right 
 
 this is) | 
 
 Best of all, i Vy 
 
 Sa re i 
 Peo ae eee 
 
 at a es ie Fade hao a ue 
 
geet: things — i 
 gets art. 
 
 1 Sota. Tins was shiny | 
 ork exhibition: of this’ k 
 ‘men had ‘everything thei 
 oy .. the piv gralis is” dis- 
 
 a fairly ranging shemscives. 
 ss of 18307 Let the reader. 
 question in ‘the Mght of 
 matyellous little pictures, 
 Senet “Dordrecht.” 
 
 buile the. Re eniegan yn, 
 Should note the felicity with 
 
 ‘in the foreground fs made 
 Bue eetucad needed in the: 
 
 PBbe ciation, per’ fect apowts 
 
 sheer nature. Of the two’ ex- 
 . Mauve, one, the ‘Peasant | 
 Cow,” is well done, but in no 
 
 is a really | noble picture, se} 
 and ‘so benatiful. in sentiment that 
 scarce pause to consider how master- 
 y the artist has used his. brush. 
 16 is What it ought always to be, 
 ans to an-end in a picture like 
 he specimen of Clays. ‘is charac-. 
 C aaah, and so is the litile water 
 by Israels, but neither these pictures 
 jthe. more modern French canvases, 
 . by Henner, Cazin and Har- 
 
 or igs pare: of: the Romantic: 
 Lute ig pen tiaee 8 
 rot is. salient in this group with “Le 
 ‘subtly agleam with the lights of 
 pring, composed with a peculiar elegance 
 ividly stamped with” 
 e. But, resplerident as this picture is, 
 could perhaps spare it if we had to 
 : hoc Sse between it and Rousseau’s *‘Land- 
 Scape with Horsemen.” This ¢xtraordi- 
 |mary little panel suggests'a transitional 
 e in the artist’s development, a point 
 
 “closely analytical treatment of land- 
 
 }Reape forms, bat saw his subject as a} 
 
 v 
 
 ‘“Wwhole, with a simple breadth recalling the 
 @best work of Constable. It is a glorious 
 
 ‘ena ape. There -are two good panels 
 - Daubigny, one of them ‘‘River. Oise 
 
 Pear Anérésy,”’ notable. for. its uncom- 
 “|hnonty loose handling; and there’ are 
 ss Tong pictures by Dupré and Diaz. With 
 
 hese we exhaust a short but impressive) 
 . Unmistakably the Talmage collec- 
 on has provided us with one of the bes 
 ibitions of the season: Beas 
 
 e of Paintings, Including French, Diaz, 
 
 i English, and Duteh Examples. 
 
 ‘Twenty-six paintings collected by John F- 
 “Talmage will be sold by the American Art 
 ‘Association Thursday evening, February 20. 
 Until that time, they may be seen in the 
 galleries of Knoedler & Co., No. 556 Fifth 
 Avenue. The small collection includes ex- 
 
 ee 
 
 “especially: the ‘syn-) 
 
 vartlessly - enveloped. in, the) bk 
 
 moving. The other, “Sheep on the | 
 
 Lnebd: detain us on the way to the 1 
 
 ier au Printemps,” an exquisite paint- 
 
 the master’s | 
 
 “which he adhered, to some extent,, to | 
 
 po: 
 * by Pieter de Hooghe. — Besides 
 mentioned, there are a few pictures 
 
 Pinch do not fall under any of these classi- 
 
 fications, as, for example, a Henner, a Ca-| 
 zin, and a Guardi. 
 
 ‘|. The general standard maintained is high, | 
 - |Derhaps most consistently so in the English | 
 
 |group, The two Romney portraits show’ the 
 artist at. his best, with a firmness of draw- | 
 ing not always found in his work, yet with | 
 
 ‘no. loss of his own graceful charm, Gains~. I 
 
 porough’s portrait of the young Duke of » 
 Clarence, afterward King William IV, re- 
 als something of the originality always 
 ernible in this master, in spite of all 
 \the. conventions and mannerisms. of his time 
 ‘aes atone There is subtlety in the char: 
 
 ‘the young man’s attitude. 
 
 “work of Raeburn, looks out from his por- 
 trait of a lady, painted with his usual ease 
 “and freshness. An unusually animated por- 
 trait by Hoppner, and one of Sir Thomas | 
 Lawrence’s facile and sparkling ~canvases 
 are also here. The landscape by Turner is 
 ‘one of the watercolors made for the father. 
 of John Ruskin. It is full of color and’ 
 ‘imaginative treatment. ; 
 
 An excellent Crome landscape with boy 
 and donkey and A View Near the Weald of | 
 
 'group of English pictures. 
 Pieter de Hooghe is one of those intimate 
 linteriors presenting a favorite subject of 
 ‘his, The Concert. The grouping is most 
 felicitous. The paintings of the modern 
 Dutch school include a water color, tender 
 ‘in feeling. The Youthful Mother, by Josef 
 Israels; a colorful group of boats in full 
 isail by Paul Jean Clays; two pictures by 
 Jakob Maris, in which water-front build- 
 ings, boats, and luminous sky are used in 
 leffective composition, and two rather som- 
 bre ones by Anton Mauve showing respect- 
 ively a peasant boy leading a cow along a 
 yoad which stretches across a flat plain, 
 land a.characteristic picture of a flock of 
 sheep with their shepherd on the dunes. 
 The group.of French paintings is headed 
 by the inevitable Corot, whose, landscape Le 
 Sentier au Printemps shows one of his 
 familiar arrangements of grays and greens 
 with enlivening white and red accents. 
 Rousseau’s landscape shows a wide expanse 
 of sunlit plain beyond a dark and rugged 
 
 t| foreground. One of the two Daubigny land- 
 
 scapes has a quiet beauty. In strong con- 
 trast to Daubigny’s tranquillity are the 
 broadly painted trees and turbulent sky in 
 The Coming Storm by Dupré. There is one 
 and a well-composed group of trees 
 
 {about a stream by Harpignies. An at- 
 tractive small view of Venice by Guardi 
 is in his most decorative manner. A moon- 
 
 light by Cazin and a characteristic paint- 
 
 Sussex, by Patrick Nasmyth, complete the 
 The picture by | 
 
 f 
 
 ant addition of a very fair| 
 
 lanything of. conspicuous importance. | 
 
 ia pleasing Raeburn and a handsome. 
 
 } 
 
 | 
 
 The living quality that one expects in the ees bai at the Plaza Hotel, February 20.) 
 
 is painted with admirable fluency and 
 color sense, but seems to be lacking ~ 
 
 ing: of a pretty’ red-haired gir] in profile | 
 
 py Jean Jacques Henner complete the list. 
 
 i 
 ) | 
 
 ithe Knoedler Galleries, 
 
 Maris. 
 
 Beare Now on ag in Khoedlet! 
 Galleries Possess a Fair Stand-. | 
 ard of Interest, Without In) 
 
 cluding Anything Conspicuous: 
 
 HE Séilontian of pictures belonging. 
 
 to John F. Talmage is on view in 
 previous. to 
 their sale by the American Art Associ-* 
 
 The collection reaches a very aye. 
 
 ‘standard of interest, without including) | 
 4 
 
 ‘Among the early British portraits are | 
 
 portrait of Lady Blizabeth Twisden, by 
 Romney. The singde example of Corot 
 
 a Il 
 
 in feeling, Daubigny is happily. rep=) 
 resented in a small panel, ‘River Oise 
 
 near Andresy,” and th 
 etoueay ane, nd there is a richly 
 
 The older Dutch school shows one. i 
 example, a fairly satisfactory de 
 
 Hooch, while of the modern men there’ 
 are two good Mauves and two excel- _ 
 dent, though small, examples of J. 
 
 The private collection of John F. Tal 
 mage will be sold by the American 
 | Art Association on Thursday evening, 
 | Feb; 20, in the ballroom of the Plaze 
 | Hotel, and meanwhile the pictures, con- 
 {sisting of only twenty-six,-are shown 
 /at the Fifth Avenue galleries of Knoed- © 
 ‘ler &Co., because the galleries of the | 
 ; association are otherwise occupied. The | 
 | innovation-is surely-agreeable, for these 
 rooms+of the Messrs. Knoedler & Co. 
 are well- lt, spacious, and accessible, 
 so that the work is seen to the best ad- 
 vantage, and, as manly of them came 
 originally to the owner through this 
 
 | firm, it ds eminently fitting they should’ 
 be displayed under. their auspices. 
 ‘Though the number is small, the work 
 
 is really and truly such as will appeal 
 to the connoisseur. There is not an’ 
 indifferent canvas on the walls, while 
 lseveral of them are of prime impor- 
 itance, The Men of Thirty. the Early 
 'Knglisimen, some few of the modern 
 
 | Dutchman, and two or three ancient 
 | works make up the collection, which 
 jhas been selected with much discrim- 
 ination. A Pieter de Hooghe is the 
 jmost ancient of the pictures. Tt has 
 
 ja long “provenance,” but it is sufficient 
 to sat that it is characteristi¢, repre- 
 isents an interior with four figures and | 
 la dog, and the lighting is admirable, 
 iwhile the color and the technique are, 
 ‘both of large interest. A Venetian bit} 
 iby Guardi is a real joy, with its draw- 
 ing of San Giorgio Maggiore, its ship- 
 
 iping, and its delightful rendering. 
 ] oa £ 
 
oie 
 me ti Pee 
 
 Jf? ae 
 
4 
 
 ; igs Taebarn, jie Bites 
 
 mney, : 
 h’s portrait of Wiliam’ IV. 
 g man when he was the Duke 
 
 ‘One: ee Color, a Turner, 
 ; Brought Record, $14,400, 
 
 Another record breaking sale of paint- 
 
 ee “Path in the{imss was held last nicht in the bailroom of 
 
 Rocks.” ba lie Maris, with his views!the Hotel Plaza, when the John F. Tal- | & 
 , 
 
 of “Amsterdam” and ‘“Dortrecht”:) | 
 Mauve with his “Peasant Leading «|/™&&e private collection of early English, | § 
 
 Cow’; Israels with his “Youthful Barbizon and the Dutch school was dis-" 
 
 Mother,” “and Clays, Henner, Cazin-and 
 
 Harpignies are more of the men repre.) P&'sed by Thomas E, Kirby, of the Amer- 
 
 sented. Until the night of the sale the) ican Art Association. ; 
 i : 
 
 [Pictu es Teniain on free exhibition, The tw tee? -six paintings were sold in, 
 
 GIPICTURE COLLECTION!” 22°". 
 
 wad is fababdéa:” as a remarkable total 
 ; 5 RS | —$298,800—and this right after. the big 
 & || Borden ‘sale. Of this amount the highest 
 bi adhe ye at ‘Knoedler’ S) ae Good Examples of price—-$40,100—-was paid by W. W. Sea- 1} 
 oil, French: and ‘Dutch Masters. man, as agent, for a Romney, entitled {) 
 -\ A Seas aor BAL ‘success of the “Fluelen, Lake. of. Lucerne,” It ig |‘ Lady of Quality.” It was bought at al 
 Borden fale proves the ability of | full of charm, a village nestling by | Sale at Christie’s, in London, in June, 1904. 
 re k to absorb rare and costly the water side under hi igh mountains, | The under bidders were C. G. 
 foreign pictures almost . without which gleam with intense color, The {and Horace Harding. 
 limit. _ Another _ auction sale ~ of |picture is characterized by that slight 
 te s ig to” follow. the Borden: and | visual distortion at the right which | when the same buyer gave $14,400 for a 
 r sales in quick ‘Succession. The 148 a sort of piquant hall mark of. | Turner called ‘‘Fluelen, Lake of Lucerne,” 
 : m is. that of John F. Talmage, , Purner’s greatest pictures, and which | Painted about 1840. This is one of the 
 
 it is” under ele doubtless due to astigmatism, {noted drawings made for the father of | 
 ot RES “Portrait of) a4 | 
 
 Here the monarch Stands 
 t star on bis breast, a wig 
 in uniform. Roimney' ss 
 ten” is a delightful affair, 
 in a dress of light tones, 
 ot her hand on her lap, 
 burn is of a kidy likewise, and 
 at a recent loan exhibition at. 
 ‘ ties. A characteristic of the 
 cae of the pictures, especially the 
 la s. is their modest size, with no 
 tiation. howener . of quality. Thus 
 
 iy 
 Es 
 
 K. Billings 
 
 A record for a water color was broken 
 
 the Ai 1 Art As ton, the | There is one Corot, “Le Sentier ant ee a ee Knoédlers for 
 victures are ‘being shown 5 Knoed- | Printemps, " which has more than $16,¢00, The same buyers ee. $20,000 for} 
 ; leries, 556 Fifth avytnue, on (once been included in the list of | ‘Lady Mary Anne Beaumont,’ by Law 
 te al of room at the Amer- Corot’s masterpieces. A deep tone of | rence. and $21,000 for Hoppner’s “Portrait | 
 ‘ican . rose overspreads the Corot silvery |of Mrs. Jordan.” 
 pe Tt ie ek bly Heatitul col- | quality in this representation of The only Corot in the collection went 
 
 wat illustrates chiefly the peasant women’s figures by the for $30,000 to. Scott & Fowles, who also } 
 
 paid $28,000 for a Gainsborough, “Portrait | 
 
 Se. 
 
 é 
 ‘British and French Barbizon schools, | margin of a forest road, near which | o> winiam Henry Duke of. Clarence,’ | 
 with fine examples of Mauve and gleam the waters of a pond. Thad jand $32,000 for Romney's “Portrait ary | 
 Jacob ‘Maris, those Dutchmen who |two landseapes by Jacob Maris are | Lady Elizabeth Twisden.” | 
 were in a sense among the inspirers tea net and there is a Cazin, a hu8 = The list of NPE oy with the artists, | | 
 of modern. art. TheBritish pictures in-/ on the bleak downs. at night, under a | eee oe pee ollows Pate | 
 i 1 re a r 4 i 
 clude Raeburn’s portrait of a “Lady, , vast sky overspread with clouds | “The Leen Mother * Israels Wow. “one || 
 7 ; Seam aeemty ois. cere, ae ee rae 
 ‘which Was one of the features of the | which are heavy Sa ee a [ ‘Storning on the Wacawti trace een iii 
 eaephee extibision ‘at alin i ce pata ise or Aas 9 a Mea en BEE A) eneen | 
 901: “Pes t Leading a Cow,’ Mauve; ; 
 pace ies ans A hie Gna tn,| A remarkably fine water color by Mngedibr @ Cone ey BOG | 
 British nraste in this _ city—the Joseph Israels, “The Youthful Gee ee Si sess t eS 7,200} | 
 5 7 ¥ . ie a pat « 44 " r iff a i 
 ee > fons OF | Mother,” is a Dutch girl seated by | "Head of 3 oir.” Hrennen:/W. Ww. ¢ SS 4300) | 
 ha ; Geor ee aa | SM ight,"’ Cazin; William Sloane..., 38,0004 
 hair over the temples. George Rom-/|a cradle and scwing or knitting 4 a Beige a Pe i 
 ‘ney’s exquisite “Lady of Quality,” broad, fine, gripping piece of A Berney gees cue es Cae eth BAe ie E 
 rtainly retti {R Among the other artists who ar6+| stream Néar Nevers,” ‘Harpignies; A. * 
 ea Re ee Peeiieet of Rom, well represented are Clays, Mauve.. G. SE SL Lyset i aa 5,600 
 uo emini i } : eee “Landscape w orseman,’’ Rous : 
 jpey's feminine portraits, is another’ tenner, Harpignies, Rousseau, Re enon a cole 11,500} | 
 ‘distinguished member of the group. bigny, Jules Dupré Diaz, Guardi, “the Ferry Boat,” Déubigny' Otto Boe cal 
 I fy [oo SNOB Pade cierd Sealsah, aie sagt dott W ace) Sean pee Ge ie nica 8, | @ 
 _|Rommney’s peachy style never found a| Pieter de Houghe, Old apreaetukne Aa “Biver Oise near Andress," Daulbignys 8 | | 
 ue: j aInsdOrolL [Oe ioe Sete gies. Sur citiitiss 4, 6 cele aire aan ae Re if 
 ‘finer example than this radiant beau- | Nasmyth, Hoppner, I cee ete diy Bea P02 
 He ; sh ie us, i a way, Lady; (ne portrait of the Duke of Clare: “oie caine Storm” Dupre; Bd. 4,000 | 
 ae eye ee 9 : oe ence, afterward William IV.) and | “Path in the eee Nae aes us Fon 8 sen l 
 bss ’ . ‘ ahleaiy.*? jaz? O e BUS Vise Meg oe Ba)! 
 ‘Hamilton’s delicate beauty without Sir Thomas Lawrence. | .qiainebleay,”” Diaz; Otto Benet. (44 
 (the touch of abandon that the fair! phe pictures will remain on exhi- [o?geote & ROW. ode Lael et 000 
 ‘ iti 4 + | ‘Venice,’’ Guardi; Sc & Fowles..... ra 
 BHmma could not exclude from her{bition at Knoedler’s until Coste | ven EMU deg ati ote dea Loe | 
 countenance day, and will be sold at the aes ARCH? vere ION ai hag Ay: “eigis 86007 | 
 . j i i “jew Near the Weald of Sussex, 1830,’’ { 
 Among the prizes of the collection of ahi ao Thursday oe by Re NoeHiEH? Pp. W. Rouss. og eee 700 | 
 . ‘Landse ; ritt Boy and Donkey, } 
 is a water color by J. M. W. Turner, Kirby : 1 autoesne. th Hoy and. Donkey,” an 
 | “Tuelen, Lake of Lucerne,’’ Turner | 
 Re Ar WW, W. Seaman (agent). ....... 14,400 } 
 |‘ Lady of Quality,’’ Romney; Scott & G per, 
 DOT TSB Asie Spades Se bak tia HD ee en a ne , 40, 
 Lie ae of a Lady," Raeburn; Ro A,; ‘g ian 
 b Secale me Spink tei (yee etek maa ; 
 Lice atesteny ie Mas. Jordan,’’ Hoppne t ' 
 ho Ea’ I ed ser) Bai CO. ae 4 v kegllaiplv one ei we ee 4 
 | “Portvalt of . William Henry, Duke of j 
 Clarence (afterward King Mata a 
 1V)."°. Gainsborough, RR. A.> Seott & i 
 POWVTEA NS [sha'ie cx bd 9,0 Pig ale ties getieita lei cA ene Tt 
 Aphis oe Année Beaumont,’* Law- ape ' 
 rence, P, BR. A.; Knoedler & Co:..... 20,5004) || 
 “Portrait of Lady Elizabeth ‘Twisden.’ Cen: 
 Romney; Scott & Powles.../.3... 52,000 q 
 
| puffed, red-brown: hair. 
 | at 
 
 } ‘where it is. loosely bound, 
 
 | William TV., went to the same bidders for, 
 
 boy,’ the Duke being portrayed half length | it 
 
 ‘firm, Mr. GC. K. G) Billings and Mr. Hor- 
 
 ; 
 
 | gown is a. pale olive, deepening. below to} | 
 (an olive brown. 
 ; the girl’s brown. hair, 
 
 | Blizabeth 
 | highest price. 
 
 the John F, Talmage collection, were 
 
 ag @ hew record for sales of this 
 
 ‘ty-nine pictures. 
 he consisted of portraits by the. old 
 English masters and works of the Bar- 
 
 directly at the spectator from a nebulous 
 
 a Romney BS $40. 100 
 
 Collection Sold at Prices 
 That Make Record for One of 
 
 | Its Size. 
 ¢ i ul zit | 
 Twenty-six. ' paintings, constituting! 
 
 Paes ee dast night in the ball- 
 m of the Plaza Hotel for $298,800. 
 which was under the auspices 
 » American. Art - Association, with’ 
 bla E. Kirby as auctioneer, es 
 
 ize. The H. 8. Henry collection in 1909! 
 tight $215,000, but it contained twen- | 
 The Talmage collec. 
 
 4 
 
 bizon and. modern Dutch schools. ~ 
 George Romney's “A Lady of Quality” 
 
 was sold. to Messrs. Scott & Fowles’ for 
 
 $40,100 after ‘spirited bidding by this 
 
 ace Harding. -Mr. Harding was the first 
 to drop out, sat $35,000, but Mr. Billings 
 stayed until he had offéred $40,000.: 
 
 Pathe; picture shows a young woman with 
 pretty features and trim figure looking 
 
 background of olive: yellow and. brown 
 tones, mingled ‘with lighter ‘effects. Her 
 
 A ‘charming feature is 
 done high on her! 
 “head and curling low back of her neck, 
 
 “Portrait. of Lady. 
 brought the next). 
 It=went to Messrs. Scott! 
 
 Romney, 
 Twisden,”’ 
 
 Another 
 
 The same firm acquired for $20,500 
 
 & Fowles for #32,000.. This composition |Sir. Thomas Lawrence's. “Lady Mary 
 (Shows a dignified and stately. young |/:Anne Beaumont,” a three-quarter 
 /woman of generous figure, her head all length portrait of a smiling young | 
 but encompassed in a mass of loosely |woman with rounded and rosy cheeks,| 
 She is portrayed | bright blue ‘eyes and rich black hair, 
 three-quarters length, seated. Theland for $16,000. Sir Henry Raeburn’s| 
 light strikes broadly on her high forehead |*Portrait of a Lady,” a young woman 
 
 and tapering neck. She has bright eyes.Jwith chestnut hair and pink lips parted} 
 
 and an alert, self-possessed expression, fin an expression of easy good nature. 
 With a delicate. Cupid’s. bow mouth. The 
 flesh tones are warm and fresh. a. small 
 
 A Gainsborough, his portrait of William |au Printemps,’’ 
 Henry, Duke of Clarence, afterward King Scott and Fowles for $30,000. This work, 
 which has a rather dark monochrome ap- | 
 pearance, shows a road so little used that 
 grass-grown, entering a glade be- 
 
 sloping banks, where blossoming 
 
 canvas by. Corot, ‘Le “Sentier 
 
 $28,000. The picture is a ‘Gainsborough 
 
 is 
 tween 
 
 as a youth, with a full, florid facé, deep) 
 
 ‘Dlue eves and mouth with a tendency to} wild flowers brighten the loose, tall grass. 
 
 ome 
 
 The silvery trunk of a slender birch tree 
 stands out on the left from a bunch of 
 Corot’s feathery trees. At the corner of 
 “Portrait of |a pond a group of figures is seen, 
 
 be pursed, yet with a pleasant expression. 
 He wears a brown-gray wig with a formal] 
 curl over each ear. 
 
 John Hoppner’s beautiful 
 
 | Mrs. Jordan” went to Messrs. M, Knoedler Theodore Rousseau’s small panel, 
 | ®& Co. for $21,000. This work shows a bright')“Landscape with Horseman,” was sold 
 eyed young woman of cheerful, smiling {to M. Knoedler & Co, for $11,500. After 
 
 | expression, who looks quizzically at some {much competition a. small water color by 
 
 ,one beyond 
 
 '-broad landscape under a dark blue sky. 
 
 Turner, ‘““Fluelen, Lake of Lucerne,” went 
 fo an anonymous bidder, represented by 
 iIMr. W. W. Seaman, for $14,400, a record 
 price for a. water color at auction in this 
 country. Of the modern Dutch pictures, 
 an Anton Mauve, “Sheep on the Dunes,” 
 
 the spectator. Her Cupid’s 
 bow lips are a deeper red than her rosy 
 cheeks. Charming contrast is lent by her 
 black and grayish-brown costume and a 
 
 “ALADY OF QUALITY” BY GEORGE ROMNEY 
 
 Of the Barbiron ‘pictures the gem was] 
 
 which went. to Messrs, } 
 
 Iwent to an anonymous bidder, , represented: 
 
 by Mr. Otto Bernet, for $17,000. 
 
 ' Other pictures, with ithe artist’s name 
 first, then the title, the name of the buyer 
 and the price, were sold as follows:— 
 Joseph Israels, ‘Che Youthful Mother; 
 |W We oSeaman, arent j5uis).as y sehr nan $2,700: 
 |Paul Jean Clays, ‘‘Morning on the Eseaut;’” 
 be MT. Wa OSL ORNs a sa Gora i8 bee Urea lmteean 990 
 Jacob Maris, “‘‘Amsterdam;’’ M, Knoedler 
 
 Be OOS Taare Wee gd aiS a) 6 aisles sl 9 cies kt aS eee a 6,000 
 {Anton-Mauye, ‘'Peasant Leading a’ Cow;’? 
 
 M: Knoediers & Cops ce i sie toe eee 5,500 
 Jacob Maris, ‘‘Deordrecht;’’ Mr, O. 8S.) Sey- 
 
 BOLE; 4) sin Gierd sigh ning iere eibleo eave) tele a atk ee Deane 1.8 
 |J. J. Henner, “Head of a Girly’ W. W. 
 BOAMAD, ASCNL eiie Us ihe pee eee ean 4, 200 
 {;Cazin, ‘‘Moonlight;’’ Mr. William Sloan: 3,000 
 
 $28 000 Paid for a Gainst orough | and 
 $30,000 for a Corot—$21,000 
 for a Hoppner. 
 
 oe ee 
 
 Harpignies, ‘‘Stream Near Nevers;’? Mr. A. 
 
 GS JENRINGS oo ey Wop ie i weak ele. eas Ree 5,600 
 Dauvig sny; ‘‘The Werryboat;’’ Mr, Otte 
 Becnet, agent. ... 2.0. 
 Dawdigny, “River Oise near 
 
 OSE, SOV RAGIes iiss snail oe wk 
 Dupré, “The Coming Storm;’ Mr. O. J. 
 | 6 yop Bo aeons aaa aN staan, LEE path | A! .» 4,000 
 Diaz, “Path in the Rocks—Forest of FPfon- 
 tainebleau;”? Mr, Bervnet, agent... 8, 200 
 Guardi, ““Venice;’? Messrs. Scott & Fowle s.. 2,600 
 Pieter de Hooch, ‘The. Coneert;’’ Dr, Paul 
 
 MR ATMOTE Nay Sac see rAd Waar ital or een 8,600 
 Nasmytb, ''View Near the Weald of Sus- 
 seress OM POM Oars sia Snel saat at ketene re G00 
 ‘Old Crome,’’ ‘*Landscape, with Boy and 
 Doukey;’? “Mr, William Sloan... 25.5585 1,506) 
 The sale was attended by many art! 
 
 lovers, the baHroom being well filled. 
 
COE 
 
 z 
 
 THU 
 
 CLURSTISLLUTEITPERGE DUCE RC RURLCTIDOD DOESN ERTEIT 
 
 Total of Sale Said to Be a Record for Such a 
 
 Small Number 
 
 A collection of twenty-six paintings 
 |pelonging to John F. Talmadge was 
 sold last evening under the auspices 
 lof the American Art Galleries at the 
 Plaza Hotel for $298,800. Three or four 
 persons present were heard to remark 
 lthat this was probably a record for the 
 Imumber of pictures scid. } 
 
 “A Lady of Quality,” by Romney, 
 brought $40,100, the highest price of 
 
 he 
 
 | 
 
 | 
 | 
 oi 
 | 
 
 of Canvases. 
 
 the evening Mr. C. K. G Billings pid’ 
 $40,000, and Scott & Fowles secured | 
 the painting for a nundred dollars over | 
 that amount. Another Romney, “Por- 
 trait of Lady Blizabeth Twisden,” was )}| 
 second in the list of prices, Scott & | 
 Fowles bidding it in for $32,000 | 
 
 A water color by Turner, entitled 
 “Pjuelen,” Lake of Lucerne, was sold 
 
 to W. W. Seaman (agent), for $14,400, || 
 
 Co, 
 | Fluelen-Lake of Luceme,*” 
 
 1Co 
 | The Concert,”” De Hlooghe; Dr. P, Mersch 
 
 | “Dordrecht,”’ Jakob’ Maris; O. 8. 
 beak Amsterdam”? 
 
 | “River Oise Near nai te 
 \‘*Path in the Rocks,’’ 
 
 (a 
 | ‘eyicontiht, fs 
 | @The _jontntal 
 
 ' Talmadge 
 
 | tertainment equal 
 
 Te eee ST eae 
 gaid to be a record for a inc 
 that school. 
 
 A charming éxample of Corot’s art, 
 entitled’ “Lie Sentier au Printemps,” 
 started with a $10,000 bid and .went to 
 Scott & Fowles for $30,000; and a 
 portrait..of William Henry, Duke «#f) 
 } Clarence (afterward King William IV.) _ 
 went to the same firm for $28,000, 
 
 A full list of the pictures with bia 
 
 ee realized is as followsT 
 bie of pi a F pcesbisce Scott & 
 if Rod eats : . «$40,100: 
 
 “ady peti Twisden, Radse 
 Mwles. oo, scotnisistenn <p ake min hc ae vee 
 
 ev ae er ee 
 
 Romney: ; 
 
 ‘Witla Henry, Duke of Clarence,’ Giihee. 
 orough; Seott & Fowles. .:......5.% 
 uiporeate of Mrs. Jordan,’’ Hoppner; 
 ler & Co... Gases Seitle sing} siyi pete 
 “Tady hee ae Drange, 38 ‘Lawrences 
 
 (arent sc 6 a ave shelereenteles aleyie acs Ries solos 
 Be eee of a Lady,” Raeburn; Knoedler & 
 
 (ag 
 
 ee ee ee a 
 
 *"Mhe  Ferryboat,”’ 
 (agent) 
 
 Daubigny; Otto Bernet 
 
 ee a en weer ee ee seer aece 
 
 Sey: more, 
 
 Jakob Maris; Knoedier & for j 
 “Peasant Leading a Cow,’’ Manve; Knoedler ; 
 
 & Co ch dewe cere eeeseeesavers } 
 rela Near piles ” Haren } 
 
 sees. 
 
 “The ae car 
 
 3. Seymore 
 
 Ri : Diaz; 
 
 gent) 
 
 see et we tw te wera were ee baseeerene 
 
 Cazin; Williainy Sloane. 
 Mother, ” Israels; Seaman 
 (C5 -/2104 > De Een ON ease each Oe 
 laveetce © ’ Guardi; Scott & Fowles 
 “Landscape, with Boy and Donkey,” Joun 
 (old) Crome; William Sloane 
 castes on the sania ” Clays; 
 
 ° eee a 
 
 $298,800 PAID FOR 
 
 ART IN 50 MINUTES! 
 
 Also: 
 Brings Reeord Price for 
 Water Color. 
 
 Picture. Sale 
 
 ROMNEY FETCHES $40,100 
 
 The Water Color, a Turner, Is 
 Knocked Down to Agent 
 
 for $14,400. 
 
 Not content with records made in 
 the Borden sale, Mr. Kirby, of the 
 American Art Association, tried for a 
 ' quick selling record last night and 
 | probably secured it in disposing of the 
 Talmadge collection of paintings for 
 $298,800 in about fifty minutes, 
 
 The sale was held in the ball room 
 of the Hotel Plaza, which was filled 
 with a fashionable throng that has 
 come to regard an art sale as an en- 
 in interest to the 
 theatre. 
 
 The greatest price of the sale was 
 paid for the portrait now called “A 
 Lady of Quality,” by George Romney. 
 
Petrenonicd by W. W. ae | @ Row for $2 he sear 
 bs diag gages ee $14,400 n took the G leet “Portrait” 
 len, e of Lucerne,” il ney Dies Cl 
 This was a water color. > $28,000. - voedler & ce ee ! 
 one “of those made for the RR seit for Lawrence's “Lady, Mary 
 
 Pie A. Yaaworth. of ngs paving $21,000 for Hoppner’s “Por. 
 
 This is aye to be the biggest} Racburi's “Portrait ofa Ladse" a 
 Sh paid for a water color at | Of the French works, Corot’s “Le 
 | Sentier au Printemps”. went at the 
 highest figure, $20,000, to Seott & | 
 | Fowles. . J. Cornish paid $4,000 
 '} for -Dupre’s ‘The Coming Storm’; 
 Otto Bernet, agent; gave $8,500 for | 
 Daubigny’s “The Ferry Boat”; A. 5. 
 &Co. 6 mn Jennings paid $5,600 for Harpignie’s | 
 ‘Cow,”: “Stream Near Nevers’; and Knoed- | 
 ane eth | ler & Co. gave $11,500 for Rousseau’s | 
 -* nscape With Horseman,” a panel, 
 
 ony 2% inches ie wh. inches, 
 
 list of ‘pictures, with titles, pur- 
 and prices, follows: 
 Nee “The Whee died w. 
 
 ey Sibir 8d 8 Be Wisin 6 ane 4 Sg soe} vie 
 
 Sear SUE SeLAD. ooa> Alaa! Bale 5 Fe heh aye etn 
 
 Ar. Mira ange se Mee Pika ex-| 
 AS EEA epg L SO ce IES 5, cellent “prices at the sale in the ball) 
 BPN Tat Pegacea et wae eee 11,500 | | room. of the Hotel Plaza last night,’ 
 
 Be Pairs it Sistas Se Nisik Seg P50 tae mc kny 4014.2 
 
 New York, Feb. 21—Twenty-six ihe F 
 of John F. Talmage of New York sold last) 
 
 ‘| night in the grand ballrooms of the Plaza, 
 for $298,000. 
 
 The Romneys brought the highest p 
 of the sale, The first sold, “A Tatty 
 Quality,” a beautiful portrait of a young) 
 
 | woman with an aristocratic face and ims _ 
 
 perious expression, ‘brought $40,100, 
 
 the second, ‘Portrait of Lady Blizabeth 
 
 ; Twisden,””. $32,000, both’ going to Scott « 
 Fowles. 
 
 There waS much competition for the’ frst 
 portrait, C. K. G. Billings bidding $40, 
 
 | while Horace Harding was another co 
 
 petitor, It. was a long sale, the picture 
 being apparently sold at $35,600, when the 
 
 bidding commenced again, and at $36,000 _ 
 the audience waited breathlessly for the | | 
 ' hammer to come down, but the bids bes | 
 gan again and Mr. Billings finally gave i 
 
 up at the $40,000 mark. 
 The only real record-breaker of the even- 
 
 ing was the. Turner, a charming little | 
 
 watercolor, ‘Fluelin, Lake of Lucerne,” 
 
 Boat”; Otto aden e 
 a oles near Andrésy”; O when Mr. Kirby of the American Art 
 
 Wipes re ets pee RE ere ss os et. 3 Association secured $298,800 for twenty- . 
 eee "ph Shey Dal Bangle ek ere mi 4,000; | Six aworks, a water color by Turner | 
 | 3s: a Path |) bringing $14, 400, the largest price ever | 
 
 — Sch recorded, for a painting in that medium | 
 fa Ta SE eS AY Oo i ae a aed ee 30,000 at auetion—or for that matter, any- | 
 4 i Fowles 2,600!| Where ‘ele. The buyers were largely. | 
 
 he oncert; r. Paul |! déalers who in these days are forced to 
 bie aoe sa ge Pins eo Aes themselves by seeing to it that) 
 
 oo || large prices prevail.” A list follows: i 
 
 (ESE AS 5 Josef Israels, ‘‘The Youthful Moth- 
 : | er”; Ww. WW DORE oii Geek $2,700 | 
 
 } 
 | 
 | 
 
 Py Re eas " 14,400 |} Clays, “Morning on the Hscaut”; 
 ; Scott | Waillienry. Sloane siesinwsiliat as Koons £50 
 Meer con el. ieee, 40300 || Jakob Maris. “Amsterdam”; 
 } eee es, Br OGe cua se tc sable ates 6,000 
 PTD Eee te Sip lieya les Howes sys ws > whip + 406 sole * nton auve, ‘Peasant Leading 
 Sessa sate es, slg: a Cow’; Knoedler & Co..... vese eHDOO | 
 it of Wiliam Henry, | | Jakob Maris, ‘Dordrecht’; 0. S. 
 ‘i? terward King Wiil- |} S@vMOur oo. se eee eee ee ees 1,2 
 Mawieee i cre 28,000 | | Heuner, “Head of a Girl’; W. W. 
 y y Mary Anne Beaumont”: Seaman Sale clap Be Rea AW este ewiss 4,200) | 
 PUPA se 20,509; || Cazin, “Moonlight”; William Sloane 3,000. 
 | Anton Mauve, “‘Sheep on the i 
 
 ie eDanes’”; Otto Burnett...) 0 Maly ata 17,600 
 
 tt & 92 000 
 | | Harpignies, - ‘Stream Near! Nevy- 
 fed Bre Ur AL Ge) Rennie Assamese 1 ia 3,600 
 Rou sseau, “Landscape With Horse- 
 man’; Knoedler & Co........s.+- 11,500 
 
 Dau ubigny, “The Ferry Boat’’; Otto 
 
 Binitiatt oe Als Ses sh 4 8,500 
 
 i Dau DERy. pay Oise Near An- 
 dresy”’; O,.S. Seymour.:.2..:2..4 3; 700 | 
 J hee Dupre, *‘The Coming Storm’’; ! 
 
 Ey, J. Cornish Pa M aie Jia eB Ote ieee im ewue 4,000 
 Diaz, **Path in the Rocks—Forest 
 faite , é& of Fontainebleau” ; Otto Burnett 5,200] / 
 A opens Beat pa : orot, *‘Le Sentier au Printemps’’; 
 Fe: ST een Seottie Mowles: .ciui deagy ss er: nl 
 Francesco Guardi, ‘“Venice’’; Scott 
 
 _ Also Brings Out Record | a east Renta betatite sneha sue 24,600 
 
 i 
 
 | ten, Dake of Lucerne,” upto $14-) | (*tterward King William Iv.)"; 
 
 painted in 1840 for the-father of John 
 Ruskin. It went to W. W. Seaman, agent, 
 
 for $14,400, the highest ever given, as far 
 
 (as known, at a public sale in this or any | 
 
 country for a Watercolore-pe~ 
 
 There was a murmur of gamiration, 
 when the Corot, “Le Sentier au Prins 
 temps,’”’ was shown. It started at $10,000; lj 
 | ran immediately up to $2u,000, and was. 
 
 knocked down to Scott & Fowles for $30, 
 000. The Mauve, a charming picture, 
 
 “Sheep on the Dunes,” called forth another 
 buzz of admiration. It went to Otto Ber | 
 | net, agent, for $17,000. The portraits all 
 
 brought good prices, Raeburn’s “Portrade 
 
 of a Lady,’ $16,000; “Mrs. Jordan,” by i 
 
 -Hoppner, $21,000; the Gainsborough, “Wile 
 
 ‘liam Henry, Duke of Clarence,’ afterwar 
 
 | King William IV., $28,000, and Sir Thomas 
 Lawrence's portrait of “Lady Mary Anne 
 Beaumont,’’ $20,500. 
 
 Following are the names of the pieratea | 
 
 artists, buyers, and prices: 
 
 ater color)—Jo-=_ 
 The Youthful Mother (w ) $2,700 
 
 sef Israels; W. W. Seaman, agent..... 
 Morning on the Hscaut—Clays; William 
 SIO is occid aig coins as aioe ap Bie rive ae sein emelsiees 
 Amsterdam—Jakob Maris; Knoedler & 
 
 CO cok be. g ole wielera ale aistelstele's)e,s 3) @ ocho. euate 
 Peasant Leading a Cow—Anton Mauve; 
 
 Knoedler & CO... ..scecccepecenersnece re | 
 
 Dordrecht—Jakob Maris; O. S. Seymore. 
 | Head of a Girl—Henner; W. W. Seaman, 
 
 AGEN... cece ewes eee eee teens PUA Pye Mae 
 Moonlight—Cazin; William Sloan....... 8,000 
 Sleep on the Dunes—Anton Mauve; Otto 
 
 Bennet, agent..v.s enue voycbunns 1590s me 17,000 | 
 
 Stream Near Nevers—Harpignies; A. G, 
 
 i W: efor de Hooghe, “the Concert’; sl ralanare’ with: Bomena —nousecsts | gama) | 
 | i au ME CTS GAM! nga olin ees alta ig l/h eh ace &,600 ere Bi ; 
 Ze. ee ater Color. Patrick \Nasmyth, ‘‘View Near the Knoedler oe : Saublzny; Otte Bernet, 11,500; 
 a Weald of Sussex, 1830") P. W. | rvagent.. MO Ni mOR IES IE AE 8,500 
 ret COLI. 150 Oss heel aatan seer iabe pean enate T00 || River Olga Near Andresy BEC , 
 : ; (“Ola”) Crome, ‘*‘Landscape With [Faizer fee Neer a 3,700 
 j Be ‘exactly fifty minutes in the} See Nene enkevto Meiiaes chet Ts Comin miccewtt cig ea a 
 Plaza MIOANE ose eee tives emer eeeans encase ISTEHAIST cycle n\n) s mccere PAIS Biels neat NERS ; 1} 
 ee eo ee. E | Turner, ‘‘Fluelen, Lake of Lu- “|| Path in the Rocks—Forest Fountaine- 11 
 | Kirby ‘of the American Art Associa- cerne’*s, W. W, Seaman, agent. ..14,400 bleau—Diaz; Otto Bernet, agent...... 8,200 
 sold twenty-six paintings in the tomney, vA Lady of Quality”; ‘te, Sentier au Printemps—Corot; Scott & sone 
 | seott OM? 1 - Raey sg stale art ene Cora 40,100 |) IS WIGS): i’. u/s vie.» Bi0jere ge cele sip ccbie praia jamin eipis rf 
 OOS, | Ra sl rH Venice Guardi; Scott & Fowles. «oss ss 2,600 
 bn FF Talmage collection for $2 95; R Knoedier Piso yy of a Lady ee ion | The Concert—Pieter de Hooghe; W.-Paul } 
 | ‘| 800. and set up a new record price for| | Hoppner, ‘Portrait of “Mrs. Jor. | penal nr eae leg Oa eee 8,600 
 a water color at public sale, when he} | Ge Dubioaen eet ASE pat, nee «422,000 | 0B BW. Rousd sco foithes tates ae 700) 
 ‘ ir dete s ° Till- andsecape Ww oy an onkey—John 
 ked the bids for Turner's “Wlue-} | iam Henry, Duke of Clarence |“ ld) Crome; William Sloan. .....4 4. 1,500) 
 
 | Wluelin, Lake Lucerne (water colory_— 
 
 Turner; W. W. Seaman, agent........ 14,400 
 
 Scott & Powles st). 4 (ii iicoe 28,000 |) 
 | 400. Ww. Ww. Séaman, agent, took the) | Lawre nee i “Lady Mary Anne Beau- ue leas sea hc" oA Waal eee pati a3 40,100 
 ute at Hat fi . Th a { pay | mm ont? <noedler & Co Pa AL Ta 0), 50) euyase 4 ataere rh és bicp ae ose ki ap lane Oe eine if 
 . . me {om vias ie he | ccmney. “Portrait of Lady Hfidagt r+) Porfeadt of = Lady Me ee 
 Bi | tai was only 4 inches by | | beth Dwisden”; Scott & Fowles, se ete | Portrats of Mrs. Jordan—Hoffner; Knoed-— ot 60n 
 | inches, ‘ 7 .V YG Ysa Gi Bo (CO ie ts bag ad aire ena see eae i 
 a “4 
 | Right -on top of this’ Scott. &/ $298, 000 FOR 26 PICTURES | Bomisalts oak Cae ea aa and 
 ¢ 4 ‘ { Mow; leg) fuishs'y cttes peaabiad' o's wha manana e re ere 28,000 
 | Fowles paid the highest price of tite ohn 1 C | Lady Mary Anne Beaumont-—-Sir Thomas 
 4 sale, $40,100, for Romney's “Lady of; *4/™mage ollection Sold in New York | paeenee Lady ilieabeth iowindeda da ame 
 Soe , ortr y e wisden— 
 tt Pee vicaine only, Mon po nana | —A Romney Brings Highest Price, $40,100, Romney; Scott & Fowles.............. 32,000 
 | "Totes ian as eeeam meee aah a5 oe bieatehaie $298,800 
 
 BY 3c4.G. Bunt who went as high as | 
 
 | $40,000. 
 
 950, | 
 
~ JOHN F. TALMAGE SALE. 4d 
 Afthough almost $300,000 ($298,850) was | 
 irealtzed forthe 26 pictures of the John F. 
 Talinage collection, sold by Mr. Kirby in } 
 | thesPlaza jballroom Thursday evening, an } 
 m avetage 8f$11,492 each, and although the} 
 sale prolably made a record for its size—] 
 the.fotal wa’s not as high as had been antici-# 
 pated, aad the sale was unusually full of | 
 supprises.~ Mt had been confidently predicted, 
 that: $400,000 would be reached or passed, |_ 
 butthere cannot well be two Borden sales | 
 jin one season. 
 The ballroom was fairly well filled, but} 
 ithe bidding and buying, as at the Borden| 
 : ale, was confined to a few dealers, notably 
 h jKnoedler & Co., who sold Mr. Talmage 
 most of the pictures; Scott and Fowles, Dr. 
 - {Paul Mersch of Paris, and of private buyers | 
 sito Messrs. Wm. Sloane, O. S., Seymore, | 
 jA. G. Jennings, E. J. Cornish and P. W. 
 Rouss. The fine Romney brought the high- 
 jest figure of the sale, $40,100, and the Turner 
 jwatercolor at $14,400 made a record. 
 
 + Artists’ name, title of picture, buyer’s name, when | 
 btainable and price follow: a 
 sraels, J., “Youthful Mother,” Seaman (agt.)$. 2,700 Ha) 
 lays, P. J., “Morning on the Escaut,” Wm. ; 
 
 _ Sloane c 950: 
 
 i 6,000 | 
 Mauve, A ie 
 PE SIS SSE ys soe OF Oa ena 5900 | 
 
 7,200 | 
 
 4,200 
 3,000, 
 
 17,000 
 
 “Head of a Girl,” Seaman 
 
 Harpignies, H., “Stream near Nevers,” A. 
 (| 6G, Jennings ; Z 5,600) 
 Rousseau, Th., “Landscape with Horseman, 
 }i|. Knoedler and Co : 
 i|\Daubigny, C. F., “The Ferry Boat,” O. Ber- 
 agent 
 ee é Kees au F., “River Oise near Andresy,” 
 of La £O7 JS.eoeyimosre é 
 PBS, ie emeeDupre, jJ., “The aa 
 painting by Gainsbor- |) Cornish 000 | 
 ee Ores rae ne. ited a he fe 3,200 
 Henry IV in ma'yal LEESON Corot, J: B: Ge “Le Sentier au Printemps,” 
 oy at ; to Scott & Fowles for $28,000, Scott and Fowles 
 - jumpe ped rom — : Guardi, F., ‘‘Venice,’”? Scott and Fowles 
 ON & He oogh,P), “The Concert, = Dr. 
 ice Sco 4 
 
 ts Mee ae Old Crome, ‘‘Landscape with Boy and Don- 
 5 Bide ic key,”? Wm. Sloane . 
 /Turner, J. M. W., ‘‘Fluelen—Lake Lucerne, 
 ent) i 
 Seen Lady of Quality,” Scott and 
 |} Fowles... en eae 
 
 ‘Raeburn, “Portrai 
 -Knoedler and Co. ‘, 16,000 
 EeCpen yes j., “Mrs? Jordan, at ann 
 
 40,1007 
 
 ik ges 
 , be eed bates 
 |. Fowles 
 
 ft aurenté, ir.’ Thos), “lady » Mary * Anne ‘a 
 |_ Beaumont,” Knoedler and Co........ 20,5 
 Romney, G., “Lady Elizabeth Twisden,” Scott 
 
 and Fowles 
 
 toe cianod nies p's’ doles pk = aD : $298,850 
 
 wit 
 
 28,000 
 
 sae 
 
 ur- 
 
 “the Hocks torent’ “ot 
 ; Otto Burnett......-. 
 48 er au Printemps’’; Scott - 
 7A T Moanin 8 ee ea Sit 
 ) Guardi, e"; Scott & 
 ee ee ets as) BO 
 e, The: Concert’; Dr. 
 
 Rats) be ooee we ice see 
 pe With “Boy | 
 TNE se ececaeee ds 
 
 cerne’’; 
 
 agent 34,400 
 € i peas ser ceenes tees 14, 4 
 A Lady of Quality”: Knoedler 7 
 
 700 | 
 
ony, “River Oise, near gene 0, F. 
 ee on Storm,”” OFT, Cornish, 
 
 a ee ee Syst of Fontain- 
 
 sss, Scott and Fowles, 
 : “The, ‘Concert,”* *ADie Paul 
 \ View Near the Weald, of Sussez,”’ 
 
 ie re uae die, Boy and Don- 
 william Sloan, $1 
 
 i alert. aed had: 
 icate Cupid’s 
 ‘tones are: warm 
 
 a portrait of Willem 
 _ Clarence, erwards 
 iV, fai ene ial same | 
 00 picture is a 
 ” the Duke being por- 
 th as a youth with a 
 le decay and mouth 
 5 yet with | 
 
 ‘| 
 
et Steen! cae) ee ee ee 
 
 * as cece fee Sut samt oar i ald tae Se Li _ = —_ _ 
 |i) Gk 2 97 ree ae ee 
 woe Rs i ey cas Sn ST CER Se ES fl 
 + ev opr Ze 4 ar Pe oe 
 Lo, 277 es “fe yz > 
 Fast ae | 
 oe ~ ae eT (arpa, _ a”) { > ee sr — 
 
 } 
 
 poe s : IF; : ‘ set & 
 eck ae 4 ze: Pik = Vera eee 
 
 te Epa ee 
 om ; Sto see tetas aero, See 
 | 
 
 ee | 
 
 - “ent _ 7 -— Fe ns heer ‘ — ee 
 —— ee SN SS Le: ae Saas ae 
 
ON FREE VIEW DAILY 
 AT M. KNOEDLER & CO.’S GALLERIES 
 
 No. 556 FIFTH AVENUE, NEW YORK 
 
 FROM SATURDAY, FEBRUARY 15Tru, UNTIL THE 
 DAY OF SALE, INCLUSIVE 
 
 THE PRIVATE COLLECTION 
 
 OF 
 
 HIGH QUALITY PICTURES 
 
 BELONGING TO 
 
 JOHN F. TALMAGE, ESO. 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 UNDER THE MANAGEMENT OF 
 
 THE AMERICAN ART ASSOCIATION 
 
 IN THE GRAND BALLROOM oF THE PLAZA 
 
 FIFTH AVENUE, 58ru TO 591tH STREETS 
 
 ON THURSDAY EVENING, FEBRUARY 20th, 1913 
 BEGINNING AT 8.45 O°CLOCK 
 
Y 
 7 
 
 aN 
 
 ILLUSTRATED CATALOGUE 
 
 OF TWENTY-SIX 
 
 HIGH QUALITY PICTURES 
 
 OF THE EARLY ENGLISH, BARBIZON 
 AND DUTCH SCHOOLS 
 
 COLLECTED BY 
 
 JOHN F. TALMAGE, ESQ. 
 
 OF NEW YORK 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 On THURSDAY EVENING, FEBRUARY 201TH 
 
 IN THE GRAND BALLROOM OF 
 THE PLAZA 
 
 PAINTINGS DESCRIBED BY 
 
 MR. DANA H. CARROLL 
 
 THE SALE WILL BE CONDUCTED BY 
 MR. THOMAS E. KIRBY 
 OF THE 
 
 AMERICAN ART ASSOCIATION, MANAGERS 
 
 MADISON SQUARE SOUTH 
 NEW YORK 
 19138 
 
ee eeeEEEoeEEEEEEeEeEeEeEeEeeEeEeEeEeEeEeEeEeEeEeE—eEeEeEeeeeee een eee 
 
 CONDITIONS OF SALE 
 
 1. The highest bidder to be the Buyer, and if any dispute arises 
 between two or more Bidders, the Lot so in dispute shall be immediately 
 put up again and re-sold. 
 
 2. The Auctioneer reserves the right to reject any bid which is 
 merely a nominal or fractional advance, and 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 
 within twenty-four hours from the conclusion of the Sale, unless other- 
 wise specified by the Auctioneer or Managers previous to or at the time 
 of 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 them- 
 selves responsible if the lots be lost, stolen, damaged, or destroyed, but 
 
 _ they wiil be left at the sole risk of the purchaser. 
 
 5. While the undersigned will not hold themselves responsible for 
 the correctness of the description, genuineness, or authenticity of, or 
 any fault or defect in, any Lot, and make no Warranty whatever, they 
 will, upon receiving previous to date of Sale trustworthy expert opinion 
 in writing that any Painting or other Work of Art is not what it is rep- 
 resented to be, use every effort on their part to furnish proof to the 
 contrary ; failing in which, the object or objects in question will be sold 
 subject to the declaration of the aforesaid expert, he being liable to the 
 Owner or Owners thereof for damage or injury occasioned thereby. 
 
 6. To prevent imaccuracy in delivery and inconvenience in the 
 settlement of the Purchases, no Lot can, on any account, be removed 
 during the Sale. 
 
 7. Upon failure to comply with the above conditions, the money 
 deposited in part payment shall be forfeited; all Lots uncleared within 
 one day from conclusion of Sale (unless otherwise specified as above) 
 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 de- 
 faulter at this Sale, together with all charges attending the same. This 
 Condition is without prejudice to the right of the Auctioneer to enforce 
 the contract made at this Sale, without such re-sale, if he thinks fit. 
 
 8. The Undersigned are in no manner connected with the busi- 
 ness of the cartage or packing and shipping of purchases, and although 
 they will afford to purchasers every facility for employing careful 
 carriers and packers, they will not hold themselves responsible for the 
 acts and charges of the parties engaged for such services. 
 
 Tue AMERICAN ART ASSOCIATION, Manacers. 
 THOMAS E. KIRBY, Auctioneer. 
 
NOTICE 
 
 Mr. Talmage, owner of the pictures hereinafter 
 described, particularly desiring his sale to be held at a 
 time when our galleries are otherwise engaged, we have 
 accepted the courtesy extended by the proprietors and 
 will hold the exhibition of ‘‘The Talmage Collection’’ 
 
 IN THE GALLERIES 
 OF 
 
 M. KNOEDLER & CO. 
 
 No. 556 FirtH AVENUE 
 BETWEEN 45TH AND 46TH STREETS 
 
 NEW YORK 
 
CATALOGUE 
 
 ae 
 
 ~— : nae : 
 —_ om 
 < 
 a 
 4 
 
 s 
 ™e-n 
 
 ra 
 
 - 
 
 i * 
 
 aaa Y, 
 
 : « 
 
SALE THURSDAY EVENING 
 FEBRUARY 20, 1913 
 
 IN THE » 
 
 GRAND BALLROOM OF THE PL. 
 
 BEGINNING AT 8.45 O’CLOCK St 
 
27> 
 
 A FAIR-HAIRED young Dutch girl in a dark skirt, light waist—her 
 sleeves rolled up—and with a bluish-white kerchief about her head, is 
 seated in a humble home doing some knitting beside a homely cradle. 
 She faces the spectator, her figure turned slightly toward the right, 
 and looks down attentively at her work with the light falling brightly 
 on her from above and the left. On a table near her a flowering plant 
 is growing in a pot, and behind her is seen in tones of mottled brown 
 a door with a square lintel. 
 
 From the collection of Sir J. C. Day, London, 1909: Catalogue No. 195. _& n99- 5-0. 
 
 No. 1 ee ; A 
 oo 
 JOSEF ISRAELS 
 
 DutcuH 1824—1911 
 
 , 
 A 
 
 THE YOUTHFUL MOTHER 
 (Water Color) 
 
 Height, 1114 inches; width, '734 inches 
 
 1. Wy. 
 
 Signed at the lower left, “Joser IsraExs.” . F&F 
 
 fm xm- deottr Gata 
 
: Seat Ded Be Oa S 
 ea enya Sy 
 
PAUL JEAN CLAY 
 
 he 
 
No. 2 
 PAUL JEAN CLAYS 
 G0 , | Fiemisu 1819—1900 Ve 
 C MORNING ON THE ESCAUT yf 
 i (Panel) 
 
 Height, 914 inches; length, a inches Hae 
 ade 
 N 
 
 the fresh morning light a large number Mae charaberste sailing 
 
 craft of the Old World are strung for a considerable distance along 
 the river, yet appear as in a group, with their tall masts and varied 
 sails rising boldly against a light sky. Its thin clouds of fleecy white 
 are tinged with a faint pink flush. A square-rigger is near the center 
 of the picture, the other craft being single-masters, and their canvas 
 ranges from gray-white to a creamy yellow and a buff-pink. The 
 gently moving water of the river is mottled with reflections of the 
 clouds, the sails, and the dark, brown hulls, and in the distance smoke 
 rises from a steamer’s funnel, close in by the shore. In the fore-— 
 ground men are rowing a heavy small-boat. The picture is full of 
 color and atmosphere. 
 
 Signed at the lower left, “P. J. Cuays.” 
 
 From Lr Roy & Company, Paris. fox F mISxxX- 
 
 Purchased from M. Knorpter & Co., New York, June/ay eSK% - 
 
 Peer 
 
pen sme ep gm ett 
 
AMSTERDAM 
 
 BY 
 
 JAKOB MARIS 
 
yet e. 
 
 JAKOB MARIS mr 
 
 Dutrcu 1838—1899 
 
 AMSTERDAM 
 
 Height, 1214 inches; length, 171% imches 
 6-10 Md 
 Buipines along the congested water-front of the thickly settled city 
 extended back from the left and entirely across the picture, their red 
 and gray walls and roofs and picturesque roof-lines—with here and 
 there a mast intermingled—making an attractive and effective mass 
 beneath a blue sky in which there are large, heavy clouds of creamy- 
 white and brownish-gray. Below, the water of the foreground carries 
 many reflections, a confusion of boats appears along the shoreline, 
 and a heavily laden boat with a single sail is in the center of the stream, © 
 which in the right mid-distance is crossed by a stone bridge of two 
 arches. 
 
 Signed at the lower right, “J. Manis.” 
 
 Purchased from A. Preyer, The Hague. 
 
 Panthate pr Sect vost, | pf o5xx 
 
ANTON MAUVE 
 
| | \ No. 4 
 Wi ANTON MAUVE 
 
 Dutcu 1838—1888 
 
 yo 
 
 PEASANT LEADING A COW 
 
 Height, 1424 inches; length, 20 inches 
 
 On a light but sunless day, the sunshine screened by all-prevailing 
 gray, vaporous clouds, a Dutch boy in patched trousers and sabots is 
 leading a Holstein cow along a rutted farm-road, between cultivated 
 fields where green growths appear above the dull brown earth. The 
 boy and his charge are close in the foreground, the cow lowering her — 
 head toward the roadside grass, coming toward the spectator. A 
 mass of low trees bounds the distance on the right, and toward the 
 left—beyond a single distant church that rises against the horizon— 
 all is flat land as far as eye can see. 
 
 Signed at the lower right, “A. Mauve.” 
 
 From the collection of L. Somzrr, Brussels, who bought it direct from the artist 
 in 1885. ) 
 Du treh IG. poz. F.avsxx- 
 
 /009S Purchased from M. Knorpirr & Co., New York. Sau 06 LSKX ~ 
 
JAKOB MARIS _ 
 
 Pm 
 
 so Ss Bee ee Uj ot ee eee, Be. i. oe ae 
 
No. 5 
 
 rhe : JAKOB MARIS fe Be 
 Mg Durcu 1838—1899 
 
 DORDRECHT 
 
 Height, 1514 inches; length, 2334 on df dice 
 
 A. CLEAR blue sky is largely screened from view Gr full, ae 
 masses of light gray and creamy-white cumuli which hang in a stW] air. 
 The foreground of water extending across the picture is burdened 
 with heavy sailboats—none of their canvas being visible—whose bare 
 poles rise against the sky above the tops of the town buildings before 
 which they are seen. The reflections of boats and buildings enrich 
 the water with deep notes of color, while the blue, and the white clouds, 
 of the sky, brighten it. At the left, on the land, what appears to be 
 
 the large, grayish-white pile of a cathedral overtowers the other build- 
 
 ings of the city. 
 
 apt = Aeléinmeed, Bae! 
 72 & Ne HOKK + Aelaned Signed at the fae right, “J. Maris.” 
 P7E3 Ae VL Shapes UeVo0 - iXxx- 
 
 From the collection of Judge Samuet L. Bronson, 
 
 de /2fon« J. Su fuxxn — Tahun bath, Sse 1908, 
 /089E jee from M. Knorpuer & Co., New York. Vaan Jorg Rx ka - 
 
= : } : be 
 
 aol 
 
 _ JEAN JACQUES HENNER: oy: 
 
 > 
 
 + 
 
 etl cg 
 
No. 6 
 
 pv - JEAN JACQUES HENNER 
 
 Kr Frencu 1829—1905 
 
 HEAD OF A GIRL 
 
 Height, 2734 inches; width, 1814 inches 
 TuE half-length figure of a young woman standing. She faces thel | 
 left and is seen in profile, a strong light from in front of and above 
 her falling upon her pale, clean-cut features, which are delicately de- 
 lineated. She inclines her head slightly forward, just enough to per- 
 mit her brow to afford her eyes a partial screen from the brightness. 
 Her mahogany-red hair projects from a black scarf or mantilla which 
 she wears over her head and shoulders, and her black waist, slightly 
 open at the throat, is adorned there with a single bright red flower. — 
 Her right hand catches folds of her garments at her breast; the left, 
 dropped lower at her side, does not come into the picture. 
 
 Signed at the lower left, “J. J. HENNER.” 
 
 J0¥9g Purchased from M. Knorepurr & Co., New York. Atfoy OSu XM -— 
 
bah A Ppa 
 
NLIGHT 
 
 ”" 
 
 = 
 : 
 Sih he 
 4 4 
 = Z 
 
No. 7 
 
 JEAN CHARLES CAZIN 
 
 n ye? Frencu 1841—1901 
 
 MOONLIGHT 
 
 Height, 24 inches; width, ae inches 
 
 SU-to = SL 
 
 A GREEN-cLAD hill, faint browns and ee mains with its ver-— 
 
 m7 ree ag is . 
 4 > Pita _ 
 
 dure, slopes from the left and toward the foreground. Beyond it, 
 below at the right in the middle distance, seen over its slanting’ side, is 
 a broad, flat valley bounded by trees, where among the distinguish- 
 able features of the landscape a conical, brownish-yellow haystack 
 stands up in the dimmed radiance of a cloudy moonlight night. In a 
 cleft of the near-by hill a cottage is built, its upper story projecting 
 above the hillside and its ancient roof glistening softly in the lunar 
 light. The blue sky—showing a single star—is all but concealed by 
 wide-spreading, thick light clouds, through which the full moon is 
 struggling to appear. 
 
 Bus/oy Riclew Wh. aux - | 
 99 70 From M. Kxoxpurr & Co., New York, who purchased it direct from the artist. babi i 
 In Ue - 
 
 Signed at the lower left, “J. C. Cazin.” 
 
ANTON MAUVE 
 
 ¢ 
 
hate ts Ts ae ee oe 
 
 No. 8 
 
 ANTON MAUVE 
 
 Dutcu 1838—1888 
 
 SHEEP ON THE DUNES 
 
 Height, 19 inches; length, 27 inches 
 
 ee Vr. Wy. Parra 
 
 AN undulating line of dunes extends across the picture, against a low 
 horizon. ‘To the right and overhead the sky is a dark gray; toward 
 the left its clouds are whitened near the horizon. Beyond the crest of 
 the dunes is the sense of the vast sea, with naught visible agamst the 
 sky above the coarse grass of the dune-tops but the projecting head 
 of a stout old shepherd, who on the hither side of the largest dune 
 stands with his dog beside him amidst his flock. He seems to be gaz- 
 ing far over the dune-crest and the sea. The sheep, a large flock of 
 them closely bunched, are all headed in that direction, away from the 
 spectator, but are moving slowly, as they graze. : 
 
 99 
 
 Signed at the lower right, “A. Mauve, p. 
 
 Formerly in the collection of Mr. H. Tetxerra Martos, Vogelenzang, Amster- 
 
 dam. 
 
 Purchased from Scorr & Fowires Company, New York. fore KA 
 
BY 
 
 _ HENRI HARPIGNIES 
 
No. 9 
 
 HENRI HARPIGNIES 
 
 Frencu 1819— 
 
 STREAM NEAR NEVERS 
 
 Kb pg 
 
 A NARROW brook, which seems to be an outlet from 
 
 Height, 3214 inches; width, 25° Of 
 
 s 
 
 in a seamed and rolling country, makes its appearance between large 
 gray boulders across whose tops the sunlight glints, and with a ‘zigzag 
 turn or two comes swiftly down a short, grassy slope to the fore- 
 ground, its shallow bed broken by small, upstanding rocks. Slender 
 
 and stouter trees of picturesque trunks and clustering foliage are gray 
 and green against a light-blue sky, whose thickening white horizon 
 clouds are turning yellow in the sun; and to the left and in the dis- 
 tance rise steep or rolling hills, green near by and blue afar. The 
 
 swift-coming brooklet is white where the sun hits its hastening waters. 
 
 Signed at the lower left, “H. Harvientes, 1902.” 
 
 From Messrs. Annoup & Trirp, Paris. 
 
4 
 a 
 1 
 iP 
 4 
 a 
 o 
 
 = 
 
 EMAN 
 
 i 
 
 HO. 
 E ROUSSEAU 
 
 ; » ©, = 
 aS : 
 % aa a 
 
 BY 
 
 re 
 
 01 
 
 sips 
 A. 
 
 Ses EE eee ce 
 
wl PENG at Co 
 THEODORE ROUSSEAU 
 
 Frencu 1812—1867 
 
 LANDSCAPE WITH HORSEMAN 
 (Panel) 
 
 HAs 93/4, inches; Oy 2 inches 
 
 eles: A oondlu! &, 
 THE spectator, in the shade of a ae s edge, is looking over - the 
 
 brow of a hill out upon a br oad, sunlight-flooded plain through which 
 a silvery-gray river takes its slowly winding course. The trees in \ the 
 left of the foreground overspread a road over the hill, on which a soli- 
 
 tary horseman is making his way toward the abrupt descent that leads 
 
 down to a village of the plain, whose roofs and steeples are visible 
 beyond the hill’s crest. The shadowed foreground at the right is rich — 4 
 
 in the red and brown autumn hues of the coarse herbage, interspersed -_ 
 here and there with green patches. There is a sense of vast distance 
 in the outlook over the plain, glowing in sunlight, as it is seen in con- 
 trast with the rich but shadowed foreground. Far-off hamlets are 
 within the extensive view, and tall trees of the distance are reflected in 
 the silvern river whose banks they line. sft 
 
 ri: 
 tke 
 
 NARRES 
 Signed at the lower right, “Tu. Roussrau.” 
 
 From the collection of F. Harrmann, Paris. 
 YC SBor. Fix-xxx ~ 
 (0066 Purchased from M. Knorvurr & Co., New York. Jone IAX- MS — 
 
ES FRANCOIS DAUBIGNY 
 
No. 11 
 )' CHARLES FRANCOIS DAUBIGNY 
 
 / Frencu 1817—1878 
 
 THE FERRY BOAT 
 
 (Panel) 
 
 Height, 7 inches; length, 16 inches ca ; 
 enn) ls Ve LYIVGANY 
 Tue ferry boat, a flatboat hauled across a narrow river by a line, is 
 used by a farmer to carry over his cattle, and some cows appear in it, — 
 one with her head over the side to take a drink from the river as the ; 
 boat lies with its nose on the bank at the left. The farmer is in it, — 
 and also an old woman who stands among: the cows. Other cows ae | 
 appear on the bank, and washerwomen are at work on their knees at 
 the stream’s edge. Above the green, sloping bank which a farm road 
 ascends from the river is a group of gray-white farm buildings with 
 brown roofs. Beyond them tall trees, green and yellow, grow along 
 the bank, which becomes lower and broadens out down to the river, 
 and on the opposite bank are tall woods in similar coloring. The 
 placid river shows a few white ripples here and there, and mirrors the ~ 
 woods of its banks. The light sky is filled with fleecy, cream-white 
 clouds, touched with pink and gray-brown, and the air is clear. 
 
 Signed at the lower left, “Dausieny, 1859.” 
 
 From the collection of Monstrur Ciaupon, Paris. Spt /99 Fo svxx- 
 
 /0/99 Purchased from M. Knorvurr & Co., New York. Freé/s€ aX. Ox - 
 
Crys 
 
 . 
 Mi d ’ 
 
 _ CHARLES FRANCOIS DAUBIGNY | 
 
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No. 12 
 
 CHARLES FRANCOIS DAUBIGNY — 
 y” % | Frencu 1817—1878 
 
 =) RIVER OISE NEAR ANDRESY 
 
 (Panel) ° 
 
 x Height, 13°, inches; length, 221% fe ie 
 ce (9 ‘ & a 
 
 THE Oise—a fluent shimmer of blue, green and silver-gréy reflections — 
 
 -—traverses a landscape placidly joyous on a bright 4nd peaceful 
 summer day, the abodes of men shut out by trees or hills and only 
 nature seen on every hand. The sky is a beautiful turquoise-blue, 
 underlain by active and pervading cumulations of the aerial vapor in , 
 tones of gray, white, cream and purplish-brown, which thicken toward 2 
 the horizon. On the right, near the foreground, the bank of the river 
 
 is a low, wild green field. On the left and extending nearly across 
 
 the picture the farther bank has a low, irregular border of green 
 grass, back of which lines, groups and masses of short and tall trees 
 give variety to the cool, green and sunlit prospect. Under the fore- 
 ground bank on the right the figure of a man is seen bending over 
 
 in his punt. 
 Signed at the lower left, “Dausieny.” 
 
 From M. Mauxxr, Paris. @6/3. Fassxx- 
 
 10248 Purchased from M. Knorpier & Co., New York. LAs 4. Sxaxy as 
 
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 = THE OMING STORM 
 
 | JULES DUPRE 
 
No. 18 
 
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 yo? | JULES DUPRE Are 
 \ . Frencu 1811—1889 
 
 THE COMING STORM 
 
 Hot 
 
 “A RoAD from the central foreground curves about a(figh bank on the 
 
 Height, 174, inches; length, 231 inches | f, 
 
 = 
 
 right where a few trees grow—their foliage touched by autumn—and 
 disappears over the crest of a low hill where at the left a brown cot- 
 tage stands half-concealed by the contour of the ground. Before the 
 cottage, on the left, is a thick clump of trees, with reddened bushes 
 growing below them by the wayside. A peasant is crossing the road 
 toward the cottage, his figure seen in full sunlight, which illumines 
 curling masses of gray-white clouds that are swirling across a deep 
 blue sky. On the right, however, the darkening clouds of a summer 
 storm, or shower, are gathering and coming on, their advance edges 
 just entering the picture. 
 x Signed at the lower right, “JuLes Dupre.” : fs 
 SL4E-~ Auold- Trtfofe dug 1886 Siu /2500 + ptuahanand. her nfiide~«fNKXK2 , 
 From the collection of Watrer Ricumonp, New York, 1899: No. 52. ~ M7 Oo 4% 
 Prd. Q. (Bel ~ Srfoe. Axx 
 Jo9// Purchased from M. Knoepuer & Co., New York. JanJ/oe Sx — 
 
 © 29364 apis 27/03, ue 6. A Beahwcnur EOS Altnuad. 
 CIO 7 Takin <u Sle Lo 10Gi{-_ BMA 
 
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No. 14 
 
 sh NARCISSE VIRGILE DIAZ DE LA ee 
 
 l 
 
 FRENCH 1807—1876 
 
 PATH IN THE ROCKS—FOREST OF 
 FONTAINEBLEAU 
 
 ie ee Height, 15 inches; ay Meee 
 
 A sBroap path through an open part of the forest is seen in fhe left 
 
 foreground, where it passes amid huge blue-gray boulders which are 
 crusted over with green. Among them short but sturdy trees have 
 found root, and at the foot of one of these a peasant woman in brown, 
 white and red is seated with her back against the trunk. ‘The path 
 touches the edge of a pond in the middle distance whose still water 
 reflects the trunks and foliage of a clump of green trees on its border. 
 Beyond is a flat green field in sunshine, and in the distance are rounded 
 hills. The sky is thickly bestrewn with light gray-white and brownish 
 clouds. — 
 
 Signed at the lower left, “N. Diaz.” 
 
 From the collection of Baron pE tA Rocuerre, Paris. 
 In. nalley- trarchfoy. Fau xxx- 
 L0O4#43 Purchased from M. Knoepurer & Co., New York. L568 /o gs. SL x ic — 
 
et ERS 
 
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 [PS 
 
/o¥ 84 Purchased from M. Knorepier & Co., New York. SVT o 4 QS. Xx ie - 
 
 No. 15 
 
 JEAN BAPTISTE CAMILLE COROT 
 
 Frencu 1796—1875 
 
 LE SENTIER AU PRINTEMPS 
 
 Height, 283), inches; width, 201, inches yee. 
 SU, COs, cats hi Seat ea - 
 
 A roap so little used that it is well grass-grown enters a glade between 
 sloping banks, where blossoming wild flowers, kissed by the sunshine, 
 brighten the loose, tall grass. The silvery-white trunk of a slender 
 and sinuous birch tree stands out from a group of Corot’s feathery 
 trees on the right, while on the left some stouter and darker trees rise = 
 above the picture. Beyond them a line of green and rounded hills — . a 
 dotted with dwellings curves into the background toward the right, | 
 enclosing the corner of a pond, before which in the middle distance a 
 group of figures are seen. They are sitting and standing in the grass 
 of the roadside, some in shadow, and one who wears a bright red waist 
 and a white cap in the sunlight. 
 
 Signed at the lower right, “Conor.” — 
 From the collection of P. L. Everann, Paris, 1873. - # = a 
 From the Fremyn Collection, 1875: Catalogue No. 14. he 3200 
 Exhibition of “Cent Chefs-d’Giwere,” 1892: Catalogue No. 58. 
 
 From the collection of A. Sousirs, Paris. 
 
 Recorded in “L’Geuvre de Corot,” by Aurrep Roxsaut and Krinnne Moreau- 
 
 Neévaton: No. 1963, Volume III. 
 f38.+G@ J aby Jo4- FPiuxxy.- 
 
No. 16 
 
 VENICE 
 
 BY 
 
 CESCO GUARDI 
 
N o. 16 
 FRANCESCO GUARDI 
 
 Iratian 1712—1793 
 
 VENICE 
 
 Height, 1234 inches; length, 161/, inches ae 
 
 THE canal filling the foreground is a deep blue-green, and in the dis-- 
 tance to the right of the center the water seems to connect with a pale, " 
 greenish-blue sky, with suggestions of pinkish and faint purple clouds 
 near the horizon. The spectator looks across the canal, toward the 
 left, to the mass of the white and pink Church of San Giorgio Mag- 
 giore, with its imposing facade and massive dome, overtopped at the 
 extreme left by the campanile—all in strong sunshine, which causes’ 
 their reflections to brighten the dull canal. On the church plaza are 
 people in varicolored costumes, and the canal is dotted with gondolas 
 and light sailing-boats which cause white ripples in the water. 
 
 The Palladian Campanile of San Giorgio, which appears in this painting by Guardi, 
 tumbled in 1774, breaking up a service and killing a monk, and also injuring two others. The 
 
 tower was rebuilt later by Benedetto Buratti, and in its present form has the conical top 
 . with which visitors are familiar, resembling that of ‘The Campanile. a 
 
 Collection of Eupoxtr, Countess of Lindsay. 
 
Setar. No. 17 
 
 ee THE CONCERT: 
 : BY 
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No. 17 
 
 PIETER DE HOOGHE 
 
 Dutcu 16382—1681 
 
 THE CONCERT 
 
 Height, 25°84 inches; length, 2914 “lp 
 
 Yo to = 
 
 IN a severely plain interior, whose walls and beamed ceiling give a 
 background of olive and mahogany-brown, a group of friends are 
 struggling with some music. A man in a broad-brimmed hat, broad 
 white collar and pale-red coat sits at a harpsichord, his back to an 
 open casement window, striking desultorily some notes with one hand 
 and holding a music book open on its rack with the other. A young 
 woman in a pale-green skirt and brilliant golden-yellow overskirt 
 and bodice, low about bust and shoulders, sits in front of the instru- | 
 ment with a music book on her lap, gazing dejectedly at the floor 
 as though discouraged or out of spirits. Another young woman in 
 an ermine-trimmed cloak behind her looks over her shoulder at the 
 music, with a languidly smiling and half-interested expression, as she 
 keys up a lute. An older woman is entering the room with a wine-— 
 glass, from a doorway through which a sunny street and walking 
 figures are seen. 
 
 Mentioned in Dr. C. Horstepr pE Groort’s “Catalogue Raisonné,” Volume I, 
 ' page 516: No. 149. 
 
 From the collection of Srrvav, Amsterdam, 1778: Catalogue No. 43. 7 IY Hawn 
 Collection ENGELBERTS & TrERSTEEG, Amsterdam, 1808: No. 73. [tl Placa are 
 Collection A. R. Jouuies, Amsterdam, 1812. 
 Collection Baron E. pE Beurnonvittez, Paris. 
 
 Collection DrsmottTes DE Litur, Cabinet L. D. 
 
 Collection Mr. X of Cambrai and Dr. Heuuts of Rouen, 1889: No. 9. 
 
 bv Cepd Be from J ance Cae 
 
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 PATRICK NASMYTH 
 
 0) Enewish 1787—1831 
 
 VIEW NEAR THE WEALD OF SUSSEX, 1830 
 
 (Panel) 
 
 Height, 81% inches; length, 124 my ee 
 7, fare aie i 
 
 A roap from the foreground passes through a Ai between tree- 
 topped rocks, which rise at either side against a pale-blue sky where : 
 light cirrus and cirro-cumulus clouds float in bright sunshine. In the =a 
 middle distance the road makes an abrupt descent, the top of a cov-. 
 ered wagon being seen on its way down the farther side. At the 
 crest are two figures, in sunlight, a man on horseback and a woman 
 walking beside him, and another man is seated on a rock by the road- 
 side in the foreground. The figures at the crest are looking out 
 over The Weald, a great plain of pasture lands and groves, the trees — 
 appearing in sunshine and shadow, with flocks grazing in various 
 places, and in the distance a square tower or steeple rising above the 
 
 horizon line. 
 Signed at the lower right, “Par’x Nasmytu, 1830.” — 
 
 From Messrs. Lawrnir & Company, London. JG/95'- S MSN: 2 
 
 7 9/4, Purchased from M. Knorpirr & Co., New York. Feb fac 2tics, 
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No. 19 
 
 JOHN (“OLD”) CROME 
 
 Eneusu 1769—1861 
 
 LANDSCAPE WITH BOY AND DONKEY 
 
 Height, 16 icheas coidth 124 eree c 
 (ome = Vie a l, 
 
 Busuy trees at the left rise out of the picture, their rich green foliage 
 
 picked out with light spots where the sunshine touches outstanding ~ : 
 
 leaves high up, and their trunks at the base accentuated in strong sun- 
 light. On a bank at the right are two short pollarded willows, and 
 in the shadow of this bank a road, which in the middle distance has 
 rounded the bank, comes forward into view, crossing a narrow stream 
 
 by a ford. A boy in a blue coat, with a red necktie, who has just — 
 
 forded the stream on his brown donkey, is riding up a gentle rise into 
 
 the foreground, and his dog turns to look at a young woman in red, 
 who has come to the brook with her water jar and stands leaning 
 
 against the single hand-rail of a narrow foot-bridge. 
 
 Farckased frou P29. Qlinp lh Tlorck. 
 
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 No. 20. 
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 “MALLORD WILLIAM 
 
 ‘TURNER, R.A. 
 
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No. 20 
 
 o JOSEPH MALLORD WILLIAM TURNER, R.A. 
 
 \~ EneuisH 1775—1851 os Ane 
 
 FLUELEN, LAKE OF LUCERNE \y 
 (Water Color. Painted about 1840) 
 
 Height, 11% inches; length, 1834 inches 
 
 [4- uh tO — Wy. 
 
 THE mountains tower to right, to left and in the background, their | 
 stupendous flanks full of color. On the right they are green and 
 blue as well as red and yellow, and on the left, which is in higher light, 
 a reddish-yellow predominates, with suggestions of a green tinge. In 
 the distance they appear in a luminous haze of subdued but bewilder- 
 ing iridescence. In the valley of the middle distance the buildings of 
 the town are scarcely less colorful, grouped about the shore of the 
 lake, on which in the foreground are seen many boats and rafts with 
 figures bright in the sunshine, while the water is filled with dazzling — 
 
 reflections of baffling hues. 
 
 One of the noted drawings made for the father of John Ruskin. Formerly 
 in the collection of Abraham Haworth, Esq., England. 
 
 Purchased from Scott & Fowxes Company, New York. f asxnn —_ 
 
No. 21 
 
 BY 
 
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: GEORGE ROMNEY 
 
 No. 21 
 
 Encusn 1734—1802 
 
 A LADY OF QUALITY 
 
 Height, 30 inches; width, 25 inches 
 
 IB Ieper) a f. Oe tae 
 
 SHE is looking directly at the spectator from a nebulous background 
 of olive-yellow and brown tones, mingled below with lighter effects, 
 and is shown in head and bust, turned to the left and facing three- 
 quarters front. She is a young woman with clear features and trim 
 figure, the bust partly exposed by her tight-fitting bodice, which has 
 wide, flowing sleeves caught near the shoulder in gold armlets. The 
 low corsage is edged. with delicate lace. Her gown has a pale-olive 
 tone, deepening below to an olive-brown. Her brown hair, done 
 high on her head and curling low back of her neck, is loosely bound in 
 
 a twisted cord of brilliant yellow. ; 
 
 The canvas is rectilinear but the portrait is painted in an oval. 
 
 From sale at Curisttr’s, London, June 25, 1904: Catalogue No. 78. af INOS } E ‘ 
 
4 
 
 ay 
 
 ; SIR HENRY RAEBURN, R 
 
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No. 22 
 
 SIR, HENRY RAEBURN, R.A. 
 
 Eneusn 1756—1823 =e 
 \y* PORTRAIT OF A LADY | Ee bs 
 \ (A member of the De Vere family of Craigehall, Midlothian, Scotland) 
 
 oo 
 
 | Height, 30 inches; width, 25 inches 3 
 | Ds/ en 7, Xe Co. 
 A youNG woman, her pink lips slightly parted in an expression of i: 
 | easy good-nature, rather than animated interest, is seated turned [ 
 slightly toward the left and facing the front directly, and is shown at a 
 half-length. Her chestnut hair in ringlets curls about her cheeks and — ‘wa 
 temples, partly obscuring one eye, it falls so low, but is parted over. h = 
 the center of the forehead. ‘The forehead comes well into the strong Re 
 light that falls full on her face and on her breast, which is liberally rs 
 exposed by her low, cream-white gown which shows notes of old gold. . 
 
 She wears also a ruby cloak which is thrown back in careless folds, — 
 and she sits in an easy posture, leaning slightly back to her right. 
 The background is dark. 
 
 Exhibited at the Edinburgh Loan Exhibition, 1901: Catalogue No. 148. 
 
 Previously in the collection of Mr. Anruur Sanverson, of Edinburgh, who 
 
 purchased it from the family. 
 Shown at the Scottish Old Masters Exhibition, Grafton Gallery, London, 1895. is , 
 
 Mentioned in Sir Water Armstrrone’s “Raeburn,” 1901, page 115. 
 
 Exhibited at the Loan Exhibition of M. Knorepuer & Co., New York, 1912: 
 
 Jake 7 Quforg . £ SA*>~ 
 
 10968 Purchased from M. Knorepirr & Co., New York. P-b/oc _ OLXKXK — 
 
a 
 
PORTRAIT OF MRS. JORDAN 
 
 BY 
 
 OHN HOPPNER, R.A. 
 
 J 
 
 a SR et A rts SY i ts hs ti earthen <s 
 
 1 
 
pe) Gelegh Ue 
 A BRIGHT-EYED young woman of cheerful, smiling expr ession, who i is i 
 seated facing slightly toward the left, turns her head forward and v= 
 looks quizzically at someone back of the spectator and to his right, i SS 
 her closed cupid’s-bow lips a deeper red than her rosy cheeks. She is _ ts 
 gowned in black and a grayish-brown and wears a wide, purplish-pink | 
 sash, and her low corsage has a wide edging of white lace. Her 
 powdered hair or wig curls freely about her head, framing her cheery — cs 
 face and falling thickly back of her shoulders, and is bound with. a 
 fillet of white lace, a flowing end of which flies forward Ee one 
 
 Conventional background of a broad, sunlit landscape and © 
 a dark ine sky. 
 
 From a private collection in England. 
 
 Purchased from Messrs. Lawrir & Company, London. Mev/, Y ore i 
 
 foun HOPPNER, R.A. 
 
 EncusH 1758—1810 
 
 PORTRAIT OF MRS. JORDAN yee 
 for Ve Ke eee 
 Height, 30 eae: width, 25 inches f a od 
 
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Sees LLL A Tce Sei ePTFE SS ite Sst 
 
 OA is ACORN 
 
PORTRAIT OF WILLIAM HENRY, 
 _ DUKE OF CLARENCE 
 
 (afterward Kine Witiiam IV) 
 
 a 
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 BY 
 
 THOMAS GAINSBOROUGH, R.A. 
 
¢: 
 ¢ No. 24 
 
 THOMAS GAINSBOROUGH, R.A. 
 
 a ; EneuisH 1727—1788 
 
 ; : a) - : oP 
 PORTRAIT OF WILLIAM HENRY, DUKE OF ~ 
 CLARENCE (afterward KING WILLIAM IV) - 2 4 
 
 Height, 30 inches; width, 25, inches 
 
 ao i ae rtf HF 
 His Royal Highness is portrayed as a Youth with full, florid face, ce 
 
 deep blue eyes, and mouth with a tendency to be pursed, yet with a 
 pleasant, affable expression. He wears a brown-gray wig with ‘eS 4 
 formal curl over each ear. He is shown at half-length, standing, with : 
 the hands included, his hands being crossed before him on the hilt of — 
 his sword, on which he lightly rests, and one hand holding ‘his ae 
 dark hat. He is facing the left, three-quarters front, in his naval uni- 
 form, wearing a blue coat with lace cuffs, a lace ruff, and a gray 
 waistcoat which is crossed by a broad green sash. On his breast is the _ 
 star of an order. He is painted against a conventional sky back- OMe 
 ground. 
 
 Mentioned in “Gainsborough” by Mortimer Menprs, tert by JamMEs Greic; - 
 1909; page 171. ‘ 
 
 is 
 
 From the Duxr or Camprince sale at Curistiz’s, London, 1904: No. 86, 0 1S? 
 
 7 AAA LA a 
 
 Exhibited at the Loan Exhibition of M. Knorpirr & Co., New York, 1912: 
 No. 9. 
 
 (0478 Purchased from M. Knorpurr & Co., New York. Ce 6tfo4 QU-SKXK = 
 
Pe Noses 
 «LADY MARY ANNE BEAUMONT 
 
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 Pian 7 at } a g Pa) 
 - : BY 
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 SIR THOMAS LAWRENCE, P.R.A. 
 
 7 
 
Bier 
 
 Eneutsy 1769—1830 
 
 LADY MARY ANNE BEAUMONT 
 
 Oe 3614 inches; width, 28 inches 
 
 THE three-quarter length portrait of a smiling young woman with 
 rounded and rosy cheeks, bright blue eyes, and rich black hair which | 
 
 is in loose waves over her head and curls about her temples. — She 
 
 wears a low-necked gown of pearl-white, with transparent sleeves 
 caught at the shoulder with jewels, jeweled bracelets and a sapphire 
 ring. Her varicolored silken girdle joins its iridescence to’ the bril- 
 liance of the jewels, and a deep, glowing yellow drapery curls from 
 behind her over her knees. She is seated, turned toward the right but 
 facing the spectator with frank, ingenuous gaze, and her hands lie on 
 
 the yellow drapery in her lap. The conventional background i igi 
 
 brownish-olive and deep green tones. 
 
 Lady Beaumont was the eldest daughter of Dr. William Howley, Archbishop of Canter- 
 bury, and married in 1825 Sir George Howland Willoughby Beaumont, eighth Baronet. She 
 died in 1834, 
 
 Exhibited at the Loan Exhibition of M. Knorpuer & Co., New York, 1912: 
 
 No. 19. 
 0-8. botnaghis- to Och/igo 2-1 PANMS 
 
 Joo 3(- Purchased from M. Knorpurr & Co., New York. af/s gf Mex 
 
LLL LLL LLL D LOLI OR LE AIEEE NT LT OORT i ir th 
 
 Shen ee 
 
> No. 26 
 
 PORTRAIT OF LADY ELIZA- 
 BETH TWISDEN 
 
 BY 
 
 GEORGE ROMNEY 
 
No. 26 
 
 ; Peon st ROMNEY 
 EncusH 1734— 1802 
 
 aa / PORTRAIT OF LADY ELIZABETH TWISDEN — 
 
 eee 50 inches; width, 39:4 inches Ar ¥ ae 
 ¢ epee Gs Urbt ie Whe 
 A piGNirtep and stately young woman of_generous-figure, her 
 
 all but agate. in a mass of loosely i, red- brown hair, 
 
 ae three-quarters front. She ee large ag bright eyes of self 
 possessed expression, and a delicate cupid’s- -bow mouth, and “4 
 cheeks are faintly pink. The light strikes broadly upon her high fore 
 head and tapering neck. Her décolleté gown is of a creamy-white, sof 
 material, the skirt and sleeves being draped in graceful folds, and i 
 embroidered in gold. | The nearer_knee_is-erossed_over its mate, and | 
 ‘in one hand resting on her lap she holds a small, leather-bound vol- a 
 PP A tooled i in gold, the title label in red, and the other hand i is-eX= sn 
 < Period cheer her knee. The flesh tones are warm and fresh, and the i 
 background is a neutral one with notes of brown, gray, olive and” 
 turquoise-green. 
 
 She was the daughter of Admiral Sir Francis Geary, Bart., was baptized in 1754, and in see 
 1782 married Sir John Papillon Twisden. She died in 1816. ea 
 Mentioned in Humpury Warp and W. Roserts’ “Romney,” 1904: Vol. 1, ise 
 
 page 161. 
 Exhibited in the Grafton Gallery, London, 1900: No. 61. 
 Previously owned by Sir Wit1iam Nevitie M. Geary, a member of the family. 
 
 Purchased from Messrs. Lawriz & Company, London. _ )ear/oy Lexy. Pa 
 
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