Digitized by the Internet Archive in 2014 https://archive.org/details/georgeahearngiftOOmetr_0 M« B. A. / SIR ANTHONY VAN DYCK BARON ARNOLD DE ROY OF 1599-1641 ZUIDERWYN CANVAS H. 76 IN. W. 48 IN. GEORGE A. HEARN GIFT TO THE METROPOLITAN MUSEUM OF ART IN THE CITY OF NEW YORK AND ARTHUR HOPPOCK HEARN MEMORIAL FUND NEW YORK PRINTED FOR THE MUSEUM MCMXIII CORRESPONDENCE THE following letters which passed between Mr. Hearn and the President and Trustees of the Metropolitan Museum set forth the wishes of the donor and the conditions under which the gift was made and accepted. THE OFFER December 18, 1905 J. Pierpont Morgan, Esq. President, Metropolitan Museum of Art, Central Park, New York City Dear Sir : According to my recollection there are fifty pictures in Gallery 15, twenty-two of which have been given and twenty-eight loaned by me. Instead of four of these, I wish to substitute four others, being better pictures, namely: "Lady Hamilton as Daphne," by George Romney; "Peg Woffington," by William Hogarth; " Mrs. Pulham," by John Constable, and " Master Hare," by Sir Joshua Reynolds. After the changes are made I desire to present them all to the Museum, on condition that they shall all remain together in the gallery they are now in or some other of equal size and importance, equally well lighted. In connection with the above I will also give One Hundred Thousand Dollars, income to be used in purchase of American pictures. If this is agreeable to the Trustees, I will either have the four pictures sent to the Museum or show them to the Committee on Paintings at my home at such time as may be convenient to them. On notification that these gifts will be acceptable, I will make offer formal. Yours truly, George A. Hearn To the Trustees of the Metropolitan Museum of Art Thursday, January n, 1906 Gentlemen : Objection having been raised to the condition accompanying my offer of pictures and money to the Museum, I deem it but due to myself to offer justification therefor. It having been said that it is difficult to meet the demand that gifts of paintings be kept together permanently, because such collec- tions represent different nationalities and periods, I would reply, that while such difficulty might arise where the gifts number a dozen or so, it cannot be true where an entire gallery is harmoniously filled from a definite standpoint, for then the collection becomes a unit, or, let us say, a small museum in itself, the separate works contained therein, holding consistent relation to each other, completing the roundness of the whole. This collection is not simply a number of unrelated pictures that happened to please the fancy, brought to the Museum from the walls of my home; on the contrary, it is a collection formed in the gallery where it now hangs, during a number of years, having been subjected to frequent changes, always with improvement, and, by consent and approval of the authorities, until the present harmony was secured. To scatter these paintings through different rooms would be to undo the result I have desired to attain, and the artist or art lover will find nothing in Gallery 15 to interfere with his enjoyment, nor can the effect be said to be disturbing to the Museum. It is but natural that donors should prefer to have their gifts assembled where they may be seen at their best, rather than scattered through various rooms. Certain collections of paintings, porcelains, jades and musical instruments, now in the Museum, are far more interesting shown by themselves, than if broken up. Furthermore, they are gifts no Museum can afford to refuse on the ground that they are to be kept together permanently; for it is to the generosity of private individuals that we must look for the constant growth of the institution. To distribute this collection now according to schools would be to substitute a mechanical subdivision for an arrangement arrived at after years of loving study. The objection raised to keeping together individual collections has not disturbed European Museums. For example, in the Na- tional Gallery we find the Peel Collection, though purcha sed'm 1871, is still kept together; then there are those notable examples of Turner, which were accepted by the Trustees with the condition that they should hang with the Claudes. In the South Kensington vi we find the Sheepshanks Pictures kept together, as well as the Forster, the Dyce and others ; also the admirable collection of Furniture, Pictures and Art Objects bequeathed by Mr. Jones. In the Louvre hangs the La Caze Collection. In the Ryks Museum at Amsterdam we find the Van der Hoop Collection occupying rooms by itself; and in this same Museum we note the Dupper Collection, the Van de Poll Collection, as well as four lesser ones, kept together as harmonious units. It is worthy of remark that the Reid Collection bequeathed to the Glasgow Gallery with the same condition, numbers but ten paintings, divided between four nationalities ; others might be named if further examples were needed. In fact, if there be any ground for such objection, does it not seem strange that the fore- most European Museums deliberately create such collections by assembling conspicuous pictures of different periods and nation- alities in single rooms? In the Tribune of the Uffizi in Florence do we not find works by Van Dyck, Durer and Cranach hanging with those of Titian, Raphael and Correggio? In the Salon Carre of the Louvre we find Rembrandt, Dou and Van Dyck hanging with Bellini, Titian and Leonardo, or touching shoulders with Murillo, Paul Veronese, Memlinc, Rubens, Holbein and others. The same assembling of varied works appears in the great Gallery of the Wallace Collection, the latest European museum opened — one of the great rooms of the world — where Dutch, Flemish and Eng- lish, Italian and Spanish pictures hang side by side to the advantage of the whole. The great room of the Hermitage Gallery contains works by Italian, Spanish, Dutch, Flemish and other nationalities. On the other hand, anyone who has visited the exhibitions of the work of a single painter, must have felt the loss which such a painter sustains in the ordeal, whether it be the great Rem- brandt and Van Dyck exhibitions of a few years ago abroad, or the shows of modern painters, like Cazin and Inness, held in this city. It is an indisputable fact that two pictures, both good, by the same artist, may be hurt by being hung together; this is recog- nized in the best arranged galleries of the world. Who has not felt disappointed on first visiting the room in the National Gallery where the Turners hang, or upon entering the great room in the Hermitage, where forty-one examples of Rembrandt are to be seen? If paintings are only to be enjoyed and studied when arranged in chronological sequence, the same rule would apply to exhibits of sculpture, bronzes, porcelains and other objects shown in these halls. But will any one claim that such is the case ? The proportion of visitors that demand such a condition for their enjoyment is small indeed. ./Esthetic pleasure derived from a work of art is not dependent on any such chronological or mathematical arrangment. While considerations of size, color and tone, and space to be oc- vii cupied, must enter into any arrangement of pictures, it is essential, first and last, that the works shown be of good quality and repre- sentative of their authors. The fifty-one paintings in this collection in Gallery 15 embrace only four nationalities, 34 of them being English, 8 Dutch and Flemish, 3 French and 6 American. The English pictures are arranged in two groups, facing each other on the east and west walls. The Dutch and Flemish, by making one change, can be practically brought together, namely, by transposing the Van Dyck and the Vincent and the Romney ; but this, in my opinion, would not be an improvement, as the light is more favorable to the Van Dyck where it now hangs. The Americans were purposely hung in the Gallery to show that good American pictures can hold their own against the foreigners ; I never having discriminated in making purchases, the test always being, " Is the picture good ? " and the only preference being to buy the American when quality and value were equal. While under the impression that my gifts of pictures and money, as offered at the December 1 8th meeting of the Board, had been unanimously accepted by the Trustees, nevertheless, in deference to views of those who think that the Museum should not be bound to perpetual conditions, I have amended the offer, in full expec- tation that the authorities of the Museum, as now or hereafter constituted, will consider themselves under moral obligation to conform to wishes expressed. Very truly yours, George A. Hearn THE AMENDED OFFER Thursday, January 11, 1906 J. Pierpont Morgan, Esq. President, Metropolitan Museum of Art, Central Park, New York City Dear Sir: I have heretofore presented to the Museum twenty-four pictures, and now desire to present in addition twenty-seven pictures with the full expectation that the authorities of the Museum as now or hereafter constituted will consider themselves under moral obligation to keep the fifty-one pictures (see list below) together, for the period of not less than twenty-five years from the date viii hereof, in the gallery they are now in, or all together in some other gallery of the Museum of equal size and importance, equally well lighted. Should the pictures of the Museum, after the twenty-five years have expired, become so numerous as to make it desirable for them to be grouped according to their respective schools of art, while I should prefer that they should remain in a gallery by themselves, as above stated, it will be deemed compliance with above expressed expectation, if all of the pictures belonging to each school are hung together as a group, in galleries with others of the same school with a group label above each group, designating the pictures as belong- ing to the " George A. Hearn Collection," and each picture neatly labeled, in addition to the name of the artist, " George A. Hearn Gift." *Inness, George, N. A. Peace and Plenty *Gainsborough, Thomas, R. A. Portrait of Mr. Burroughs Uncle of the Artist *Bonington, Richard Parkes Coast Scene, Normandy *Stark, James Willows by the Water Courses *Wilson, Richard, R. A. The Storm *Callcott, Sir Augustus Wall, R. A. Landscape *Harlow, George Henry Portrait of the Artist ^Reynolds, Sir Joshua, P. R. A. Portrait of Mrs. Arnold ^Constable, John, R. A. Bridge on the Stour *Pine, Robert Edge Portrait of Mrs. Reid in Character of Sultana *Hoppner, John, R. A. Portrait of a Lady Known as the Lady with Coral Necklace *Lely, Sir Peter Portrait of Sir William Temple Hogarth, William Peg Woffington *Kneller, Sir Godfrey, Bart. Portrait of Lady Mary Berkeley *Wilson, Richard, R. A. Landscape and Figures *OsTADE, ISACK VAN Winter in Holland "HOOCH, PlETER DE Dutch Interior Willaerts, Adam River Scene with Boats Eeckhout, Gerbrandt van den Destruction of Sodom and Gommorah Murant, Emanuel The Farm Poussin, Gaspard Landscape and Figures Cuyp, Aelbert Landscape with Cattle Reynolds, Sir Joshua, P. R. A. Portrait of a Lady Vincent, George Landscape Romney, George Lady Hamilton Crome, John (called Old Crome) The Landing Cotman, John Sell English Village Nasmyth, Peter (called Patrick) Landscape Van Dyck, Sir Anthony Baron Arnold de Roy ix *Raeburn, Sir Henry Portrait of William Forsyth ^Reynolds, Sir Joshua, P. R. A. The Duke of Cumberland *Morland, George Midday Meal * Cottm an, John Sell Coast Scene *Beechey, Sir William, R. A. Portrait of a Lady ^Claude, Le Lorrain A Seaport Constable, John, R. A. Lady Ellenborough Lawrence, Sir Thomas, P. R. A. Mrs. Pulham Gainsborough, Thomas, R. A. English Landscape Philip, John, R. A. Gossips at the Well Mytens, Daniel Portrait of King Charles I Wilson, Richard, R. A. Italian Landscape Jongkind, John Barthold Sunset on the Scheldt Reynolds, Sir Joshua, P. R. A. Master Hare Reynolds, Sir Joshua, P. R. A. Portrait of Mrs. Angelo Blanchard, Jacques Venus and Adonis Huysmans, Cornelius Landscape with Figures Blakelock, Ralph A. Indian Encampment Martin, Homer D. Sand Dunes, Lake Ontario Wyant, Alexander H. Looking Towards the Sea Wyant, Alexander H. Landscape Wyant, Alexander H. Broad Silent Valley ♦Indicates pictures heretofore presented I would ask the privilege, from time to time, to exchange for others in the above-named collection such paintings as I may now have, or may hereafter acquire, that may improve the harmony and quality of the collection, each of such exchanges to be made with consent and approval of the Trustees. Fund No. i — In connection with the above, and for the en- couragement of the art of painting in this country, I will also give One Hundred Thousand Dollars in cash, to be invested by the authorities of the Museum in such securities as their judgment may deem advisable, the income to be expended for paintings by persons now living who are, or may be at the time of purchase, citizens of the United States of America, or by those hereafter born, who may at the time of purchase have become citizens thereof. And I desire to empower the authorities of the Museum, as now or hereafter constituted, to exchange or sell any painting or paintings purchased with the income of the fund of One Hundred Thousand Dollars; such paintings to be exchanged for, or proceeds of paintings sold to be expended for, another painting or paintings by citizens of the United States of America, as limited in last pre- ceding paragraph. X Fund No. 2 — To make the One Hundred Thousand Dollars immediately available, and to insure an income of five thousand dollars for some years to come, I desire to give an additional Twenty-five Thousand Dollars, so that five thousand dollars may be spent for paintings during the year 1906, and from the twenty thousand dollars remaining there may be taken sufficient to make up each year such amount as the income of the One Hundred Thou- sand Dollars may fall short of five thousand dollars. In connection with the above, I also offer the choice of all of the following twelve paintings by living American artists, to be hung as the authorities of the Museum may elect: Two by Winslow Homer, choice of two out of three, "North- easter," " Search Light, Santiago de Cuba," " Cannon Rock,"; one by Horatio Walker, " The Harrower " ; one by J. Alden Weir, " Green Bodice"; one by Elliott Daingerfield, " Slumbering Fog"; one by Abbott H. Thayer, " Young Woman " ; two by George H. Bogert, " Chale Church, Isle of Wight, England," "October Moonlight"; (Hallgarten prize) ; one by Henry W. Ranger, "Spring Woods"; one by Louis Paul Dessar, " Evening " ; one by F. Ballard Williams, "Passaic River"; one by D. W. Tryon, choice of " Moonlight " or " Autumn. " Fund No. 3 — I believe the paintings in Gallery 15 are all worthy examples of and executed by artists to whom they are attrib- uted. Nevertheless, to provide for contingency of dispute as to authenticity, I will, in connection with the above-named gifts, present to the Museum an additional Twenty-five Thousand Dollars, to be invested as the authorities may elect, and, in case of dispute and unfavorable decision by experts ( to be selected by the Museum ) in regard to any painting or paintings, during ten years from the date hereof, I will, with the consent and approval of the authorities, withdraw and replace with others such disputed and discredited painting or paintings, if any; and in case I cannot find the painting or paintings in my own collection, or cannot remove them without disarrangement of my home, I to be privileged to use all or part of this fund of Twenty-five Thousand Dollars toward the purchase of the newly selected painting or paintings, allowing the Museum such amount as the disputed painting or paintings can be sold for. In case of my death, the authorities of the Museum shall be likewise privileged to sell such disputed and discredited painting or paintings, if any, using the proceeds thereof and the fund of Twenty- five Thousand Dollars, with its accumulated interest, or so much thereof as needed, to pay for the picture or pictures purchased. After ten years this Twenty-five Thousand Dollars ( or so much as may not have been expended as above provided) together with its accumulated interest, shall be added to the heretofore named gift of One Hundred Thousand and so much as remains of the xi Twenty-five Thousand Dollar gift provided to purchase paintings during the year 1906, etc., and from the income, paintings by living American artists to be likewise purchased. Fund No. 1 Fund No. 2 Fund No. 3 Total $100,000 25,000 25,000 $1 50,000 Very truly yours, George A. Hearn ^RESOLUTION OF ACCEPTANCE At a meeting of the Board of Trustees, held January 26, 1906, the following resolution was adopted in regard to the gift of Mr. George A. Hearn: Resolved, That the Trustees of the Metropolitan Museum of Art accept the munificent gift of Mr. George A. Hearn, upon the terms contained in his letter of January 11, 1906, and in accepting it they desire to put on record their warm appreciation of Mr. Hearn's generosity to the Museum and through the Museum to the people of this city. The collection of pictures, which has been assembled in the gallery of the Museum, and already bears his name, is a notable one. We recognize his generous intention of making it even more repre- sentative from time to time. We particularly welcome his gift of American pictures, and the generous endowment which he has made for the acquisition of contemporary American paintings. We recognize the careful forethought with which he has guarded his gift, by providing for the withdrawal of any picture which on expert opinion shall not be deemed authentic, and by permitting the exchange of American pictures hereafter acquired for those of greater merit, whenever the opportunity for such a favorable exchange shall present itself. We trust he may realize for himself some of the pleasure and satisfaction which his fellow Trustees and his fellow citizens find in this important addition to our collection and our resources. xii New York, April 19, 1909. Sir Caspar Purdon Clarke, Director, Metropolitan Museum of Art, New York Dear Sir Purdon : In the Autumn of this year, if then living, and if the Trustees will set aside Gallery 14 for the Hearn Collection of American Pictures, and without changing terms of offer of pictures in Gallery 15, under date of January 1 1, 1906, and under privilege contained in that offer enabling me: "to exchange for others such paintings as I may now have, or may hereafter ac- quire, that may improve the harmony and quality of the collection, each of such ex- changes to be made with consent and ap- proval of the Treasurer." I will put in place of pictures in Gallery 15 : " Landscape" by John Crome and ) In place of "Mrs. Barnard" by Sir Joshua Reynolds, j George Innes "Landscape" by Cecil Lawson and ) In place of "Miss Baring" by Sir Thomas Lawrence. j three Wyants "Earl of Ar.undel and his Grandson,] In place of afterwards Sixth Duke of Norfolk" >- Homer Martin and by Sir Anthony Van Dyck. ) Ralph A. Blakelock Thus representing in Gallery 1 5, only foreign pictures. The Innes, three Wyants, Martin and Blakelock, together with those already presented, and those purchased with the income from the " Hearn Fund" to be put in Gallery 14. I will also add to the above American Pictures, enough repre- sentative examples to fill that Gallery, including among others, paintings by George Fuller, Winslow Homer, George Innes, Theodore Robinson, J. J. Shannon, Horatio Walker and Alexander H. Wyant. As opportunities offer, I will from time to time, add to, and replace with others, such paintings as will improve the collection, the object being to make the examples a credit to American Art, and a benefit to the artists of our country, with the trust (i. e. desire and hope) that purchases from fund established, and pictures presented will be kept together. Sincerely yours, GEORGE A. HEARN THE METROPOLITAN MUSEUM OF ART New York Extract from the minutes of the meeting of the Board of Trustees, held April 19, 1909. RESOLVED : That Mr. Hearn's generous offer, made in his letter of April 19, 1909, be accepted with warmest thanks, subject to an agreement to be made by him and a Committee to be ap- pointed for the purpose of determining the question of location and arrangement of the pictures. RESOLVED : That Mr. Hearn's generous gift of the follow- ng paintings be accepted on the terms of the preceding resolution, William Gedney Bunce Bruce Crane Charles H. Davis Arthur B. Davies Louis P. Dessar "Venice" . "Autumn Uplands" "August . " Dream . " Wood Cart " . " Isle of Shoals " . " Catskills " . " The Bridge " . "Roaring Forties" Childe Hassam DeWitt Parshall A. A. Ryder Frederick A. Waugh A true copy of record. Attest : ROBERT W. de FOREST, Secretary, For particulars of ARTHUR HOPPOCK HEARN FUND See page 108 CATALOGUE OF PAINTINGS COMPRISING GIFTS FROM GEORGE A HEARN AND PURCHASES FROM FUNDS ESTABLISHED BY HIM AND FROM ARTHUR HOPPOGK HEARN FUND LIST OF ARTISTS AND THEIR PAINTINGS ILLUSTRATED PAGE Abbey, Edwin A. . King Lear i 1 8 Alexander, John W. The Ring I I c Al FYANDFR loHN W A Study in Black and Green 7 T Beechey Sir ^Villiam Portrait of a Lady I 8 Benson, Frank "W. Portrait of a Lady 66 Blakelock R. A. Indian Encampment 62 Blakelock, R. A. Indian Pipe Dance 6^ Blanchard, Jacques Venus and Adonis A O Bogert George H. Church at Chale 87 Bogert George H. October IVloonlight 87 Boggs, Frank M. The Thames, London OA Bonington, R. P. . Coast Scene, Normandy Brown, J. G. Meditation 68 Brush, George De Forest In the Garden 64. Bunce, W. Gedney Early Morning, Venice 1 02 Bunce, W. Gedney Venetian Boats Q4- 7T Callcott, Sir A. W. Landscape 26 Carlsen, Emil The Open Sea 08 Cassatt, IVIary Mother and Child 70 Chase, ^VILLIAM 1V1. Lady of the Seventeenth Century 60 Chase, William M. . . Still Life . . 84 Church, Frederick S. IVIoonrise 1 in Constable, John A Bridge on the Stour 28 Constable, John Mrs. Pulham X 2 Cotman, John Sell Worcester Cathedral 1 A Cotman, John Sell English Village 4-2 Crane, Bruce Autumn Uplands I O I Crome, John The Road Through the Forest 30 J ^ Crome, John The Landing 2 O Cuyp, Aelbert Landscape with Cattle AO Daingerfield, Elliott Slumbering Fog 86 Daingerfield Elliott Christ Stilling the Tempest 1 0 1 Davies, Arthur B. A Dream Q C Davis, Charles H. August 8l Dearth, Henry G. The Harbor of Boulogne I OO De Hooch, Pieter Dutch Interior 4-6 Dessar, Louis P. The Wood Cart Q C Dougherty, Paul October Seas 82 Fuller, George The Quadroon • • 54 Gainsborough, Thomas English Landscape • • 2 4 Gainsborough, Thomas . Rev. Humphrey Burroughs 16 Genth, Lilian M. . • 78 Harlow, George Henry . Portrait of Himself 2 • • 3 1 Hassam, Childe .... Coast Scene, Isle of Shoals 91 Hawthorne, Charles W. . The Trousseau 97 Hogarth, William . . . Peg Woffington . 5 Homer, Winslow ... A Northeaster 60 Homer, Winslow . . . Cannon Rock . 61 Homer, Winslow ... In the Field 89 Homer, Winslow . . . Searchlight, Santiago 59 Homer, Winslow . . . The Maine Coast 110 Homer, Winslow . . . Wood's Island Light 1 1 1 Hoppner, John .... Lady with a Coral Necklace 21 Huysmans, C. .... Landscape with Figures 42 Inness, George .... Evening at Medfield 57 Inness, George .... Peace and Plenty 56 Inness, George . . . . Spring Blossoms 112 Jongers, Alphonse . . . George A. Hearn . 50 Jongers, Alphonse . . . Arthur H. Hearn 109 Jongers, Alphonse . . . Louise 73 Jongkind, J. B Sunset on the Scheldt 45 Kendall, William Sargent . The Seer 74 Kendall, William Sargent . Psyche 75 Kneller, Sir Godfrey . . Lady Mary Berkeley ....... 7 Kronberg, Louis .... The Pink Sash 107 Lathrop, W. L The Meadows 100 Lawrence, Sir Thomas . . Lady Ellenborough 22 Lawrence, Sir Thomas . Miss Baring 23 Lawson, Cecil Gordon . . Landscape with Sheep . 37 Lely, Sir Peter .... Sir William Temple 6 Lockwood, Wilton . . . Peonies 102 Lorrain, Claude ... A Seaport 47 Martin, Homer D. . . . Sand Dunes, Lake Ontario 58 Miller, Richard E. . . . The Chinese Statuette 105 Millet, Francis D. . . . An Old Time Melody 106 Morland, George . . . Midday Meal 25 Murant, Emanuel . . . The Farm 43 Murphy J. Francis . . . The Old Barn 92 Mytens, Daniel .... King Charles I 38 Nasmyth, Patrick . . . Landscape 33 Parshall, De Witt . . . The Catskill Mountains 85 Paxton, William McGregor Tea Leaves 96 Phillip, John .... Gossips at the Well 36 Pine, Robert Edge . . . Mrs. Reid as a Sultana 19 Poussin, Gaspard . . . Landscape and Figures 48 Raeburn, Sir Henry . . William Forsyth 20 Ranger, Henry W. . . . Spring Woods 88 Reid, Robert Fleur-de-lys . . . 77 Reynolds, Sir Joshua . . . The Duke of Cumberland 13 3 Reynolds, Sir Joshua . . . Master Hare 12 Reynolds, Sir Joshua . . . Mrs. Angelo .10 Reynolds, Sir Joshua . . . Mrs. Arnold ...11 Reynolds, Sir Joshua . . . Mrs. Barnard ..15 Reynolds, Sir Joshua . . . Portrait of a Lady 14 Robinson, Theodore . . . Giverny, France 85 Romney, George . . . Lady Hamilton 17 Ryder, Albert P. ... The Bridge 88 Sargent, John S. ... Gitana 70 Sartain, William ... A Chapter from the Koran 92 Scofield, W. Elmer . . . Sand Dunes near Lelant 101 Shannon, J. J. ... Magnolia 76 Shannon, J. J. .... Fairy Tales 117 Speicher, Eugene . . . Morning Light 91 Stark, James Willows by the Water Courses . . . . 34 Thayer, Abbott H. . . . Young Woman 55 Twachtman, J. H. ... A Waterfall 90 Tryon, D. W. . . . Moonrise Before Sunset 93 Tryon, D. W. ... Moonlight 89 Van den Eeckhout, G. . . Sodom and Gomorrah ... ... 43 Van Dyck, Anthony . . . Baron de Roy Frontispiece Van Dyck, Anthony . . . Thomas Howard and Grandson . . . . 39 Van Ostade, I. ... Winter in Holland 44 Vedder, Elihu . . . The Pleiades 93 Vincent, George . . . Landscape 27 Volk, Douglas . . . Young Pioneer 72 Walker, Henry Oliver . . The Morning Vision 116 Walker, Horatio . . . The Harrower 113 Walker, Horatio . . . The Harrower, Early Morning .... 84 Walker, Horatio . . . The Sheep Fold 86 Watrous, H. W. . . . The Passing of Summer 104 Waugh, Frederick J. . . The Roaring Forties 99 Weir, J. Alden . . . The Green Bodice 67 Whistler, James McNeil . Connie Gilchrist 65 Wiggins, Guy C. ... Metropolitan Tower, N. Y 103 Willaerts, Adam . . . River Scene with Boats . . . . . . . 41 Williams, F. Ballard . . L' Allegro 80 Williams, F. Ballard . . The Happy Valley 81 Wilson, Richard . . Italian Landscape 8 Wilson, Richard . . . Landscape and Figures 33 Wilson, Richard . . . The Storm 9 Wyant, Alexander H. . . A Glimpse of the Sea 53 Wyant, Alexander H. . . The Broad Silent Valley 51 Wyant, Alexander H. . . The Mohawk Valley . . . . . . 114 Wyant, Alexander H. . . Landscape in the Adirondacks 52 4 5 / SIR GODFREY KNELLER, 1646-1723 LADY MARY BERKELEY CANVAS H. 28 IN. W. 24 IN. SIGNED DATED 1700 7 9 SIR JOSHUA REYNOLDS, P. R. A., 1723-1792 CANVAS H. 29 IN. W. 24^ IN. MRS. ANGELO SIR JOSHUA REYNOLDS, P. R. A., 1723-1792 CANVAS H. 28% IN. W. 24 IN. MRS. ARNOLD SIR JOSHUA REYNOLDS, P. R. A. H. R. H. WILLIAM AUGUSTUS 1723-1792 DUKE OF CUMBERLAND CANVAS H. 49 IN. W. 39 IN. 13 '4 SIR JOSHUA REYNOLDS, 1723-1792 PORTRAIT OF MRS. BARNARD H. 50 IN. W. 40 IN. / i9 JOHN HOPPNER, R. A., 1758-1810 LADY WITH A CORAL NECKLACE CANVAS H. 28% IN. W. 2S% IN. SIR THOMAS LAWRENCE, 1769-1830 PORTRAIT OF MISS BARING H. 50 IN. W. 40 IN. 23 25 26 2- 2 8 GEORGE HENRY HARLOW, 1787-1819 PORTRAIT OF THE ARTIST CANVAS H. 29 IN. W. 24 IN. PATRICK NASMYTH, 1786-1831 LANDSCAPE CANVAS H. 14 IN. W. 19 IN. SIGNED JAMES STARK, 1794-1859 WILLOWS BY THE WATER COURSES CANVAS H. 17% IN. W. 23 IN. JOHN SELL COTMAN, 1782-1842 WORCESTER CATHEDRAL CANVAS. H. 27^ IN. W. 35& IN. 34 35 36 37 38 ANTHONY VAN DYCK, 1599-1641 THOMAS HOWARD, EARL OF ARUNDEL AND HIS GRANDSON HENRY, SIXTH DUKE OF NORFOLK H. 97 IN. VV. 56 IN. 39 4i CORNELIS HUYSMANS, 1648-1727 LANDSCAPE WITH FIGURES CANVAS H. 21% IN. W. 30 IN. EMANUEL MURANT, 1622-1700 THE FAR CANVAS H. 14 IN. W. 1H% IN. 44 45 47 4 x 49 52 57 58 59 RALPH ALBERT BLAKELOCK, 1847- INDIAN ENCAMPMENT CANVAS H. 37 IN. W. 40 IN. SIGNED 62 64 J. A. McNEIL WHISTLER, 1834-1903 CONNIE GILCHRIST H. 72 IN. W. 40 IN. 6," FRANK W. BENSON, 1862- PORTRAIT OF A LADY H. 40 IN. W. 32% IN. JULIAN ALDEN WEIR, N. A., 1843- THE GREEN BODICE CANVAS H. 33 IN. W. 24 IN. 6- 68 JOHN S. SARGENT, 1856- GITANA H. 24 IN. W. 20 IN. SIGNED DOUGLAS VOLK, 1856- THE YOUNG PIONEER H. 30 IN. W. 16 IN. J. J. SHANNON, 1863 MAGNOLIA CANVAS H. 71 IN. W. 38^ IN. SIGNED AND DATED 1899 LILIAN M. GENTH, 1876- SPRINGTIME H. 39 IN. W. 30 IN. 78 79 8o Si X < W - H U x -r §5 £- fc- GO tH H « B C P c - h-l 83 HORATIO WALKER, 1858- THE HARROWER, EARLY MORNING H. 28 IN. W. 38 IN. THEODORE ROBINSON, 1854-1896 GIVERNY, FRANCE H. 25 IN. W. 32 IN. 85 86 MHjflBB ii iii'iiJWiH i ii m ii \ GEORGE H. BOGERT, A. N. A., 1864- OCTOBER MOONLIGHT CANVAS H. 18 IN. W. 30 IN. SIGNED GEORGE H. BOGERT, A. N. A., 1864- CHURCH AT CHALE ISLE OF WIGHT CANVAS H. 28 IN. W. 36 IN. SIGNED 87 ALBERT P. RYDER, 1847- H. 9% IN. W. 2Q% IN THE BRIDGE DWIGHT W. TRYON, N. A., 1849- MOONLIGHT CANVAS H. 13 IN. W. 21% IN. SIGNED I / EUGENE SPEICHER, 1883- MORNING LIGHT CANVAS H. 27% IN. W. 34 IN. CHILDE HASSAM, 1859- COAST SCENE, ISLE OF SHOALS H. 25 IN. W. 30 IN. J FRANCIS MURPHY, 1853- H 24 IN. W. 36 IN. THE OLD BARN D. W. TRYON, N. A., 1849- MOONRISE BEFORE SUNSET H. 24 IN. W. 29 IN. 93 W. GEDNEY BUNCE, 1840- H. 40 IN. W. 56 IN. VENETIAN BOATS ARTHUR B. DAVIES, 1862- H. 18 IN. W. 30 IN. A DREAM CHARLES W. HAWTHORNE, 1872- THE TROUSSEAU H. 42 IN. W. 40 IN.