TACH ION FalrmQunt Pari I ■Krol h. Issloners of RiNEHART (William Henry) PORTRAIT IN MARBLE OF WILLIAM P. WILSTACH THE W. P. WILSTACH COLLECTION ** Dost thou love pictures ? " Taming of the Shrew, Induction, Sc. 2 Look here on this picture and on this. " Hamlet, Act III. Sc. 4 EDITED BY CAROL H. BECK Published by the Commissioners of Fairmount Park A. Loudon Snowden Samuel Gustine Thompson James Elverson Thomas S. Martin Jesse T. Vogdes Park Bxilxtltot George Wharton Pepper fll0 mmtfi- fitnn^rfi of Park :: :: T. DeWitt Cuyler A. S. Eisenhower J. M. Hazlett John G. Johnson Sidney W. Keith George McCurdy James Pollock Eli Kirk Price John E. Reyburn E. T. Stotesbury George S. Webster P. A. B. Widener (ttnmmtttp? on lEmortal If all (In charge of the W. P. Wilstach Collection) Samuel Gustine Thompson Chairman A. Loudon Snowden James Pollock P. A. B. Widener John G. Johnson James Elverson T. DeWitt Cuyler John E. Reyburn J. M. Hazlett E. T. Stotesbury Sidney W. Keith C:OPYRIGHT, 1900 COMMISSIONERS OF FAIRMOUNT PARK PHILADELPHIA, U. S. A. DUNLAP PRINTING COMPANY Juniper and Cherry Streets .*. Philadelphia STANDARD ENGRAVING CO. Seventh and Chestnut Streets .*. Philadelphia HILADELPHIA is indebted to the thoughtful and munificent generosity of Mr. and Mrs. W. P. Wil- stach for the collection of art treasures herein catalogued. The former devoted a fortune, which he had gained in mercantile pursuits, to his own and his fellow-men's aesthetic cultivation, and during his busy life collected with much judgment and taste the paintings and statuary which form the nucleus of the Wilstach collec- tion. The latter so increased the fortune which she in- herited from her husband as to enable her not merely to dedicate the collection to the perpetual enjoyment of her city, but also to afford it an endowment for its main- tenance and increase such as few public galleries enjoy at the present time. In her original will, dated July 31, 1873, she directed as follows : . . . Item. One other equal fourth part thereof unto the City of Philadelphia, if accepted by the Fairmount Park Commissioners as now authorized by Act of Assembly, upon the conditions and for the purposes following, namely : 'To erect a secure Art Gallery in said Park for the exhibition of pictures and works in the Fine Arts, on a plan similar to the new building for such exhibition at Dresden in Saxony, to be so built as to admit of extension with the increase of funds without impairing the harmony of the edifice or destruction of any portion of the original building; but if there should be a suitable permanent building left in said Park after the Centennial celebration of 1876, in which pictures mentioned below may be received and preserved distinctly from other collections, so as to be known as the 'Wilstach Collection,' then the erection of another building may be omitted, and donations shall be accepted for said collection, and invited by the said Commissioners. 'To the said City, but to be under the custody and control of the said Fairmount Park Commissioners, I also direct all my paintings, pictures and statuary, including those of my late husband, to be given and transferred to the said city for said purposes and placed in the 'Wilstach Collection.' Their exhibition shall be pubHc, under regulations to be established by the said Fairmount Park Commissioners, and as soon as practicable shall be gratuitous, and the opening thereof shall be as soon after my decease as a gallery can be provided for their reception. **A11 the said fourth of said residuary estates not expended in erecting such hall of art, and the whole, if no such hall shall be required to be built out of said fund, shall be kept invested in lawful investments by the said Fairmount Park Commissioners, subject to the jurisdiction of the Courts having control of testamentary trusts ; and the income thereof shall be by them applied to the purchase of pictures, paintings, and statuary for said collection, always keeping in view the purpose of obtaining objects of the highest skill and beauty, that they may be the source of pleasure and the means of cultivation and refinement of the tastes of the people, be pure in sentiment, and never minister to vulgarity and vice. "Provided, however, that if the principal should exceed the sum of one hundred thousand dollars, then the excess over that sum may be used for the purchase of works of art." In the final codicil to the said will, dated March 7th, A. D. 1890, the testatrix devised to the City of Philadelphia, as follows: "... Item. I give and bequeath to the City of Philadelphia all my paintings, engravings, statuary, photo- graphs, books of art, and catalogues of various galleries in Europe, and America. Also my books denominated ^Dresden Gallery,' containing engravings of the paintings in the Dres- den Galleries, in Dresden, Saxony, and all works of art owned by me at the time of my decease, in trust nevertheless, to, for and upon the following uses, intents and purposes, to wit : To place the said paintings, statuary, photographs and works of art in the possession and under the control of the Com- missioners of Fairmount Park, to be placed by them in Memorial Hall in Fairmount Park, there to be preserved by them, and taken care of and kept in good order, as the nucleus or foundation of an Art Gallery for the use and enjoyment of the people. The collection to be kept together and known and designated by the name of the *W. P. Wilstach Collection.' And I direct my Executors to transfer to the Commissioners of Fairmount Park, in like manner in trust, the one other fourth part of the residue and remainder of the said estate and estates, which said sum shall be invested in good and lawful securities by the said Commissioners of Fairmount Park. And the interest accruing" therefrom shall be used for the maintenance of said Art Gallery, in keeping the same in good order and condition and providing of com- petent care-takers, as may be necessary to carry out, to its full and complete extent and meaning, the design I have in view in making this devise and bequest for the founding and sustaining an Art Gallery in Fairmount Park for the use and enjoyment and benefit of the public. ..." It is certainly a happy coincidence that, as anticipated by the testatrix, this collection should find its first home in the memorial building, which during the Centennial Exposition, contained the first cosmopolitan art collection exhibited in this country. How much of artistic inspiration America derived from this friendly rivalry of nations need not be here considered. Our national art was then in its infancy and suffered by comparison with its elder and more favored sisters. Invigorated by the stimulus of competition with the master- pieces of other lands, it has since attained such sturdy growth as to challenge comparison with the best of every clime. Memorial Hall is, however, reserved more especially for the exhibition of works of industrial art, and it was accord- ingly only a question of time when the Wilstach collection would require a special and more suitable building for its pictures. The liberal spirit and broad-minded enterprise of Phila- delphia has already planned a future home for this collection, and of others which may hereafter be given to the city of Philadelphia by public-spirited citizens. It is gratifying to note that the manner in which this design was selected, and the means proposed towards its beginning have received general acquiescence and pubHc approval. At the instance of the Fairmount Park Commission the Councils of the City of Philadelphia appropriated, in the year 1894, the sum of $15,000, to pay the expenses of a competi- tion, which should be open to the architects of the world, for an appropriate design for an art gallery, in which the Wilstach and other collections could be permanently placed. The Park Commission issued a circular, in which four prizes, of $6000, $3000, $2000, and $1000, respectively, were offered for the four most meritorious designs ; and as a result of this excep- tionally munificent offer, designs were sent in by architects from different parts of the world. The result was such an embarras des richesses that the chief difficulty became one of selection. For this purpose a committee of experts was appointed to report to the Park Commission the eight most acceptable plans in the order of merit. The experts could not have been better selected. They were Daniel H. Burnham, of Chicago, so favorably known in connection with that magnificent triumph of Amer- ican art, the Chicago Exposition; Stanford White, of New York, who could speak on matters of architecture ex cathedra; William R. Ware, of Columbia College ; Joseph M. Wilson, a distinguished engineer of this city, and John G. Johnson, Esq., of the Philadelphia Bar. On December 3, 1895, this Com- mittee of Experts made its report, and the Fairmount Park Commission on the same day adopted its conclusion. The first prize was awarded to James Bite and Henry Bacon, of New York; the second to Lord, Hewlett and Hull, of the same city; the third to Marcel Perouse, of Paris, and the fourth to Howard and Caldwell, of New York. Both Com- mittee and Commission were unanimous in this award, and the design can hardly fail to win general commendation. The several experts were enthusiastic as to the character of the work submitted in competition, and especially as to the design which received the first prize. Their report states, that in determining their selection regard was had to the conditions required "for an extensive art museum, namely, continuous galleries in both stories, surrounding large top-lighted courts. . . . . Its exterior and interior treatments are the finest, and most satisfactory, and we recommend its adoption by the Commission as the one which best fulfills the requirements of the problem both from a practical and architectural stand- point ; and we believe from the careful study of detail shown by these drawings that the Commission can entrust the build- ing of the museum to its author or authors with confidence ; that its faults can easily be corrected, and that the completed building will justify its selection. We recommend the use of white marble for the exterior of the Art Museum." Whether this noble project can be successfully carried out, or not, the Wilstach collection of pictures has already taken rank with the art collections of the world. It cannot fail to carry out the noble purpose of its donors, "to be the source of pleasure and the means of cultivation and refinement of the tastes of the people. ' ' In a community, world-famous for its great material interests, it will teach the infinite utility of beauty. Generations unborn will honor its donors and draw artistic inspiration from their noble gifts This is their monument, serving to perpetuate the memory of tneir philanthropy and public spirit to the after ages. May tnis important public work be continued by those to whom the trust is confided, in the spirit of Ruskin, whose great mes- sage to men was the high moral purpose of art: When we build, let us think that we build forever. Let it not be for the present delight nor for the present use alone ; let it be such work as our descendants will thank us for and let us think, as we lay stone on stone, that a time is to come when these stones will be held sacred because our hands have touched them and that men will say as they look upon the labor and wrought substance of them : *See, this our father did for us.' '' ABBREVIATIONS A, N. A. , Associate of the National Academy. N. A., National Academician. A. R. A. , Associate of the Royal Academy. R. A., Royal Academician. N. A. D., National Academy of Design. P. A. F. A., Pennsylvania Academy of Fine Arts. E. U., Exposition Universelle. PAINTINGS ACHENBACH (Andreas) Diisseldorf Born, Cassel, 1815 Pupil of Schirmcr Medals, 1839-55-67 Legion of Honor, 1864 Knight of the Order of Leopold Member of the Berlin, Antwerp, and Amsterdam Academies Andreas Achenbach painted a large number of German and Norwegian landscapes, treating moun- tain, forest and sea with like ability and strength. 1. Mill in Westphalia — Storm Approaching 42V2 X 18% 2. Landscape 21 X 18% ACHENBACH (Oswald) Dusseldorf Born, Dusseldorf, 1827. Died, Dtisseldorf, 1905 Pupil of his brother, Andreas Medals, 1859-61-63 Legion of Honor, 1863 Oswald Achenbach has a more ideal conception of nature than his brother. His representations of peculiar atmospheric efifects and of Southern scenery are very successful. 3. Street Scene, Naples 42 X 4^V2 ALEXANDER (John W.) New York Born, Pittsburg. Contemporary Medal, 1900, E. U. Hors Concours Legion of Honor, 1901 Societaire de la Societe Nationalc des Beaux-Arts This portrait of the celebrated Norwegian artist, Fritz Thaulow, is strong in characterization. Ex- pressed with frankness and force, the treatment is thoroughly individual, fluent and direct. Mr. Alexander is one of the most distinguished of con- temporary American painters. 4. Portrait of Fritz Thaulow 35 X 47 AMBEBG (Wilhelm) BerUn Born, Berlin, 1822 Pupil of Hcrbig, the Berlin Academy, Karl Begas, and Leon Cogniet (Pahs) Member of Berlin Academy, 1869 5. Contemplation 23 X 28^4 ANSELMI (Michelangelo) Italy Born, Lucca, 1491. Died, Parma, after 1554. Pupil of II Sodoma. Influenced by Correggio Lombard School When Correggio was chosen to decorate the cupola and the tribune of the Cathedral at Parma, Anselmi was one of three men selected to decorate the chapels. The affinity between the twO' artists led to Anselmi becoming the disciple and imitator of the 'Taun of the Renaissance/' Correggio, the lover of joyousness, tenderness, charm and beauty. 6. Flora ssVg X 30% 7. The Death of Leander . 63% X 44% Anthonissen (H. (Hendrik?) Van) Holland Flourished middle of 17th Century This characteristic coast scene has a charm of atmospheric effect, a delicacy of color and a distinc- tion of tone which command the highest admiration. This quality of luminous, enveloping gray also con- stituted the charm of the work of Van Goyen to whose influence Anthonissen was most responsive. 8. Marine View 48^2 X 33% AUBLET (Albert) Paris Born, Paris, 1851 Pupil of Jacquard and Gerome Medals, Paris, 1880-89, E. U. Munich, 1883 Legion of Honor, 1890. Hors Concours Chevalier de I'Grdre de Saint Michel de Baviere Membre de la Societe des Artistes frangais Societaire de la Societe Nationale des Beaux-Arts This picture is a daring and successful experiment. A clear and positive green Hght diffuses the flesh tones of the figure as well as a room that is full of warm red color. The result is effective, being ad- ditionally distinguished by intelligence and veracity. 9. Woman Asleep 35% X 4SV2 AVERCAMP (Hendrick) Holland (Surnamed de Stomme (Mute) van Kampen) Born, probably at Kampen, about 1585. Died about 1635 Winter scenes, such as the present picture, form the subject of most of the valued paintings by Avercamp. Many skaters are seen sharply defined against the ice, those in the center of the picture be- ing engaged in some national sport. The well dressed burgher and the humble villager pass back and forth from the surrounding picturesque village. This entire scene, characteristc of Holland, is pre- sented in a charming tone of silver and gray. 10. Ijandscape 34 X 20^4 BAOCICCIO IL (Qio. Battista Gaulli) Italy Born, Genoa, 1639. Died, Rome, 1709 Pupil of Luciano Borzone Genoese School This painter so developed his abilities by an early study of the great masters at Rome that he won both position and wealth. His most important r,eligious picture decorates the Church of the Gesu at Rome. Bacciccio painted the portraits of many of the illustrious nobles and cardinals of his time and had the unique experience of painting no less than seven of the popes. Bacciccio was an accomplished machinist as well as a famous artist 11. Archangel Gabriel Pursuing Lucifer 60% X 41V2 BABKEB. (Thomas) (called Barker of Bath) England Born, Pontepool, England, 1769. Died, Bath, 1847 Studied with his father, Benjamin Barker, and in Rome Thomas Barker spent the first four years of his artistic life in copying the works of the Dutch and Flemish masters. Finding a valuable patron in Mr. Spackman, a wealthy coach builder of Bath, he was later given the opportunity to follow his artistic bent. After an advantageous visit to Rome he returned to Bath and entered upon a very suc- cessful career. 13. Gypsies on the Heath 41% X 30 BASSANO (Jocopo, the elder) (Jacopo da Ponte) Italy Born, Bassano, 1510. Died, Bassano, 1592 Pupil of Francesco de Ponte, Bonifazio Veneziano and possibly, Titian Venetian School This genre painter of Venice won the highest praise even from such masters as Titian and Tin- toretto. Paola Veronese so appreciated his ability . that he sent his son Carlo to him to be instructed in the ''just disposition of lights reflected from one object to another, and in those happy counter posi- tions, owing to which the depicted object seems clothed with a profusion of light." Bassano treated religious subjects as though they were the familiar scenes of his own time, thus unconsciously render- ing the simple country life that surrounded him. Berenson writes: '*Most of his pictures seem as dazzling, then as cooling and soothing, as the best kind of stained glass; while the coloring of details, particularly of those under high lights, is jewel like, as clear and deep and satisfying as rubies and emeralds/' 13. Ecce Homo 31 X 3SV2 14. The Buffeting of Christ 47 X 34% BASTIEN (Alfred) Belgium Born, Ixelles, Contemporary Associc de la Socicte Nationale des Beaux-Arts This portrait of the sculptor Kerfyser in his studio will interest every student of painting. Its technique is exceptionally vigorous. It shows power, precision of form, correctness of drawing and solidity of struc- ture. The varied and harmonious scheme of color is equally well selected. 15. Portrait of a Sculptor 59% X 78% BASTIEN-LEPAGE (Jules) Paris Born, Damvillers, 1848. Died, Paris, 1884 Pupil of Cabancl Medals, 1874-75-78. Legion of Honor, 1879 An artistic career of but twelve years, yet great in achievement. The truth, force and sincerity of his art have won world-wide recognition and admira- tion. Among his brother artists he is especially valued. The distinguished painter, Dagnan-Bou- veret, writes: "He is always present with me, and whenever I paint a new picture, I ask myself if it would have satisfied him.'' Jules Breton says: "Bas- tien-Lepage will leave a lasting fame. This young artist, cut down in the flush of his promise, was a true investigator. How conscientious was his work! * In Bastien Lepage, France has lost her Hol- bein!" 16. In the Fields 40 X 30. Dated 1880 BAUGNIET (Charles) Born, Brussels, 1814 Pupil of J. Paelwick and M. F. Williams Member of Ghent Academy in 1836 Order of Leopold, 1843; Officer, 1872 Order of Isabel the Catholic of Spain Order of Blanche Ernstein of Saxony Order of Christ of Portugal 17. The Joy of the House 6x8 Paris 1 "^^tin.pr of Christ ' 34/4 This r BA8XI£N-L£PAG£ ( v'aiued. i 1 veret, writes whenever I paint would have tien "Lepage artist, rut r Paris Officer, 1- B asttex-Lepage IX THE^ FIELDS Catalogue Number i6. BEABD (William H.) New York Born, Ohio, 1835. Died, 1900. National Academician, 1862 18. Gray Squirrel 9x6. Dated 1863 BECKEB (Karl Ludwig Friedrich) Berlin Born, Berlin, 1820 Pupil of Von Klober, Hess and Cornelius Medals, Paris, 1861. Berlin, Vienna and Munich Officer of Leopold Member of Academies, Berlin and Vienna Member of Royal Society of Letters and Fin* Arts of Belgium 19. The Count's Birthday 56 X 43V2 BEERSTRAATEN (Jan) Amsterdam Born, Amsterdam, about 1622. Died, Amsterdam, 1687 A painter who holds a distinct place in the Amsterdam school, although his name is not men- tioned by any contemporary biographer. Richly represented in Sweden, there are also fine examples in the State Museum, Town Hall and private col- lections of Am'sterdam, in the galleries of Rotter- dam, Berlin, Dresden, Munich and Paris. His favor- ite subjects were winter scenes, painted with sub- dued^ rich harmonies of grey yet showing fine con- trasts of light and shade. 20. Winter Landscape 49 X 34H BEBAUD (Jean) Paris Born, St. Petersburg, of French parents, 1849. Pupil of Bonnat Medals, 1882-83-89, E. U. Hors Concours Legion of Honor, 1887; Officer, 1894 Membre de la Societe des Artistes frangais Fondateur de la Societe Nationale des Beaux-Arts Generally an interpreter of Parisian elegance, in 'The Adieuxs/' Beraud has selected a motive more dramatic in appeal. The result is a spirited piece of illustration inspired by contemporary French events. In setting the scene, the artist aptly con- trasts the peaceful beauty of the convent gate with the factory, which symbolizing modern material- ism sends its black smoke across the calm sky. 21. The Adieuzs 21^ X 26 BEBOUD (Louis) Paris Born, Lyons, 1852 Pupil of Gourdet, Bonnat and Lavastre Bourse de voyage, 1883. Medals, 1883-89, E. U. Hors Concours Membre de la Societe des Artistes frangals Thoroughly well considered, there is both sincerity and conviction in the frank realism of this picture. The problem of the many values in relative color, mevitable when painting a gallery hung with pic- tures, has been met with taste and authority. 22. Rubens Gallery in Museum of Louvre 72% X 70% BBYEREN (Abraham Van) HoUand Born, The Hague in 1630 or 1621. Died after 1674 Master of the Guild at The Hague, 1640. At Delft, 1657 Member of the Guild at Alkmarr, 1674 "The most necessary quality of the ambitious in art is patience,'' says Alfred Stevens. Assuredly, then, the still life painters of Holland have deserved their celebrity. They have reproduced for us the most minute detail of their subject and always with good massing, fine color and breadth of effect. 23. still Life (Fish) X 281/2 BICCI (Neri Di Bicci Di Lorenzo Di) Florence Bom, 1419. Died 1491 Florentine School Although lacking originality and force, this altar- piece is given with much purity and richness of color. There is tenderness, repose and a refine- ment of spiritual ideals in its graceful decoration. It represents the Virgin and Child enthroned^ St. Francis, St. Catherine and two other saints on either hand. Many pictures by Neri di Bicci are to be found in the churches of Tuscany, and four pic- tures of the Annunciation are at the Academy of Arts in Florence. 24. Virgin and Child with Four Saints 76y4 X SZV4, BILLET (Pierre) France Born, Cantin. Contemporary Pupil of Jules Breton Medals, 1873-74-89, E. U. Hors Concours Membre de la Societe des Artistes frangais The representations of peasant life painted by Pierre Billet are replete with simple, earnest feeling and a calm comprehension of the actual. They are admirably expressed, modelled with firmness and solidity and rendered with a realism that proves his entire sympathetic understanding of these phases of peasant life. 25. The Noon Day Rest. 58 X 45 BILLOTTE (Kene) , Paris Bom, Tarbes, Hautes-Pyrenees Honorable Mention, 1881. Medal, 1889 Legion of Honor, 1889. Hors Concours Fondateur de la Societe Nationale des Beaux- Arts This thoughtful effect at nightfall is given with subtle skill and a sympathetic touch. 26. Evening at the Gate of Courcelles 32 X 231/2 BLAUVELT (Charles F.) Philadelphia Bofn New York, 1824 Pupil of the National Academy and of Charles L. Elliot National Academician, 1859 Member of Pennsylvania Academy, 1864 27. The Lost Child 8 X 12 BOGGIO (Emile) France Born, Venezuela. Naturalized Frenchman Pupil of J. P. Laurens and H. Martin Medals, 1889, 1900, E. U. Hors Concours Membre de la Societe des Artistes frangais Thou shalt gain thy bread in the sv^eat of thy brow' was written centuries ago. Immutable des- tiny which none may change/' comments Millet, the artist poet of labor. The power and permanence of this element in life is here represented, combined with a majestic conception of nature that is very impressive. The figure of the man — so full of un- complaining eloquence — and the powerful white oxen which he is guiding, are enveloped in the cool twilight, yet they are illumined by the golden light of the sun, towards which they steadily advance. 28. Labor 1261/2 X 861/4 BONFIELD (George K.) Philadelphia Born, England, 1802. Died, Philadelphia, 1898 An early member of the Pennsylvania Academy of the Fine Arts 29. River Scene 36 X 24. Dated 1854 30. The Wreckers — A Coast View 17 X 12. Dated 1855 BONHEUB (Marie Bosa) France Born, Bordeaux, 1822. Died, 1899 Pupil of h«r father, Raymond Bonheur Founded Paris Free School of Design for Young Girls, 1849 Medals, 1845-48-55-67. E. U. Legion of Honor, 1865; Officer, 1894 Cross of San Carlos, 1865; of Leopold, 1880 Member of Antwerp Institute, 1868 Commander's Cross of Royal Order of Isabella the Catholic, 1880 Officer of the Most Noble Order of Santo Jacobo, 1894 When the King of Belgium conferred the Leo- pold Cross upon this ''honored master/' as Claretie terms Rosa Bonheur, it was given, it is said, for the first time to a woman. The Emperor Napoleon III. hesitated to honor her work with the Cross of the Legion of Honor^ lest popular judgment might condemn the award. When he decided finally that the question of sex should not interfere with the recognition of such conspicuous merit, the Em.- press Eugenie surprised the artist in her studio, and ''Saluting the new knight with a kiss/' Rosa Bon- heur relates, *'she pinned the - decoration to my black velvet jacket." During the Franco-Prussian war, the studio and residence of the artist were re- spected by special command of the Crown Prince of Prussia, afterward the Emperor Frederic of Ger- many. She painted animal life with a hearty love, vigorous style and fine feeling for color, space and composition. 81. Barbaro After the Hunt 5iy4 X 38 BONINGTON (Bichard Farkes) England Born, Arnold, near Nottingham, 1801. Died, London, 1828 Pupil of Ecole des Beaux Arts and Baron Gros Gold Medal, 1824 Bonington was of English parentage but of es- sentially French training. During his short life he created a profound impression on the art of both countries, by the breadth, frankness and freedom with which he observed and rendered nature. In 1822 he visited Venice and studied with great suc- cess the warm coloring of the Venetians. On his return to England he received many commissions. A sunstroke, incurred while sketching, developed brain fever, from which he never recovered. At the age of twenty-seven his promising career was cut short by death. "I have never known in my own time an early death of talent so promismg, so rapidly and obviously improving," writes Sir Thomas Law- rence, 82. Landscape in Normandy 10 X 12 BOTH (Jan) Utrecht Born, Utrecht, 1610. Died, Utrecht, after 1650 Pupil of his father Dean of the Guild, 1649 This celebrated Dutch painter and his brother, Andries, went to Italy in their early youth, and there acquired w^ide reputation and large fortunes. These brothers were greatly attached to each other from their infancy, and in later years worked together on one canvas with such perfect harmony that it is diffi- cult to distinguish any difference of thought in the figures and animals, painted by Andries, and the .11 ladnifjZ 3uboIbJb^ lea nnaii y thai : rfere with the :ous merit, the Em- tist in her studio, and ih a kiss/' Rosa Bon- 1 the 'decoration to my iJuring the Franco-Prussian idence of the artist were re- aiand of the Crown Prince of rward the Emperor Frederic of Ger- l>ainted animal life with a hearty love, !e and fine feehng for color, space and ; Hunt 5iy4 X 38 BONINGTON (Hiclxard Parkes) Bngland !. DiH, London, i8j6 and Faron Grot ntially French training. D lort life he eated a profound impression on the art of both ■ ■ • i q ]v/ i%^^«»^flM^Ri*rftq4^diess and freedom BARBARO AFTER TflB ^i^y^d nature. In studied with great suc- ' c Venetians. On his ) many commissions, oke, incurred while sketching, developed biaai i . /er, from which he never recovered. At the age of tw^entv-seven hine canvas with such perfect harmony that it iSt^diite Number cult to distinguish ' ' rice of ^ ' ' in the ^r^^n'^ and animal by Ars nd the landscape painted by Jan. Bryan has said : *'Tbe sympathy of their affections had blended itself with the exertion of their talent ; and in their works every- thing was warm, tender and harmonious." They continued working together in Italy until separated by death. 33. Landscape and Horseman 38x37 BOUGUEREAU (William Adolphe) Paris Born, La Rochelle, 1825. Contemporary Pupil of Picot and Ecole des Bcau^-Arts Prix de Rome, 1850 Medals, 1855-57-67. Medals of Honor, 1878-85 Legion of Honor, 1859; Officer, 1876; Commander, 1885 Member of Institute, 1876 Only the marked artistic ability exhibited by Bouguereau reconciled his parents to his with- drawal from a business career. He was the archi- tect of his own fortune, earning by portrait paint- ing the money which enabled him to study in the art schools of Paris. A large number of his pictures are to be found in America, where he has probably appealed to a more varied public than any other modern painter. ''We admit that a little more frank- ness in the touch would give to his painting a reality which sometimes is wanting," writes Rene Menard, "but whether he paints mythological subjects or rustic scenes, M. Bouguereau always exhibits three qualities which justify his reputation, — knowledge, taste and refinement." 34. The Thank Offering 42 X 571/2 BOUTELLE (D. W. C.) Bethlehem, Pa Born, New York, 1820. Died, 1884 Associate of the National Academy, 1853 Member of the Pennsylvania Academy of the Fine Arts, 1862 85. Lehigh Valley, from Mt. Rogers, with Bethlehem in the distance 50 X 40. Dated 1861 36. Fish Trap on the Lehigh River 22 X 22 37. June Scene near Bethlehem, Pa. 32 X 24 BRANDI (Giacinto) Italy Born, Poli (?) 1623. Died, 1691 Pupil of Lanfranco Roman School Lanzi reports that Brandi "wrought with great facility and filled Rome and the state with his works ; but his inordinate love of gain induced him to hurry his works, and to neglect correctness of design. He sometimes, however, went beyond himself, and pro- duced som.e noble works/' Among these must be placed the ''St. Cecelia/' so efifective is the presenta- tion of the subject, so flowing the brushwork. 38. St. Cecelia 68 X 86% BRETOlsr (Jules Adolphe) France Born, Courrieres, 1827. Died, Paris, 1906 Pupil of Devigne and Drolling Medals, 1855-57-59-61-67-72. Also at London, Vienna and Brussels Legion of Honor, 1861 ; Officer, 1867 Knight of the Order of Leopold, 1881 Ribbon of St. Stanislaus of Russia Corresponding member of the Academies of Vienna, Stockholm, Madrid Member of the Institute of France, 1886 Strong drawing and technique, fine color and composition, directed by a man of thought and of most tenderly sympathetic and poetic feeling. In 1878, Victor Hugo wrote Breton, who was littera- teur as well as artist: 'To be twice a poet; to be like Lamartine and also like Corot; to be by the strophe and by the palette; this is given to you, Monsieur. I thank you for your charming book, and I send you double plaudits/' Five years later, atter Breton's Jeanne was published, Gambetta writes him: "I have read your works, I have seen them, and I can- not tell even to you if it is the poet or the painter that most deeply touched, affected, conquered and fascinated me/' 39. Burning Tares in a Wheatfleld 53 X 38 40. Tired Out 12V2 X 16 BBION (Gustave) Paris Born, Rothau, Alsace, 1824. Died, Paris, 1877 Pupil of Guerin Medals, 1853-59-61-63-67. Grand Medal of Honor, 1868 Legion of Honor, 1863 Chevalier of the Order of Leopold Jules Breton writes: ''Gustave Brion was a man of average but admirably balanced endowments. He designed with ease, and was well acquainted with the technique of his art." 41. Reading the Bible in the Family 47 X 43. Dated 1870 BRONZING (Agnolo di Cosimo Allori) IL. Italy Born, Monticelli, near Florence, 1502 or 1503. Died, Florence, 1572 Pupil of Raffaelino del Garbo and Jacopo da Pontormo Florentine School An ardent admirer of Michael Angelo, Bronzino bad much of the same dignity and breadth of view. Catalogue Number 39. 01 i^dmu^A ^u-golslsD PRINCESS OF THE HOUSE OF SCMRRA Although he painted in both fresco and oil, yet he attained his highest development in the field of por- traiture. He painted many of the distinguished per- sonages of his time, among whom were members of the Medici family^ Dante, Boccaccio and Pe- trarch. These additions tO' the Wilstach collection are good examples of the large comprehension of nature characteristic of this great painter. 42. Piero Vettori, Senator 3378 X 42% 43. Princess of the House of Sciarra 34 X z^Vz BRUEGHEL (Pieter, the elder) Flanders Born, Brueghel, about 1525-30. Died, Brussels, about 1570 Pupil of Pieter Koeck van Aalst and Hieronymus Cock Influenced by Hieronymua Bosch Master of the Guild in Antwerp, ISS' Sir Joshua Reynolds believed that this painter knew little of the mechanical art of picture mak- ing, but, in speaking of a religious picture by Brueghel, he commented on the deep thinking and on the variety of distress portrayed. Brueghel ex- celled in the landscape backgrounds he gave to his figure subjects. He retained the Flemish method of rendering them at a time when the contem- porary Flemish artists were generally imitating the Italian painters of the Renaissance. 44. Crucifixion Scene 47% X 25y2 BXJLAND (Jean Eugene) Paris Born, Paris. Contemporary. Pupil of Cabanel and Yvon Medal, 1885-87-89, 1900 E. U. Legion of Honor, 1894. Hors Concours Membre de la Societe des Artistes frangais 'The Audience Day" was one of the pictures of interest at the Paris Salon of 1895. The subject is rendered in a style which is clear and firm, the va- riaus characters being interpreted with individual truth of expression and accuracy of drawing. 45. The Audience Day 47 X 37%. Dated 1895 CABANEL (Alexandre) Paris Born, Montpclier, 1823. Died, 1888 Pupil of Picot Prix de Rome, 1845. Medals, 1852-55-65-67-78 E. U. Legion of Honor, 1855; Ofiicer, 1864; Commander, 1884 Member of the Institute of France, 1863 A strong draughtsman and a manner, if somewhat conventional, exceedingly refined and distinguished. V Painted previous to 1861 in the style of David, but later, feeling more the influence of the modern world, produced his greatest works. During the Third limpire Cabanel painted many portraits, his manner lending itself particularly to the painting of aristocratic and graceful court ladies. 46. Contemplation 44 X 36 CACHOUD (Francois Charles) Paris » Born, Chambery. Contemporary Pupil of E. Delaunay and M. G. Moreau Honorable mention, 1893. Medal, 1896, 1900, E. U., 1902 Prix de Raigecourt-Goyon, 1900. Hors Concours Membre de la Societe des Artistes frangais A serene harmony of color conveys to us the rest- ful beauty of this ''Hour of the Cricket." The poetic sentiment of twilight has been here delicately ex- pressed. As Guy de Maupassant has said: ''Yes, it is beautiful because it is beautiful." 47. The Hour of the Cricket 79V4. X 551/4 CAILLE (Leon) 48. The Dead Bird 6x9. Dated 1863 CANALETTO (Antonio Canale), IL Venice Born, Venice, 1697. Died, Venice, 1768 Pupil of his father, Rinaldo Canale Venetian School During his early manhood Canaletto acquired dexterity of handling and knowledge of decorative arrangement, while following the occupation of his father — a painter of theatrical scenery. In 1719, however, he visited Rome, where, while painting her ancient ruins, he was enabled to study more deeply and truly the problems of color, effects of light and shade, and perspective. On his return to Venice, with added sympathy as well as accurate observa- tion, he devoted himself to reproductions of the bridges, buildings, public places and canals of his native city, in their effective and picturesque sur- roundings. Charles Blanc says that Canaletto is '^unexcelled in painting architecture, in aerial per- spective and in rendering slightly ruffled water." 49. A Bridge Scene 50 X 34% CAKO (Alonzo) Spain Born, Granada, 1601. Died, Granada, 1667 Studied painting with Pacheco and sculpture with Montanes Painter to the King, 1637 Appointed Canon in the Cathedral at Granada, 1652 4^ iddmiiM duioUisD Paris est- >etic CANAI.ETTO (Antonio Canale), li A BRIDGE SCENE Venice native city, rounding- i Canaletto acquired owledge of decorative the occupation of his al scenery. In 17 19, ere, while painting her ly more deeply • ^ ^^ght and Venice, db accurate observa- reproductions of the places and canals of his tive and picturesque sur- c says that Canaletto is xhitecture, in aerial per- ruffled water/' Spain rjtanes Catalogue Number 49^ Distinguished in the sister arts of painting, sculp- ture and architecture, Cano won the title of the Spanish Michelangelo. Even before his twentieth year he had executed many works for the city of Se- ville which were greatly admired, refusing all re- muneration for these, however, on the ground that he wrought for practice and improvement alone, and not for money. In consequence of a duel with a fellow painter, Cano was obliged to leave Seville for Madrid. Here through the favor of Velasques he obtained protection and advancement. With the exception of this master it was Fuseli's opinion that Cano excelled in painting all his contemporaries. His pictures are statuesque, of classical simplicity and suavity, and full oi fine decisive drawing. In Dominican'' the character is given with splen- did analysis and interpretation. A study of the can- vas reveals to us even after the lapse of centuries, just what manner of man the subject was. 50. A Dominican 29Vs X 38ya CAPELLE (Jan Van der) Amsterdam Born, Amsterdam. Pupil of Alfred Cuyp. Freedom of the city, 1653 Ships and shipping, either in harbors or on quiet seas against warm bright skies, are the subjects frequently chosen by Capelle. Again he represents winter scenes with frozen waters, such as the pic- ture here exhibited. Other paintings by Capelle are to be found in private collections in Europe and America, as well as in the museums of Amster- dam, Rotterdam, Brussels, Berlin and London. 51. A Erozen River 52 X 44 CARAVAGGIO (Michelangelo Da) Italy Born, Caravaggio, 1569. Died, Porto Ercole. 1609 Studied in Milan, Venice, Rome Roman School The Naturalists, with Caravaggio at their head, were opposed to idealism in art or to even those prin- ciples that were founded on selection from nature. Their aim was to imitate without modification. The saints and apostles in the religious pictures painted by Caravaggio frequently represented mere Neapoli- tan models, porters or bandits. In extraordinary effects of light and shadow, however, even Rubens acknowledged Caravaggio's mastery to be superior to his own. His pictures, if somewhat morose and brutal, are painted with an impetuous action and furious energy thoroughly characteristic of that fierceness of temper which led Caravaggio to kill a companion in a dispute while playing tennis. He fled to Naples and later to Malta. Here, again at- tempting to avenge a quarrel, he was cast into prison. In the pursuit which followed his escape, he was severely wounded. A pardon was obtained but through a mistake Caravaggio was again arrested and later released only to wander despondingly along the coast, till suffering from wounds, hardships, and from the excessive heat, he died from fever on the beach at Porte Ercole. 52. A Musician 35% X 44% 53. A Glutton 35% X 45 OABKACCI (Annibale) Italy Born, Bologna, 1560. Died, Rome, 1609 Pupil of Lodovico Carracci Bolognese School Contemporary with the school of the Naturalists was that of the Eclectics, led by the five Carracci. Of these Annibale was the most distinguished and diver- sified. In 1600 he accepted the invitation of Cardinal Odoardo Famese to visit Rome, there to decorate a vaulted ceiling of the Farnese Palace. This deco- ration, representing various mythological subjects illustrative of celestial and terrestrial love, was much admired^ Poussin preferring it, after the work of Raphael, to all the art in Rome. Impressed by the coloring, Caravaggio exclaimed, "God be praised! at last I have found one painter in my life- time.'' 54. The Dead Christ 59% X 59% SABBACCI (Lodovico) Italy Born, Bologna, 1555. Died, Bologna, 1617. Pupil of Prospero Fontano, Tintoretto and Pasignano Bolognese School Lodovico Carracci was the founder of the celebrated Acad,emy of the Incamminati (Right Road), con- ducted by the Carracci. Based on the art of their great predecessors, these men taught a union of Ren- aissance excellences. Their well known sonnet de- manded the "Venetian action and management of shade, the dignified color of Lombardy, the terrible manner of Michelangelo, Titian's truth and nature, the sovereign purity of Correggio's style, and the just symmetry of a Raphael, etc.'' From this school came the Eclectics of Bologna, whose technical skill strongly influenced all the schools of Italy. Al- though Lodovico Carracci excelled as a teacher rather than as a painter, he left work of much in- telligence both in fresco and in oil. Sir Joshua Reynolds comments on *'his breadth of light and shadow, the simplicity of his coloring, and the solemn effect of that twilight w^hich seems diffused over his pictures." 55. St. Sebastian 29*A X 39 CASSATT (Mary) Paris Born, Pittsburg. Contemporary Studied in Philadelphia and in Paris under Degas It was as early as 1878, at the first exhibition of the impressionists in Paris, that Miss Cassatt be- came an important contributor. The directness and vigor of presentation, combined with the strong individuality of the artist, made a marked impres- sion. Her early pictures show a careful Academic rendering, the later, a species of compromise be- tween the direct inspiration of nature and the Jap- anese methods of expression. An art so intellectual and well considered as hers, is able to present the most popular of themes in a large and comprehen- sive wa}^ avoiding the conventional and common- place. Miss Cassatt is able to express the spirit as well as the letter of her subject. Hegel's theory that the beautiful is the presence of the idea in lim- ited phenomenon has been demonstrated by her; there is always a sentiment, a spirituality that digni- fies and elevates her art. 56. On the Balcony 33 X 4oV^ CASTAN (Edmund) Paris 57. The Youthful Navigator 6x8. Dated 1861 CHASE (William Merritt) • New York Born, Indiana, 1849 Studied in Indianapolis, New York and Munich Honorable Mention, 1882. Medals, 1889, 1900, E. U. Shaw Prize, S. A. A., 1895. Gold Medal of Honor, P. A. F. A., 1895. Member of the National Academy and Society of American Artists Probably the most distinctive personality among our resident American painters. In our contempo- • rary art no one has more vividly realized **to-day'' for us or placed his impressions more truthfully. yet artistically, on canvas. Of much versatility, he has employed almost every medium to present by portraiture, genre, still-life and landscape, the reali- ties about him. His work is distinguished by vi- tality, flexibility of execution, and a mind and in- stinct both artistic and cosmopolitan. 58. Still Life 36 X 281/2 CIGNANI (Carlo) Count Italy Born, Bologna, 1628. Died, Forli, 1719 Pupil of Albani. Influenced by Correggio and Annibale Carracci Made a Count by the Duke of Parma Founded the Clementine Academy at Bologna Bolognese School **One of the four leading artists of his age was the Cav. Carlo Cignani, a genius more profound than prompt ; a hand eager to engage in labors, but ever dissatisfied in their completion," records Lanzi. His most important v^ork, the "Assumption of the Vir- gin,'' in the Cathedral of Forli, occupied him nearly twenty years. So highly was he esteemed by the stu- dents of his Academy at Bologna that they followed him to Forli, where the school was continued until the master's death. The Cardinal San Caesareo, when purchasing a picture of Cignani, was so convinced of its financial value, that he courteously said '*that he only paid for the canvas and accepted the painting as a present." Pictures by Cignani are distinguished by fine composition, mellowness of color and by figures of remarkable grace. 59. Signing His Death Sentence 75 X 115V2 CLAASZ (Pieter) Haarlem Born, Westphalia, about 1595. Died, Haarlem, 1661 'There is no fashion in the art of expressing nature as it is/' writes Jules Claretie. Equally we may claim that the value of good work is for all time and all people. These old Dutch pictures are of as much value to the student or connoisseur to- day as when they* were first painted. 60. Stin-Life 21V4 X 15. CLAUSEN (George) England Born, England. Contemporary Medals, 1889-/900, E. U. Hors Concours Associate of the Royal Academy of Arts Professor, London Royal Academy of Arts A simple episode, but told in a manner precise, clean, firm and simple. The scene evidently painted . . iiuich versatility, he has employed medium to present by 'A-hit and landscape, the reali- 3 work is distinguished !)y vi- f execution, and a mind and in- >smopolitan. 36 X 2SV2 CIOA ANi < Carlo) Count Italy Born, Bolosjna, 1628. Died, Forlt, . . Hrti. Influenced by Correggio and Annibale Ca ^: . 3 Count by the Duke of ParT> Clementine Academy at Bolognesc School ''One of the four leading artists of his age was the ■ li, a genius more profound thajn vciger to engage in labors, but ever ed in their completion/' records Lanzi. His most ill : vtprk, the of the Vir- gin/* in ^ V ihedral of For , . ^ / him ne^^'v twenty years. So highly was he esteemed by th« dents of his Academy at Bologna that they followed ■ • V ^ ri- ^vl . ih.^ 1 ^r 1 ^vas continued until the 1 San C^esareo, when CODDK (PlETER) -d of A PRINCESS PALATINE -^^t he nting as shed by ^eures CLAASZ (Pieter) Haarlem Born. Westphalia, about 159$. Died, Haarlem, 1661 "There is no fashion in the art of expressing --^--^ - .N..: T--^ ... T^^^.^allv w^ foV all nctures are '^seur to- En gland Contemporary i , , U. Hors Concotn - Associate of the Royal Academy of Art , Professor, London Royal Academy of Arts <:imp]e episode, but told in a mafmer urecise, V . ' . 1 .1 ^atologue Number 6. Simple, i he scene evidently painted direct from life, has a well balanced unity and is a truthful record^ wholesome and agreeable. 61. Planting a Tree 2574 X soVs CLAYS (Paul Jean) Brussels Born, Bruges, 1819 Pupil of Gaudin Medals, Brussels, 1851. Paris, 1867-78 E. U. Legion of Honor, 1875; Officer, 1881 Chevalier of the Order of Leopold 'Tor a long time the sea, or rather the w^ater, has had no interpreter more exact than Clays; he knows its clearness, and he knows how to render the little noisy waves all bathed in light/' — Rene Menard. 62. Marine View 42V2 X 29. Dated 1870 63. Marine View 16 X II CODDE (Pieter) Amsterdam Born, Amsterdam, before 1610. Died, about 1660 Studied at Haarlem. Influenced by Frans and Dirck Hals A strong and scholarly piece of work^ rendered with a realism impressive in its breadth of accom- plishment, sober, dignified color, truth of form and solidity of structure. This assured mastery of tech- nical difficulties so universally possessed by these old Dutch masters elicited from the great English painter, Sir Joshua Reynolds, the opinion that ^'painters should go to the Dutch School to learn the art of painting, as they would go to a Grammar School to learn languages." Fine examples of the representations of social reunions and military scenes, for which this master is famous, are to be found in the galleries of Berlin, Vienna and The Hague. 64. A Princess Palatine 46y4 X iZVz CONINCXLO (Coninxlor, Conincxly) (GiHis Van) Antwerp Born, Antwerp, 1544. Died, Amsterdam, after 1604 Pupil of Pieter Coecke, the younger, Leenaert Kroes and Mostaert Received into the Guild, 1570 For several years this painter followed his voca- tion in France and Italy. On his return to Flanders, his landscapes were so greatly admired that picture dealers eagerly purchased them for export to different parts of Europe. The Emperor of Austria procured a number for his famous collection. Brion states that Coninexlo was the ^'ablest artist in the branch that he followed of the time in which he lived. His touch is spirited and light and his color clear and agreeable." 65. Landscape 54% X 30 CONSTABLE (John) England Born, East Bcrgholt, Suffolk, 1776. Died, London, 1837 Pupil of the Royal Academy, Joseph Farrington and R. R. Reinagle Royal Academician, 1829 "Tone is the most seductive and inviting quality a picture can possess," said the greatest English landscape painter, Constable. In the scenes of Eng- lish rural life, w^hich he immortalized, this quality has been manifested to an eminent degree. During early life he was employed in a wind-mill, and, in consequence of the close observation of the varia- tions of nature, he developed the wonderful knowl- edge of cloud effects for which he is distinguished. The influence of Constable on English and French art was of marked significance. It was the study of the works of Constable, Bonington, and the old Dutch landscape painters, that developed the fa- mous Fontainebleau-Barbizon school. 66. Old Brighton Pier 67. The Pond, Hampstead Heath, near London 601/2 X 41^4 COROT (Jean Baptiste CamiUe) Paris Born, Paris, 1796. Died, Paris, 1875 Pupil of Michallcn and Victor Berlin Medals, 1833-48-55-67, E. U. Legion of Honor, 1846; Officer, 1867 Diploma to the memory of deceased artists, E. U., 1878 A life of great usefulness and nobility. Useful, in that he filled so prominent a place in the great modern impulse of art and perpetuated that which he found, the spirit^ the depths of atmosphere, the light, the movement, the exquisite feeling of pulsat- ing nature, more particularly when the dawning or the fading of the day softens sharp detail into tender harmony. "This poetical perfume is a per- sonality and supersedes the necessity of signature," writes Rene Menard. Noble, in that "Pere Corot" gave the benefit both of his experience and his large income to those about him, especially to his struggling contemporaries. 68. Landscape 19 X 12 69. Architectural Study m X 121/4 Constable (John) OLD BRIGHTON PIER Catalogue Number 66. COKBADI (Giacinto) Italy Born, Molfetta, 1705. Died, Naples, 1768 Influenced by Sebastian Conca. Director of the Academy of S. Fernando. Painter to the King. Neapolitan School With an authority of design, with drawing, ad- mirable and unconstrained, with color soft and bril- liant, with a rapid, flowing and certain brush, has Giacinto Corradi given a noble and beautiful inter- pretation of his subject. *'Art is surely but a series of conventions, which enable us to express our special sense of beauty — for beauty is everywhere and abounds in subtle manifestations,'* writes George Moore. 70. St. Joseph and Infant 37% X 45% COSTA (Lorenzo) Italy Born, Fcrrara, 1460. Died, Mantua, 1535 Studied the works of Lippi and Benozzo Gozzoli Bolognese School '*Costa was not unHkely the real founder, or, at least, the strongest influencer of the Bolognese school,'' writes John C. Van Dyke. *'He was a painter of a rugged, manly type, afterward tempered by Southern influences to softness and sentiment. This was the result of Paduan methods meeting at Bolog-na with Umbrian sentiment." The type of the "Madonna of the Throne" is one of singular tender- ness, purity and earnestness of feeling. In the pic- ture entire, the color, decoration and the sincere gravity of the painter, amply compensate for some characteristic peculiarities. 71. Madonna of the Throne 59% X 72y4 COTTET (Charles) Paris Born, Puy, Haute-Loire. Contemporary Bourse de voyage, 1894 Gold Medal, 1900, E. U. Legion of Honor, 1900. Societaire de la Societe Nationale des Beaux- Arts This study of the night illumined by the unseen moon is the outcome of patient contemplation of "living'' nature. In the soft, intangible shadow of the night the reality of the men is well developed. The silvery light of the moon, shining on the houses and water, is rendered with marked fidelity to nature. 72. Marine View 31*4 X 211/2 COUKBET (Gustave) Paris Born, Ornans, 1819. Died, Switzerland, 1878 Pupil of David d' Angers Medals, 1849-57-61 He refused the Cross of the Legion of Honor after accepting that of the Order of St. Michael from the King of Bavaria Originally destined for the law, Courbet was sent to Paris in 1839 for his legal training. Art and its problems, however, so absorbed his attention that the study of law was dropped^ and in 1844 he ex- hibited his first picture, which showed the marked originality and bold personality of the artist. Of a dogmatic and aggressive disposition^ he was soon engaged in a bitter warfare against all convention- ality, scorning alike the then accepted schools of Classicism and Romanticism^ and claiming that Nature, studied from the standpoint of observation and discernment rather than that of intellectuality or sentiment, should be the only foundation of Art. From this standpoint the modern school of Realism sprang into life. Although personally much disliked by his countrymen, high tribute has been paid to his work and influence in art. Jules Breton speaks of ^'his power being truly Shakesperian." Of the "Interment at Ornans,*' Bastien-Lepagp says: "There you have absolute truth, the truth of grief, a truth which we all of us feel. There is nothing really lasting, nothing that will endure, but the sincere expression of the actual conditions of life." 73. View in Ornans 21% X 18 74. The Waves 58H X 29 CKAYEIl (Gaspar de) Antwerp Born, Antwerp, 1582. Died, Ghent, 1669 Pupil of Raphael van Coxcyen Court painter Modern critics hold that the reputation of Crayer has been overshadowed by the fame of his two great contemporaries and intimate friends, Rubens and Van Dyck. He was one of the most conscientious and productive painters of the Flemish school. Many valued examples of his work are to be found in the museums and churches of Flanders and Bra- bant. When criticising his picture of the Centurion dismounting to pay homage to the Christ, Rubens is said to have exclaimed: ''Crayer, nobody will sur- pass you!'' 75. Interview between Totila, King of the Goths, and St. Benoit 213V2 X iiiVs . i^.u \ Paris Born, Ornar Pupi) ^.i ;./^.>a \.isc;.. Medals, 1S49-57-61 He refused the Cross of the Legion of Honor after accepting that of the Order of St. Michael from the King of Bavaria Originally destined for the law, Courbet was sent to Paris in 1839 for his legal training. Art and : ro kijis a cvrr. so absorbed his attention that \ and in 1844 he ex- : . : showed the marked ' personality of the artist. Of a osition^ he was soon against all convention- ' the then accepted schools of i ^^iCism one of the most conscientious nters of the Flemish school, of his work are to be found irches of Flanders and Bra- bant, his picture of the Centurion dismoh ii^ge to the Christ, Rubens is said to \: ''Crayer, nobody will sur- pass } King of the Gotlis, ^ll* CRIVELLI (Vittorio) Italy Flourished art the end of the Fifteenth Century Venetian School An altar piece executed in 1489 by this kinsman and follower of the great Carlo Crivelli is to be found in Monte San Martino^ Other examples of his work are at Bologna, Palermo, Milan and Lon- don. 76. St. John 18 X S5V» 77. The Adoration Center Panel, 29% x 55. Side Panels, each, 15 x 49% CROME (John) (Old Crome) England Born, Norwich, 1769. Died, Norwich, 1821. Founded The Norwich Society of Artists, 1805; President, 1810 Though not without mannerisms, both in his drawing and his use of pigment, this healthy and admirable master painted EngHsh scenery with gen- uine power. His pictures show an artistic sensitive- ness to the charm of aerial distance — to the height and depth of space that is very impressive. Dur- ing his life his work was little appreciated by the public. Even after his death, his masterpiece ''Mousehold Heath," now in the National Gallery at London, sold for only one pound. George Bor- row, however, speaks of the ''little dark man with the brown coat and top-boots, whose name will one day be considered the chief ornament of the old town, and whose works will at no distant period rank among the proudest pictures of England.'' 78. Hay Barges on the Yare 40 X 3oVs CB^OS (Anthony Jan Van Der) Holland Bom, 1606 or 1607- Died, The Hague, 1663 Influenced by Jan Van Goyen The landscape painters of Holland have been credited with being the first to treat their subject with realism. Certainly they were the first to study it for its own sake and to consider it worthy of use as a picture motive. The execution of these paint- ers was sincere and appropriate and the subjects they chose for their pictures showed their love for their Fatherland. ''It is wrong for a painter to abandon the country in which he was born, and in which he passed his youth/' writes Alfred Stevens. During this period the painters of Holland repre- sented their country and the lives of its people with close fidelity. 79. River Scene 22V2 X 22. Dated 1648 CBiOFSEY (Jasper Francis) Born, New York, 1823 Pupil of Edward Maury Medal, Centennial Exhibition, 1876 National Academician, 1851 Honorary Member Pennsylvania Academy of Fine Arts 80. View near Rome 40 X 27. Dated 1847 CUYP (Aelbert) Holland Born, Dordrecht, 1620. Died, Dordrecht, 1691. Pupil of his father, Jacob Gerritsz Cuyp. A versatile painter whose methods varied during his career. He modified his treatmpit according to the subject and size of his picture^ endowing all his work with originality that was attained without pre- tension or efifort. By his fidelity to nature he es- caped all mannerisms. His temperament inclined him to an expression of the pastoral; his landscapes are of a tranquil loveliness, reflecting the veiled sun- light of the morning, the golden glow of the early evening. In the treatment of light and atmospheric effects, in rendering color and texture Cuyp was brilliant and refined; in composition he was a master in recording natural effects. 81. Cows on Bank of River 66% X SI PARLEY (Mrs. Sully) Philadelphia 82. Tuscan Woman 17 X 20 DATTBIGNY (Charles Francois) Paris Born, Paris, 1817. Died, Paris, 1878 Pupil of Paul Delaroche Medals, 1848-53-55-57-59-69 Legion of Honor, 1859; Officer, 1874 Diploma to the memory of deceased artists, E. U., 1878 One of the celebrated group of Barbizon painters, Daubigny has made world famous the river scenery of central France. Light, air, and color were studied from the floating studio he had constructed and when the clear day was slowly fading into the night his mind became exceedingly keen and appre- ciative. "The art of this illustrious master," writes Edmond About, ^'consists in choosing well a bit of country, and painting it as it is, enclosing in its frame all the simple and naive poetry which it con- tains * How willingly would we sojourn in that one, beside that fresh water, where the cows take ^8 iddmuM su^olAlfiD Borne 1823 Maury ibition, 1876 an, 185 1 Academy of Fine Arts CITTP (Aelbert) ^^^^^^ Born, Dordrecht, 1620. Died, Dordrecht, 1691. Pupil of his father, Jacob Gerritsi Cuyp. A versatile painter whose methods varied during his career. He modified his treatment according- to the subject and size of his picture, endowing all his work with originality that was attained without pre- tension or effort. By his fidelity to nature he es- caped all mannerisms. His temperament inclined him to an expression of the pastoral; his landscapes are of a tranquil loveliness, reflecting the veiled sun- light of the morning, the golden glow of the earlv evening. In the treatment of light and atmospheric effects, in rendering color and texture Cuyp was bnlhant ^^f^fi^^^^.^j^^- fA^rnv^^ lie vvas a master St Cow« on Bank of Riv Philadelphia Charles Franco!*) Paria Bom, Par Paris, 1878 Pupu 01 i'auij Delaroche Medals, 1848-53-55-57-59-69 Legion of Honor, 1859; Officer, 1874 Diploma to the memory of deceased artists, E. U., 1878 One of the celebrated group of Barbizon painters, Daubigny has made world famous the river scenery of central France. Light, air, and color were studied from the floating studio he had constructed and when the clear day was slowly fading into the night his mind became exceedingly keen and appre- ciative. 'The art of this illustrious master," writes Ldmond About, "consists in choosing well a bit of ' • ' nting it as it is, enclosing in its T)le nnrl Tit>Tv^ f , V which it con- • >Urn &l*»ttfat Number 83. :ows take their evening bath! Night falls^ the thrushes send forth their last cry, the nightingale begins to sing." 83. Landscape 30 X 18. Dated 1868 84. Twilight 27 X 16. Dated 1865 DATJCHEZ (Andre) Paris Born, Paris. Contemporary Medal, 1900, E. U. Societaire Societe Nationale des Beaux-Arts A well balanced piece of work; the tone in deli- cate silver green being well sustained throughout. It displays a calm and serious conviction attained by the careful observation of nature. 85. Under .the Oak Tree 635^ X 43. Dated 1904. DAVID (Gerard) Bruges Born, Oudewater, about 1450. Died, Bruges, 1523 Probably a pupil of Memling Freedom of the Guild in Bruges, 1484; Dean, 1501-2 Member of the Antwerp Guild, 1515 The shadowy interior of the stable is illumined by the light which radiates from the Holy Child. The Virgin mother, St. Joseph, and angels wrapt in adoration, are about the manger. In tenderness and frankness of attitude, in honesty, sincerity and purity, this example of early Flemish art is of notable interest and charm^ 86. Aaoration of the Angels 27y2 X 48y2 DE CAMP (Joseph Rodefer) Boston Born, Cincinnati, Ohio, 1858 Pupil of the Munich Academy and of Frank Duvcneck Temple Gold Medal, P. A. F. A., 1899 Member of the **Ten American Painters'* To-day in the United States we have artists who are technically as strong as any of their European contemporaries. By developing power in their own country, they have especially commanded the interest of their own people. Mr. De Camp is one of these and his fine natural gifts gain each year in cleverness of statement, richness of color and in- terest of subject. 87. The New Gown 28% X ZSV2 DECAMPS (Alexandre Gabriel) Paris Born, Paris, 1803. Died, i860. Pupil of Abel de Pujol, David and Ingres Medals, 1831-34 Legion of Honor, 1839; Officer, 1851 88. Street Scene 6% X 9 DE COCK (Ceesar) Paris Born, Ghent, Belgium, 1823 Medals, 1867-69; Havre, 1868; Munich, 1869; Amsterdam and Ghent, 1883 Diploma of Honor, Amiens, 1868; London, 1872 Officer, Order of Leopold, 1883 * *'Caesar de Cock has a sort of juvenile passion for the apres saveurs and the exquisite freshness of the springtime. He renders with extreme skill the downy- softness of the young shoots, the undecided form of the bush^es, only half clothed with their new leaves, the multitude of young stalks which encum- bered the coppices, the shadowed parts through which one can sometimes get glimpses of light." — Ernest Duvergier de Hatiranne. 80. Landscape 29 X 17. Dated 1870 90. The Brook Canal 28 X 20. Dated 1869 DELACROIX (Ferdinand Victor Eugene) Paris Born, Charenton, 1799. Died, Paris, 1863 Pupil of P. Guerin Medals, 1824-48. Grand Medal of Honor, 1855 Legion of Honor, 1831; Officer, 1846; Commander, 1855 Membre of the Institute of France, 1857 The great movement of Romanticism that swept over England, Germany and France in the early part ot this century^ influenced both letters and art and brought to the front such champions as Byron, Victor Hugo, and the intrepid leader, Delacroix. Discontented with the exaggerations of a false Classicism and the superficial elegance of academic formulsa insisted upon during the reign of the classic school, Delacroix gave us pictures of spontaneous and intense sentiment, of dramatic power and imagination, of passionate desire to express the inexpressible by combination of color, atmosphere and action. *'The atmosphere, tragic, and at times sublime, that sur- rounds them, is a pure creation of the master," writes Jules Breton. Delacroix executed many public commissions and died full of honors. Time but adds to his accumulating fame. Theophile Gautier writes of "L' Amende Honorable'': 'The scene passes in the great convent reception room of the monastery. The shade envelops the high arched vaulting. The wall in the depth is pierced with long windows, with triple mullions. On the walls of the room, vague paintings, outline themselves in a half tint, obscure phantoms of coloration. On the left of the tableaux is a dais, under the throne of which sits a mitred figure, an abbe or archbishop in sacerdotal habit, surrounded by some acolytes. Before the abbe they drag, holding him under his arm, the con- demned to make 'amende honorable.' " 91. L'Amende Honorable 62^2 X 50. Dated 1831 DELESSOBD 92. Evening — Sheep Driven Home 14V2 X 111/2 DEMONT (Adrien Louis) Paris Born, Douai, France, 1851 Pupil of Emile Breton Medals, 1879-82-89 E. U. Legion of Honor, 1891. Hors Concours Chevalier de 1' Ordre de Saint Michel Officier de TOrdre de Santiago de Portugal Membre de la Societe des Artistes fran<;ais "For don't you mark, we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see." — Browning. 93. The Poppy Field sgVs X 34ys DE NOTER (David) Antwerp 94. Fruit and Flowers 12V4 X 9V4 DIAZ de la Fena (Narciso Virgilio) Paris Born, Bordeaux, 1808. Died, Mcntonc, 1876 Medals, 1S44-46-48 Legion of Honor, 1851 Diploma to the memory of deceased artists, E. U., 1878 Born of Spanish parentage, this landscape and figure painter, though a faulty draughtsman, had the glow, splendor and the fire of the South. At the age of fifteen years he left the manufacturer of porce- lain, to whom he had been apprenticed, to go to Paris, where, although extremely poor and crippled by the loss of a leg, he entered the arena of life. Success crowned his efforts to a large degree and with a lavish hand he dispensed that which he gained to those in distress. It was in the forest of Fontainebleau with its majestic oaks, deep re- cesses, and gleams of sunlight, that Diaz found his greatest inspiration. 95. Forest of Fontainebleau 42 X 32. Dated 1867 96. Figure 6V2 X II DOLCI (Carlo) (Carlino) Italy Born, Florence, 1616. Died. Florence, 1686 Studied with Jacopo Vignali, a pupil of Matteo Rosselli i Florentine School The pictures of Carlo Dolci are charged with an excess of sentiment and are painted in a style that is somewhat self-conscious. Yet his artistic skill is not to be denied. There is always in his wo*k deli- cacy, refinement and good draughtsmanship to atone for the more palpable faults, and in his best pictures there is real feeling and grace. Carlo Dolci was among the last of the great school of Florentine painters. 07. Youth and Love 36y4 X 45V4 DOMENICHlNO (Domenico Lampiere) Italy Born, Bologna, 1581. Died, Naples, 1641. Pupil of Denis Calvaert and of the Carracci Appointed by Gregory XV. painter and architect of the apostolic chamber, i6ao Bolognese School Another eminent pupil of the Carracci; one who has been rated as second only to Raphael. Poussin even considered the St. Jerome painted by Domeni- chino as the third great painting of the world. If we now consider as too high this traditional estimate, his work is nevertheless of marked power. These figures, repres^enting "The Seven Virtues," are well imagined and composed, being painted with much authority and breadth. Fuselli says that "the forms of Domenichino' s female faces are ideal ; their expres- sion is poised between pure helpless virginity and sainted ecstacy." Although mild and courteous in disposition, Domenichino seems to have excited the extreme hostility of rival painters. He was so perse- cuted and threatened by the infamous triumvirate known as the "Cabal of Naples,'' that he either was worried to his death, or was poisoned outright by his enemies. 98. The Seven Virtues 99% X 7m DOSSI (Battista) Italy Born, near Ferrara, late in the isth Century. Died, 1548 Lombardo-Ferrarese School Battista and his brother, Dosso Dossi, spent eleven years at Rome and Venice diligently studying the best masters. Evidently the brothers painted much in collaboration, although in 1520 Battista assisted Raphael for a short time. Their work, orig- inal and dramatic, was given with fine harmonious color. The poet Ariosto, in the Orlando Furioso, further celebrated the names of the Dossi by en- rolling them with Leonardo da Vinci, Michael Angelo, Raphael and Titian. 99. Sine, Ceres and Bacchus 36% X 24% Dossi (Giovanni di Lutero, caHed Dosso Dossi) Italy Born, Dosso near Fcrrara about 1479. Died Ferrara, 154a Pupil of Lorenzo Costa. Lombardo-Ferrarcse School In 1718^ a fire occurred in the Ducal Palace at Ferrara and many pictures painted by this one of the eminent Dossi brothers were unfortunately destroyed. 100. Orpheus DXJGHET (Duchet, Duche) (Gaspard) France Generally called Gaspard Poussin, or le Guaspre Pupil of his cousin and brother-in-law, Nicolas Poussin Stranahan comments: *'At first adopted the style as well as the name of his brother-in-law, varying it however by an .equally thorough study of Claude, whom it may be said, he dramatized, breathing a tempest into serenity. He also had something of the careful study of nature of the Netherlands, which gave to every tree and flower the characteristic of its species." Later he became more individual in style, painting in fresco, tempera and oil with great ease and rapidity. He could even execute a large picture in a single day without a trace of careless- ness. 101. Landscape 38% X 28y, DUNCAN (E.) London Born, London, 1804. 102. Coast Scene, Fisherman 18 X 12. Dated 1851 DUPRE (Jules) Paris Born, Nantes, 1812. Died, 1889 Medals, 1833-67, E. U. Legion of Honor, 1849; Officer, 1870 It was in the early winter of 1889, that there passed away the last of the great school of nature's interpreters born between 1807 and 1817. As a distinguishied marine as well as landscape painter, his range is very extensive. His pictures are full of fine color and unity of effect, his style is direct, sincere and strong. ''One may have more or less sympathy with the works of Rousseau or with those of Du- pre," writes Rene Menard, ''but these two masters ists in landscape which the contemporaneous school has produced." 103. Sunset 291/, X 19 DTJSART (Cornelis) Haarlem Born, Haarlem, 1660. Died, Haarlem, 1794 Pupil of Adricn van Ostade Member of Painters Guild, 1679 **However mediocre he may be, the painter who reproduces the era in which he lives will be more interesting in time than the one who tries to repro- duce an epoch which he has not seen/' writes the celebrated modern genre painter, Alfred Stevens. The artists who painted the life common to the Dutch people found in it a theme which could not be exhausted. The painters of Holland, with trained adroitness, enabled us to share the artist's alert perception for the interest of reality and the charm of the actual. Cornelis Dusart delighted to depict the village sports of the Dutch peasant. 104. A Village Inn 54?4 X 41V4, DYCK, (Anton Van) (Sir Anthony Vandyck) Antwerp Born, Antwerp, 1599. Died, London, 1641 Pupil of Hendrik Van Balen and Peter Paul Rubens Member of the Guild of Antwerp, 1618 Court painter to Charles I. Knighted, 1632 "Van Dyck has not, like Rubens, the love of power and of life for life itself;" writes Taine; "more refined, more chivalric, born with a sensitive and even melancholy nature, elegiac in his sacred sub- jects, aristocratic in his portraits, he depicts with less glowing and more sympathetic color noble, tender, and charming figures whose generous and deHcate souls are filled with sweet and sad emotions unknown to his master." The portraits of Van Dyck were the inspiration of such painters as Rey- nolds, Gainsborough and Lawrence. The pictures which represent sacred subjects belong to the period of his greatest executive power. Rubens was the generous patron of his early years as well as his sympathetic master. In 1630 Van Dyck accepted the invitation of Charles I. to visit England, where apartments at Blackfriars and a summer residence at Eltham were placed at his disposal. "The order of precedence which should be given him in the pro- cession of great men has never been exactly deter- 1-rs ii. 'andscape which the contemporaneous school has produced." 103. Sunset 29% X 19 DUSABT (Corn* Haarlem ^^'-'^ iaarlcm, 1794 ^■n van Ostade - Iter* Guild, 1679 i e he may be, the painter who ]>roduces the era m which he lives will be more cresting in time than the one who tries to repro- duce an epoch which he has not seen/' writes the celebrated modern genre painter, Alfred Stevens. The artists who painted the life common to the Dutch people found in it a theme which could not be exhausted. The painters of Holland, with trained adroitness, enabled us to share the artist's alert perception for the interest of reality and the charm of the actual Cornelis Dusart delighted to depict the village srv - f-^ r.f the Dutch peasant. 104. A Village Inn DTCK. ^K^oiAm ^^TA^m%>c¥j^^^^^'^^^ Antwerp n , . v.CRUCIiJIXlOjg^ i.ondon, 1641 Bajcn and Peter Paul Rubens • Guild of Antwerp, 1618 < iJiintcf to Charlci I. Knighted, 1632 *'Van Dyck has not, like Rubens, the love of power and of life for life itself;'' writes Taine; *'more refined, more chivalric, born with a sensitive and even melancholy nature, elegiac in his sacred sub- jects, aristocratic in his portraits, he depicts with less glowing and more sympathetic color noble, tender, and charming figures whose generous and dehcale souls are filled with sweet and sad emotions unknow^n to his master/' The portraits of Van the inspiration of such painters as Rey- ; ... Dsborough and Lawrence. The pictures h represent sacred subjects belong to the >d of his greatest executive power. Rubens was / . generous patron of his early years as well as his sympathetic master. In 1630 Van Dyck accepted the invitation of Charles 1. to visit England, where apartments at Blackfriars and a summer residence at Eltham were placed at his disposal. "The order of precedence which should be given him incthe>$MfcKumber cession of great men has " ^actly deter- mined/* writes Eugene Fromentin, "but since his death, as during his life, he seems to have retained the privilege of being placed near the throne, and of being a distinguished presence there/' 105. Christ in the Tomb 68ya X 44V» 106. Crucifixion 13 X SVz 107. Lady of Balhi Family of Genoa 44 X ssH BDELFELT (Albert) Parii Born, Helsingfors, Finland. Contemporary Pupil of Gcrome Medals, 1880-1882. Grand Prix, 1889, E. U. Legion of Honor, 1889. Hors Concours Societaire de la Socicte Nationale des Beaux-Arts In these cleverly composed and cleverly painted pictures, Albert Edelfelt shows both the healthy Scandinavian point of view and a pictorial sensitive- ness nourished by French training. In "The Water Lilies" the definite and effective contrasts of light have been selected w^ith sympathy for the sentiment involved. 108. The Water Lilies 52 X 36V4 109. Marine 42% X 35% E. L. (?) 110. Children Looking over a Wall , QV2 X sVz FBEBE (Charles Theodore) Paris Born, Paris, 1815. Died, 1888 Pupil of Cogniet and Roqueplan Medals, 1848-65 111. Arab and Camel 13 X gV2 FROMENTIN (Eugene) Paris Born, La Rochelle, 1820. Died, 1876 Pupil of Remond and Cabat Medals, 1849-57-59-67 Legion of Honor, 1859; Officer, 1869 Diploma to the memory of deceased artisti, E. U., 1878 A master of two distinct modes of expression, that of the brush and of the pen. His pen pictures of African travel and his criticisms of the old masters of Belgium and Holland shine forth in a nation of writers who are famous for their descriptive and critical \f6rk. His brush pictures have a deep and pure appreciation as well as a delicacy of treatment that brought him speedily to the front rank of the great French painters. One is amply compensated for the slight faultiness of drawing — the result of insufficient academic training — by his comprehen- sive grasp of the subject, his glowing color and poetic feeling. 118. Arabs on Horseback i6 X gVa FYT (Jan) Antwerp Born, Antwerp, 1611. Died, Antwerp, 1661 Pupil of Jan van den Berch and of Frans Snyders Master of the Guild of St. Luke, 1629 Member of the Guild of Romanists, 1650; Dean, 1652 Fyt ranked with his master Snyders, who was the greatest animal painter of the Flemish school. He frequently painted in collaboration with Van Dyck, Jordaens and Grayer. Fyt visited France and Italy about 1632, and remained there, apparently, seven years. He devoted his brush to the painting of game, still-life, flowers, fruit and landscape, uniting a great mastery with the utmost delicacy. 113. Dead Game 52% X siVs 114. Still Life (Fruit and Game) 36% X 31 GAINSBOROUGH (Thomas) England Born, Sudbury, Suffolk, 1727. Died, London, 1788 Pupil of Gravclot and Francis Hayman Member of the Society of Artists, 1766 One of the founders of the Royal Academy, 1768 Handsome, enthusiastic, impulsive, warm-hearted and, if somewhat capricious and easily irritated, generous to a fault, Gainsborough was the artistic temperament personified. Devoted to art in every form, actors and musicians were his chosen associates. In landscape and portraiture, Gainsborough from the first occupied one of the highest places in the English school of painting. The French critic, M. Chesneau, calls him "the father, the originator of modern landscape,'' and his distinguished rival, Sir Joshua Reynolds, declares: '^Whether he most excelled in portraits, landscape, or fancy pictures it is difficult to determine/' The favorite painter of the king, Gainsborough has left us vivid portraits of the royal family and the eminent men and women of his day. "Deep-thoughted, sol- emn Gainsborough/' writes Ruskin, "pure in his .£11 lodmuVL otrgolBiBD that brought him speedily to the front rank of the great French painters. One is amply compensated for '^'^ht faultiness of drawing — the result of ins. academic training — by his comprehen- 51 V af the subject, his glowing color and i6 X gy, WX'j Antwerp Horn, Antwerp, 1611. Died, Antwerp, 1661 Fupil of Jan van den Berch and of Frans Snydcrs Master of the Guild of St. Luke, 1629 Member of the Guild of Romanists, 1650; Dean, 1652 Fyt ranked with his master Snyders, who was the greatest animal painter of the Flemish school. He frequently painted in collaboration with Van Dyck, Jordaens and Crayer. Fyt visited France and Italy about 1632, and remained there, apparently^ seven years. He devoted his brush to the painting of game, still-life, flowers, fruit and landscape, uniting a great mastery with the utmost delicacy. 113. Dead Game LANDSCAPE J 14. Htill Life (Fruit and Game) 36% X 31 0A.Tmm>mVQM (Thomas) England ibury, SufTolk, 17J7. Died, London, 1788 of Gravelot and Francis Hayman vf- of the Society of Artists, 1766 ■ and eri of the Royal Academy, 1768 . impulsive, warm-hearted ons and easily irritated, Gainsborough was the ai liiiuc leiiiperameni personified. Devoted to art 1: every form, actors and musicians were his en associates. In landscape and portraiture, from the first occupied one of es in the English school of painting, 'itic, M; Chesneau, calls him "the ■ or of modern landscape," and his . . uvai, Sir Joshua Reynolds, declares: Whether he most excelled in portraits, landscape, or fancy pictures it is difficult to determine." The favorite painter of the king, Gainsborough has left us vivid portraits of the royal family and the eminent - and women of his day. **Deep-thougfi^&\3f^§c]f^^^^" Gninsl orough/' writes Ruskin, ''pure in his I English feeling, profound in his seriousness, grace- ful in his gayety. A great name his, whether of the English or any other school — the greatest colorist since Rubens. * His hand is as light as the sweep of a cloud, as swift as the flash of a sunbeam. In a word, Gainsborough is an immortal painter." 115. Landscape 57^4 X 39y2 GARDIER, (Raoul du) Pari* Born, Wcisbaden. Contemporary Pupil of Gustave Morcau, Chartran, Albert Maigman. Honorable Mention, 1897. Medal, 1900 E. U. Membre de la Societe des Artistes, frangais Fondateur Societe du Salon D'Automne. In this characteristic yachting scene there is a fine swinging list to the boat, a suggestion of water hurry- ing past the rail, the whole conveying an impression of irresponsible holiday making that is pleasant to contemplate. 116. The Yachting Party 98 X 59 GABBIDO, (Leandro Ramon ) Paris Bom, Bayonne (Basses Pyrenees.) Contemporary Pupil of Delancey, Moreau and Courtois. Associe de la Societe Nationale des Beaux-Arts A clever intelligent piece of character painting which conveys the unrestrained and unaffected natu- ralness of the subject. The breadth and boldness of treatment suggests the influence of Frans Hals^ the supreme master of these qualities. 117. The Treasure 2iy2 X GSBOME (Jean Leon) Paris Born, Vcsoul, 1824. Died, Paris, 1904 Pupil of Paul Delaroche Medals, 1847-48-55 Sculpture, 1878 Grand Medals of Honor, 1867-74-78 Legion of Honor, 1855; Officer, 1867; Commander, 1878 Member of the Institute of France, 1865 Honorary Member R. A., London "Let us nmrk with white this lucky year," wrote Gautier in 1847, ''for unto us a painter is born. He is called Gerome. I tell you his name to-day, and * to-morrow it will be celebrated." Certainly few reaped so great a reward for conscientious labor together with an unimpaired ability to enjoy and profit by it, as was granted to Gerome. In most of the art galleries and private collections of the world his pictures are to be found and honors of every kind were showered upon this accomplished and even workman, superb draughtsman, scholarly thinker, sculptor as well as painter. 118. An Arab Chieftain 10 X 14 OirrORD (Robert Swain) New York Born, Naushon Island, Massachusetts, 1840 Studied under Albert Van Beest Medal, Centennial Exhibition. 1876 National Academician, 1878 Awarded $2,500 prize at the First Prize Fund Exhibition, New \ork, i88a 119. Our American Cousin 10 X 7, Dated x86o GIROUSE (AchiUe) 120. Horse and Dog 10 X 12, GOSSELIN (Albert) Paris Born, Paris. Contemporary Pupil of Harpignies, Jules Lefebvre and Hector Le Roux Medal, 1896-97-1900, E. U. Legion of Honor, 1900. Hors Concours Membre de la Societe des Artistes frangais A picture interesting in arrangement and of dig- nified thought, expressed with the refinement of French technique. 121. Landscape 32 X 23% GOYEN (Jan Van) Holland Born, Leyden, 1596. Died, The Hague, 1656 Pupil of Esaias van der Vclde President of the Guild, 1640 One of the earliest oi the seventeenth century landscapists, Van Goyen was one of the first to discover that landscap(i in itself was a motive adapt- able to pictorial treatment. Prior to this the figure alone was considered a picture m.otive, landscape was to be used simply as an accessory or a back- ground. Van Goyen studied atmospheric efifects with the most happy results, giving a refined analy- sis in quiet silvery color, of light skies with drifting clouds. The Dutch harbors, with their characteristic ships, buildings and wind-mills, constituted a favorite subject and one for which he is justly famous. 122. Landscape i6Vb X 9% 123. Landscape S0V2 X 54%. Dated 1632. 124. Marine 13V2 X 9% 125. View of Dort 57 X 37 Geum?m:e (Jean Leon) AN ARAB CHIEFTAIN Catalogue Number ii8. .8ii lodmuVi ^u^ol&iBO Go YEN (Jan Van) VIEW OF DORT Catalogue Number 125. QTtAEB (Karl Georg Anton) Berlin Born, Berlin, 1816. Died, Berlin, 1884 Pupil of Gcrst and Berlin Academy Painter to the Court, 1851 Great Gold Medal, 1854 Member of Berlin, Amsterdam and Vienna Academies 126. Market Place, Leitmeritz, Bohemia 20% X 27% GRANER (GRANER-ARIIUFI) (Louis) Spain Born, Barcelone. Contemporary Honorable Mention, 1889, E. U. Associe de la Societe Nationale des Beaux-Arts These pictures present an artistic totality. The subtle light in each is painted with analysis and truth. Carolus Duran has said: 'Tainting is not done with the eyes. It is done with the brains for order, with the heart for love, with the emotions for sentiment and feeling." 127. Meditation 3Q]:^ X 2878 128. The Gamesters 44V4 X 31% GBECO, Eli (Domenico Theotocopuli) Toledo Born, 1548. Died, Toledo, 1625 Pupil of Titian El Greco, so-called from his Greek parentage, studied in Venice, that home of rich color and flow- ing pictorial drawing. During his long residence in Spain however his color seems to have become cold and grey in tone. In his treatment of religious subjects, there is a dignity of composition, together with a power of conveying the idea and type he sought to express that was both eloquent and dra- matic. Many of the Spanish painters were his pupils and disciples, but his influence was not con- fined to men of his own country. Millet^ the French master of poetic force and simplicity, owned a pic- ture by Greco in order that its influence might be always with him. Later this picture was purchased by Degas, that delightful brushman and painter of motion. The Church of the Hospital of Charity at Illescas is a monument to the united skill of Greco as architect and sculptor. 129. The Crucifixion 40% X 81 Vg GBYEFF (Grief, Grijff) (Adriaan de) Belgium Born, Antwerp (?) in i67o(?). Died, Brussels(?), 1715 Member of the Guild at Antwerp, 1690 In artistic feeling and manner, this still-life, ani- mal and landscape painter was allied with his com- patriot Jan Fyt. Very little knowledge of his life has survived the intervention of time, but his work still lives to speak; for him. Other noted examples are in New York, Paris and St. Petersburg, 130. Dead Game 29 X 24 GUDE (HanB Fredrik) Carlsniha Born, Christiania, 1825 Pupil of Andreas Achcnbach and of Dusseldorf Academy Medals, Paris, 1855-61-67; Berlin, 1852-60; Weimar, 1861 Member Amsterdam, Rotterdam, Stockholm, Berlin and Vienna Academies 131. Norwegian Sunset 46V2 X 31. Dated 1851 OXXSKCINO, IL (Giovanni Franceico Barbieri) Italy Born, Cento, 1591. Died, Bologna, 1666. Bolognese School II Guercino, so called from a defect in his eyes, was of humble parentage. His father supplied the nearest town with wood, the little Giovanni Francesco taking carp of his cart. The boy gave early indication of uncommon artistic talent. Before his tenth year he had painted a figure of the Virgin on a side of his father's house with a skill that w^ould have been con- sidered remarkable even at a more mature age. In this head of St. Joseph we see the intellectual concep- tion and elevated taste, the fine and yet glowing color, together with that delicate touch so character- istic of the painter. When Queen Christiana of Sweden passed through Bologna she visited Guer- cino, expressing the pleasure she felt at taking into her own the untiring hand which had painted one hundred and six altar pieces as well as one hundred and forty-four pictures for leading personages of Europe. With the great riches acquired by his pro- fession, Guercino built chapels, founded hospitals, and gave liberally in all acts of charity. 132. St. Joseph 33% X 43% GXJIDO (Guido Keni) Bologna Born, Bologna, 1575. Died, Bologna, 1642 Pupil of Denis Calvart and Lodovico Carracci Bolognese School The father of Guido Reni was a musician and early directed his son's talents to the study of the harpsichord. At the age of nine, however, Guido showed such a determination to be a painter that he was given an opportunity of studying art, and before his thirteenth year had attained marked pro- ficiency. In 1608, Guido went to Rome, where he gained distinction and was given many important commissions in the pontificate of Paul V. (Borghese.) Twenty years later he settled in Bologna and estab- lished a celebrated school. Here he lived in great splendor for a tim^e. Gradually, however, his immense fortune was squandered in dissipation, gambling, and — to the credit of this man of many gifts, be it said — by indiscriminate generosity. At last he was reduced to selling his time to picture dealers, and under the cir- cumstances produced uork that too often was un- worthy of his name. "The distinguishing characteris- tics of his style are elegance and graqe, a singular facility of execution, and exquisite touch and great suavity and harmony of coloring." 133. Cain and Abel 101% X 'jzV^ QiriQNERY (Gustave Alfred) Paris Born, Paris. Contemporary Honorable Mention, 1901 This picture is presented with simphcity and poetic charm. The moon, not in itself seen, illumines the scene to almost the clearness of day. The quiet water reflects in a gleam of silver its clear cold light. 134. Moonlight 56% X 43% GTTILLATJME (Albert- Andre) Paris Born, Paris. Contemporary Legion of Honor Societaire de la Societe Nationale des Beaux-Arts A circular composition wherein the point of in- terest is uniquely concentrated on the hands en- gaged in the spiritualistic experiment of table tipping. 135. Looking into the Beyond 31% X 25% QUILIiAUMBT (Gustave) Paris Born, Paris, 1840. Pupil of Picot, Barrias, and of Ecole des Beaux-Arts. Medals, 1865-67-72-78. Legion of Honor, 1878. This painter loved the luminous light of the East and with notable simplicity painted it just as he felt it. Puvis de Chavannes has stated that "Simplicity means an untrammelled idea. The simplest con- ception will be found to be the most beautiful.'' Living in Algeria vnth the Arabs, Guillaumet was enabled to study them in their own surroundings and his greatest success has been won in rendering the life of the desert. This picture is everywhere pervaded with a wonderful iridescent light and that poetry of the True and the Real which made him so eminent among the men in France who formed the school of the Orientalists. 186. The Desert at Sunset HAMILTON (James) Philadelphia Born, Ireland, 1819. Died, 1878. Studied in Philadelphia 137. Moonlight at Sea 41 X 28. Dated 1862 HARRISON (Thomas Alexander) Paris Born, Philadelphia, 1853 Studied in San Francisco, Philadelphia and Parii Medals, San Francisco, 1878. P. A. F. A., 1887-93 Paris, 1889 E. U. Munich, 1890. Awarded $2,500 prize at First Prize Fund Exhibitions, New York, 1885 Chevalier de la Legion d'Honneur, Officier d'Instruction Publique Sociitaire de la Socictc Nationalc dca Beaux-Arts The pictures of Mr. Harrison are portrayed with such admirable simplicity of method that they seem to exist ; they are a materialized vision of the artist. The effect in his marines is called into conscious- ness by the subtle skill of delicate gradation in the transparent, vibrant air and water, with their secret depth and mysterious expanse. Mr. Harri- son is one of a group of men who have brought America into prominence before the world of art by the breadth of his accomplishment, but it is in the interpretation of the sea that he finds his most forci- ble technical expression. 138. A Festival Night 55 X 36V2 139. East Hampton 140. Le Grand Miroir 141. Marine ^SVs X 371/8 HELLEU (Paul Cesar) Paris Bom, Vannes. Contemporary Societaire de la Societe Nationale des Beaux-Arts The softened glory of this autumn day at Ver- sailles is rendered with directness and careful thought. There is a distance and a feeling of silence that is interestingly conceived. 142. Versailles HBL8T (Bartholomeus van der) Holland Bom, Harlem or Dordrecht in 1613? Died, Amsterdam, 1670. With Nicolaas van Helt Stockade founded the Guild of St. Luke. 3^Vs X 28 98 X 47 Bartholemeus van der Heist ranks as one of the ablest portraits painters of Holland — that hom^e of consummate masters in portraiture. Sir Godfrey Kneller was profuse in his commendation of Heist's celebrated *'Schuttusmallzer' a composition em- ploying twenty-five large portrait figures. Sir Joshua Reynolds also states that this is ^'perhaps the finest picture of portraits in the world, com- prehending more of those qualities which make a perfect portrait than any other I have seen." In the felicitous presentment of this worthy Dutch couple Philadelphia is fortunate in owning a canvas that richly exemplifies the qualities which distin- guish Heist's work. 143. Portraits 46% X 621/2 HELST (Lodewyk, Lodewijk van der) HoUand Born, Amsterdam, 1642 or 43. Died, after 1680 Pupil of his father, Bartholomeus van der Heist The work of the portrait painter is not unlike that of the historian or the novelist ; in a painted record of an individual we find the same observa- tion and analysis that is required in a written description. The sedate individuality of the figures represented here and the truth of expression are rendered with a keen insight which makes this group both notable and enduring. They show the calm and earnest point of view evinced by Lodewyk van der Heist and are reminiscent of the quiet dig- nity of composition, firm modelling, excellent detail and easy solid painting that is characteristic of his father, Bartholomeus. 144. Portraits 79% X yiVs Dated 1673 HEBBEBA (Francisco do, the elder) Spain Born, Seville, about 1576. Died, Madrid, 1656 Pupil of Luis Fernandez Herrera**the terrible'' was unquestionably the pre- cursor of Spanish realism. He had the honor of re- forming the insipid taste of his country by adopting a vigorous and original style of painting that antici- pated Velasques. He painted his pictures as he did everything else, in a sort of frenzy, and the boldness of his brush was equalled only by the impetuosity of his temper. His students, among whom was the pre- eminent Velasques, and even his children, soon left him, owing to his violence. A fondness for engrav- ing medals led to an accusation of coining false money, and Herrera was obliged to take refuge in the sanctuary of the Jesuits' College. I^ere he painted a noble altar piece, and Philip IV. seeing the picture, granted a free pardon to the painter. 145. The Flagellation 5278 X 38% HETZEL (George) Pennsylvania. Born, Alsace, 1826 Studied in Dusseldorf Medal, Centennial Exhibition, 1876 146. Lake Ducks 30 X 38. Dated 1864 147. Bhady Brook 30 X 20. Dated 1867 HIIISCHEELD, (Emile BenedicktofP) Paris Born, Odessa. Contemporary. Pupil of Bougucreau, Lefcbvre and Robert Fleury. Honorable Mention, 1892. Medal, 1894 — 1900 E. U. The atmosphere is suffused with delicate and va- porous light from the moon, the latter partially screened by clouds. Yellow lamplight bl'urs through a silver mist. The water reflects the light of the moon. Ships lie at the dock, their great sails loom- ing in shadowed majesty across the picture. The painting presents a picturesque and artistic totality equally lovable and dramatic. 148. The Storm 28J4 X 21^ HOFFBAXJEB (Charles) Paris Born, Paria. Contemporary Pupil of Gustave Moreau, Flameng and Cormon Medals, 1899- 1900 E. U. Bourse de Voyage, 1902 Prix Rosa-Bonheur, 1902. Prix National, 1906 Hors Concours Membre de la Societe des Artistes frangais From a bleak, snow-covered village pass a group of peasants, poorly clad and armed with rude weap- ons. An old man sadly watches their departure from his gateway. The enthusiasm of the patriot and his stern resolution are vividly expressed in the faces of old and young. 149. A Flemish Bdsing 127VB X 821/4 HOQITET (Charles) Berlin Bom, Berlin, 1821. Died, Berlin, 1870. Pupil of Krause and in Paris of Ciceri and Isabey Gold Medals in Paris 1848 and in Berlin Member of Berlin Academy in 1869 150. Interior and Figures 9V2 X 6% HONDECOETEB (Melchior d') Holland Born, Utrecht, 1636. Died, Amsterdam, 1695 Pupil of Gysbcrt d'Hondecoeter and Jan Baptista VVienix Member of The Hague Guild, 1659-63 Hondecoeter stands unrivalled in the painting of game^ poultry and birds of beautiful plumage. He has portrayed with great spirit and accuracy not only their appearance, but also their varied habits, motions and characteristics. In rich color, and with a masterful brush, he suggests an all-pervading life, unique in its expression of joy, hate, fear or love. Burger says that Hondecoeter displays *'the ma- ternity of the hen with as much tenderness and feel- ing as Raphael, the maternity of Madonnas." 151. Stm Life 31% X 27% 152. The Poultry Yard 109 X S3V2 HONTHOIIST (Gerard Van) Holland Born, Utrecht, 1590. Died, Utrecht, 1656. Pupil of Abraham Bloemart. Freedom of the Guild of Utrecht, 1623. The Hague, 1637. Called Gherardo della Notte because of his fancy for representing subjects by torchlights, yet in any effect of light this artist painted boldly with a power- ful chiaroscuro which attested to his admiration for the pictures of Caravaggio. Honthorst painted at the court of King Frederic in Prague and later visited England where he decorated the Palace of Whitehall by order of Charles L At this time he painted the portraits of the King, the Queen and their children as well as many of the nobility of that era. Returning to Holland he worked chiefly for the princes of Orange. 158. Lot and his Daug}iters HOPKINS (James R.) Paris Born, Ohio. Contemporary A decorative arrangement. Oriental in its sim- picity, painted on a short scale of pale color, but complete through a fastidious translatioa of value, an enticing quality of tone. The tranquillity of the whole is distinctly Japanese, distinctlv Whistlerian, distinctly modern. 154. The Friends 44 X 90% HTJBBELL (Henry Salem) Paris Born. America. Contemporary. Pupil of the Art Institute «)f Chicago, Whistler and Raphael Collin Honorable Mention, 1901. Medal, 1904 Silver Medal, St. Louis Exposition 1904 Mr. Hubbeirs still life is distinguished by skil- ful technique and notable qualities of color, texture and light. 155. The Coppers HUMPHREYS JOHNSTON (John) Paris Born» New York. Contemporary Medal, 1900, E. U. Legion of Honor, 1901 Associe de la Societc Nationale de« Beaux-Arts The personality of the Spanish Gypsy here ex- hibited, is expressed with a harmony of color and breadth of handling only possible to an expert and sympathetic brush. "America can well be proud of this painter," writes the well-known French jour- nalist and critic, M. Rochefort. 15G. El ICamador 25 X 23 INNE8S (George) New York Bom, Newburgh, New York, 1825. Died, 1894 National Academician, 1868 To this thoughtful and analytical student has been unanimously conceded the first place in American landscape art. His fame, which is international, has been won by a life spent in the profound study of each problem of his art, wrought out with an unfailing vitality and energy, a positiveness of action and certainty of result, which^ in its contin- uity, is unique. His style has undergone many changes, but the marked personality of his work has always a fascinating interest. There is an underly- ing breadth of purpose, an appeal to the imagina- tion, a power in the solid mass and bulk of nature as he saw and expressed it, and in his later work es- pecially, a mastery of atmospheric effects, of the problems of light, air and color. 157. Short Cut, Watchung Station N. J. 28^2 X 37 ISABEY (Eugene) (Louis Gabriel) Paris Bom, Paris, 1804. Died. Paris, 1886 Pupil of his father, Jean Baptiste Isabey Medals, 1824-37-55 Legion of Honor, 1833; Officer, 1852 The handling of "The Prisoners'' is fluent, intelli- gent and bold. Everything is treated according to its interest^ its relative value. "Painting is not merely an imitation of reality, but a pai-allel with nature/' writes Puvis de Chavannes. The picture shows a rhythmic line, color and motion thoroughly in TAT8 OXUHOTAV/ .TUO THOTl iistinguished by skil- juaiities of color, texture N (John) Pari* w York. Contemporary U. Legion of Honor, 190T •ci^ti Nationale dci Beaux- Arts e personality of the Spanish Gypsy here ex- jinted, is expressed with a harmony of color and breadth of handling only possible to an expert and sympathetic brush. "America can well be proud of this painter," writes the well-known French jour- nalist and critic, M Rochefort. 150. £1 MamAdor IMMUMI V N«w York National .i, i:.-.A* i o this thoughtful ai^ ^ tical student has been unanimously conceded the first place in American la> ^ art, His fan^e, which is international, has bi b^W^feC^iWfP^^in the profound study of SSft|^c and energy, a positiveness of r . dinty of result, which^ in its contin- uity, is unique. His style has undergone many marked personality of his work has \. terest. There is an underly- an appeal to the imagina- j mass and bulk of nature as . r . i. ^-. . it, and in his later work es- ..iy, a mastery of atmospheric effects, of the problems of light, air and color. Short Gut, Watchung Station N. J. 28^4x37 XSABEY (Eug^--- ^ Oabriel) Paris ■'i, 1804. Died. Paris* 1886 i father. Jean Baptiste Isabey Medal t, 1834-37-55 Legion of Honor, 1833 ; Officer* 1853 The handling of 'The Prisoners" is fluent, intelli- p:ent and bold. Everything is treated according to its - ' . ^ r . > value. "Painting is not merely tv, but a pai'allel with nature/' annes. The pi^M^"Sl^&«^r ' ' Mon thoroughly in sympathy with the picturesque and romantic sub- ject. In 1830, Isabey accompanied the French ex- pedition to Algiers as royal marine painter. He was one of the most successful artists of France at the time of his death. 158. The Prisoners 36 X 24 JACQXJE (Charles fimile) Parii Born in Paris, 1813. Died, 1894 Medal. 1861-63-64 Legion of Honor, 1867 A celebrated etcher as well as painter, Jacque was ver}' prominent in the revival of etching. Speci- mens of his work are now eagerly sought for and large sums paid for what originally brought but a few francs. **And remark, that they are always the same,'' this artist has been known to say. As painter his best works are of the farmyard, and the sheep, pigs and poultry which he bred and so thoroughly studied and appreciated, have brought widely ex- tendjed fame to their owner. 159. Landscape with Sheep Grazing 9V2 X 6V2 JOBEKT (C. F. Paul) Franca Honorable Mention, 1889, E. U. Medal, 1893 Hors Concours Membre de la Societe des Artistes frangais I'his view of the harbor at Dieppe at once arrests the visitor's attention. It is notable for honest workmanship and accurate observation, the details being well arranged and producing a most happy result. 160. Boats at Anchor 48y4 X ssy* JOBDAENTS (Jan) HoUand Born, Delft, 1616. Died, Voorburg, 1669 A decoration, mythological in subject, that has been conceived largely and painted with broad and sincere handling. The fine action, a vigorous pre- sentment of muscular development, great sweeping lines, rich masses of color, all evidence the artist- observer whose wide knowledge of nature enables him to adapt it to his own purpose. Jan Jordaens apparently spent many years in Italy, living in turn ^ in Naples, Venice and Rome. 161. Circe and Ulysses. 80% X 53 J. R, (P) This portrait by an unknown monogramist is characterized by refinement and distinction of style, no less than by the capacity to express with unaffec- ted naturalness the elusive and subtle personal traits. If it is true that ''a portrait reflects its creator as much as its theme/' then this portrait evidences the master's hand. In revealing the per- sonality of his subject the artist subordinates all technical detail, thereby transforming for all time a momentary effect into a living being. 162. Portrait KENSETT (John Frederick) New York Born, Connecticut, 1818. Died, New York, 1872 National Academician, 1849 163. Hill and Valley, Sunrise 22 X 18 KONINCK (Philip de) Amsterdam Born, Amsterdam, 1619. Died, Amsterdam, 1688 Pupil of Rembrandt It is characteristic of the Dutch painter to aim at thoroughness in one direction. The theme of this picture^ an extensive tract of country seen from a height against gray rolling clouds, was painted again and again by Koninck. His fame rests on its ach evement rather than on his portraits and his- torical pictures. There is a surprising truth to nature in the landscape; a breadth of conception given always in color, warm and clear. His pic- tures are valuable for their rarity as well as for their excellence, some of the finest being in the private English collections. 164. View of the Elterberg near Kleef 48% X 38 KBIEGHOFF (Cornelius) Quebec Born, Diisseldorf, 1812. Died, Chicago, 1865 Studied in Diisseldorf and Paris 165. Canadian Winter Scenery 36 X 24. Dated 1857 166. Landscape 24 X 16 LAMBDIN (George C.) Philadelphia Born, Pittsburg, 1830. Died, Philadelphia, 1896 Studied with his father and in Munich and Paris National Academician, 1868 167. The New Knife 10 X 13. Dated 1866 J. R, (?) This portrait by an unknown monogrannst is characterized by refinement and distinction of style, no less than by the capacity to express with unaffec- ted naturalness the elusive and subtle personal traits. If it is true that *'a portrait reflects its creator as much as its theme/' then this portrait evidences the master's hand. In revealing the per- sonality of his subject the artist subordinates all technical detail, thereby transforming fnr all time a momentary effect into a living being. 162. Portrait K5ENSETT (John Frederick) New York Born, Connecticut, 1818. Died, New York, 1872 National Academician, 1849 163. Hill and Valley, Sunrise 22 X 18 KONINCK (Philip de) Amsterdam Born, Amsterdam, 1619. Died, Amsterdam, i688 Pupil of Rembrandt ■* height against gray rolling clouds, was painted a and again by Koninck. His fame rests on its acn tvement rather than on his portraits and his- torical pictures. There is a surprising truth to nature in the landscape; a breadth of conception given always in color, warm and clear. His pic- tures are valuable for their rarity as well as for their excellence, some of the finest being in the private English collections. 164. View of the Elterberg near Kleef 48% X 38 KBIEGHOrr (Cornelius) Quebec Born, Dusseldorf, 1812. Died, Chicago, 1865 Studied in Dusseldorf and Paris 165. Canadian Winter Scenery 36 X 24. Dated 1857 166. Landscape 24 X 16 LAMBDIN (George C.) Philadelphia Born, Pittsburg, 1830. Died, Thiladelphia, 1896 Studied with his father and in Munich and Paris National Aca.^ - ;^C^talogue Number 169. 167. The New Knife 10 X 13. U4 MOEKENHOXJT (Joseph Jodocus) Antwerp Born near Antwerp, 1801 Studied at Antwerp and Paris 100. Keturn from the Chase 28 X 21. Dated 1854 MOESELAGEB (C.) 200. Youthful Vanity- is X 18. Dated 1861 MOLENAEB (Jan Miense) Haarlem Born, Haarlem. Died, Haarlem, 1668 The fine examples of Molenaer's earlier work now at Amsterdam and London show distinct evidence that he was a warm admirer and possibly a pupil of Frans Hals. Those of a later date at The Hague, in Berlin, Brussels and Copenhagen are dominated by the all-powerful example of Rembrandt, the great master of light. Molenaer chose peasant life for his theme, painting it in a deft and easy manner, with color that was always clear and warm. 201. The Drunken Peddler 27% X 24 MONTICELLI (Adolphe) Paris Born, Marseilles, 1824. Died, Marseilles, 1886 Pupil of Ecole des Beaux-Arts 'The presentations of a singular harmonic tem- perament," writes Stranahan. *They have afforded to the painters of pure sensations, and the lovers of color, the highest note in their key an extreme illus- tration which merits consideration.'' Paul Guigon says: **A happy instinct teaches him the mysterious affinity between certain colors and certain emotions. As a colorist he ranks with the Venetians, and in his finer efforts has a witchery, a mastery, a glow which belongs to few other painters of his time." 202. The Boating Party 301/2 X i8y4 MOBALES (Luis de) Spain Born, Badajoz, about 1509. Died, Badajoz, 1586 Studied probably in Toledo or Valladolid From an unwavering choice of religious subjects for his pictures which bore always the imprint of the painter's ardent piety. Morales was called El Divino (The Divine). There are but few instances of his drawing the figure at length; he painted mainly heads of a pathetic and emotional character. *'His works," says Charles C. Perkins, ''show careful draw- ing, correct anatomy, and fine gradation of demi- tints, and his heads are finished with the fastidious care of the early Florentine masters." Morales' pictures are principally found in the churches and oratories of Spain. 203. Christ Bearing the Cross 28^/4 X 37 MORAN (Edward) New York Born, England, 1829 Studied in Philadelphia and in London. Elected A. N. A. in 1873 Member of the Pennsylvania Academy of Fine Arts 204. Castle Garden, New York 46 X 25 MORAN (Thomas) New York Born, England, 1837 Pupil of his brother, Edward Moran National Academician, 1884 Member of the Society of American Artists Member of the Pennsylvania Academy of Fine Arts 205. The First Ship— St. Salvador 46 X 23. Dated 1855 MOBONI (Giovanni Battista) Italy Born, Bondo, Province of Bergamo, 1520 or 1525. Died, Brescia, 1578 Pupil of Moretto Venetian School But little knowledge of this master has reached us through the lapse of centuries, although he was accounted a brilliant painter even during his life- time. Titian pronounced the portraits of Moroni to be 'living/' and so greatly admired his work that when the magnates of the province of Bergamo, in which Moroni livedo desired to have a portrait painted by the great Venetian, he advised them to apply to their fellow-citizen, Moroni. In the cele- brated galleries of London, Dresden, Berlin, Milan, Florence, Madrid, St. Petersburg and Vienna, these portraits are now highly prized and much admired for their truthful animated individuality and admir- able color as well as for their modern spirit and treat- ment. 206. Portrait 39% X 48% MOKKICE (James Wilson) Paris Born, Montreal. Contemporary Societaire de la Societe Nationale des Beaux-Arts The sea-coast is a motive in which Morrice seems thoroughly at home. The characteristic cloud effects and the general suggestion of the salt damp sea-air are the result of careful observation and appreciation of nature. 207. The Shore at Parame MUENIER (Jules Alexis) Paris Born, Vesoul. Contemporary Medal, 1887, 1900, E. U. Hors Concours Legion of Honor, 1889 Membre de la Societe des Artistes frangais Societaire de la Societe Nationale des Beaux-Arts Grace and distinction are given to this subject selected by M. Muenier by the calm effect of light, the transparency of the atmosphere, the mellowness and harmony of the color. 208. Entrance of Village 26 X 21% Moroni (Giovanni Battista) PORTRAIT Catalogue Number 206. MuNKAcsv (Michael de) THE LAST DAY OF THE COXDEMxNED Catalogrue Number mu. 1 MUNKACSY (Michael de) Paris Born, Munkacs, Hungary. Died, Bonn, 1900 Studied in Vienna, Munich and Diisseldorf Medals, Paris, 1870-74-78 E. U.; Vienna, 1882 Legion of Honor, 1877; Officer, 1878 Member of the Munich Academy, 1881 Created an Austrian Baron, 1882 Member of the Austrian Order, Litteres et Artebus, 1887 Orphaned, self-educated and extremely poor, Mun- kacsy's apprenticeship to art was on,e of continuous struggle, first in Hungary and then in Germany, where a disease of the eyes forced him to spend six months in a hospital and threatened him with total blindness. During this time the brave young student, nothing daunted, dreamed of and planned for the picture here exhibited, which he considered his mas- terpiece. It illustrates an Hungarian custom. A con- demned prisoner on the day before his execution is visited by his townspeople, who come either out of curiosity or to bring a contribution towards a mass for the criminal's soul. After regaining the use of his eyes, the picture was commenced, notwithstand- ing the fact that every on,e advised the young man to go back to his trade, that of a carpenter, the ob- stacles to his artistic career seeming insurmountable. When the picture (which was painted on the back of an old pew) was half finished, pov,erty prevented him from obtaining the paint necessary to its completion. At this crisis the collector of these pictures, Mr. Wil- stach, visited Munkacsy's studio and instantly recog- nized his genius. He purchased the picture, and when finished sent it to the Paris Salon, where its recognition as a work of extraordinary merit was instantaneous. Rarely has so sharp a contrast occurred in a human life as then followed, for repu- tation and wealth came rapidly, and first Paris and then the world delighted to honor this vigorous, intense and powerfully dramatic painter. 209. An Ideal Head SVs X 61/2 210. An Ideal Head 5% X 61/2 211. The Last Day of the Condemned 73% X 54 MURILLO (Bartolome Esteban) SevUle Born, Seville, 1618. Died, Seville, 1682 Pupil of his uncle, Juan del Castillo Founded the Seville Academy of Art, 1660 There were several years in the life of Murillo, who ranks second only to Velasques in the history of Spanish art, that were years of struggle for mere existence. Unknown and of a retiring disposition, his only resource was to take his pictures to the weekly market at Seville. Here, surrounded by provision stalls, standing among gypsies, muleteers and dealers in old clothes, he found his first patrons. Many of these pictures were brought to the Spanish possessions in America. In 1643, with a little money but with indomitable courage, he travelled on foot across the Sierras to Madrid. Arriving without money or friends, he appealed to his fellow-towns- man, Velasques. Velasques took the young man into his own home and gave him valuable counsel and guidance. In 1645, Murillo returned to Seville and began a new era in his life by his decoration of the cloister of the Franciscan Convent. He was now welcomed by the most .exclusive society and was re- warded with the love and veneration of the people. His early work was chiefly of humble contemporary life, given in a forcible but rather hard style. Later he painted religious subjects exclusively, presenting the hope and faith of the people in a manner that was tender, graceful, refined and elevated. In the Louvre may be seen a fine example of the art which won for him the title of ''Painter of the Conception.'* 212. Christ Bearing the Cross 83 X 60 213. Diana Asleep SSV2 X 58% 214. St. Anthony 37V4. X NEEFFS (Peeter the elder) Antwerp Born, probably in Antwerp between 1578 and 1582. Died, Antwerp, i6s6» Pupil of Hendrik van Steenwyck, the elder Entered Antwerp Guild, 1609 "An unrivalled painter of church interiors/' writes Charles C. Perkins, corresponding member of the French Institute/This painterhad great knowledge of aerial and linear perspective, and was very skilful in distributing the ef¥ects of light." The figures introduced into his pictures were generally painted by Frans Francken III., Teniers, Brueghel or Van Thulden. 215. A Church Interior 34li X 23-34 !or mere .u4)osition, iires to the 0. iiere, surrounded by ...... V. , . ..^ among gypsies, muleteers and dealers in old clothes, he found his first patrons. Many of these pictures were brought to the Spanish possessions in America. In 1643, with a little money but with indomitable courage, he travelled on foot across the Sierras to Madrid. Arriving without money or friends, he appealed to his fellow-towns- man, Velasques. Velasques took the young man into his own home and gave him valuable counsel and guidance. In 1645, Murillo returned to Seville and ;;an a new era in his life by his decoration of the ister of the Franciscan Convent. He was now dcomed by the most exclusive society and was re- varded with the love and veneration of the people. His early work was cl contemporary • ■ ' *' ' «rd style. Later vely, presenting manner that ited. In the le art which onception." ..thony "^d Antwerp 1582. Died, Antwerp, 1656. .; \an :>ieciiA'yck, the elder . Antwerp Guild, 1609 **An unrivalled paints* of church interiors," writes Charles C. Perkins^ corresponding member of the French Institute/'This painterhad great knowledge of aerial and linear perspective, and was very skilful in distributing the effects of light." The figures introduced into his pictures were generally painted by Frans Francken III., Teniers, Brueghel or Van ' nlden., . «^ t- * ^ . ' Catalogue Num A Church Interior NEER (Aart Van Der) Amsterdam Born, Amsterdam, 1603. Died, 1677 Bryan states that Aart van der Neer ''excelled in painting views in Holkjid by moonlight, represent- ing groups of cottages or fishermen's huts on the banks of a river or canal with boats and figures. The moon, risen in clouded majesty or from her lustrous heights, sheds her silvery beams on every object, and their light, reflected by the respondent glittering of the water, produces the most fascinat- ing and picturesque effect. Van der Neer was a perfect master of the chiaroscuro." 216. Landscape 383/8 X 39% 217. Moonrise 38% X 38y2 NITTIS (Guiseppe de) Italy Born, near Naples, 1846, Died, Paris, 1884 Studied in Naples and Paris Medals, 1876-78 Legion of Honor, 1878 In certain details De Nittis was a precursor of the impressionistic movement in France. Emile Ble- mont characterizes him as ''Impressionist in concep- tion, harmonist in execution;" then adds "the unity of the work comes from the unity of the idea." Neapolitan by birth, Parisian by affiliation, de Nit- tis delighted in the gay splendor of Paris and gave to it appropriately felicitious expression. Not only Paris but London, with its interesting atmospheric aspect, found an interpreter in De Nittis, who studied its fogs and changing lights with delightful accuracy of vision and truth of expression. 218. Return from the Kaces 4SV4 X 23V4 OBLEY (Bemaert van) Brussels Born, Brussels about 1491-92. Died, Brussels, 1542 Pupil of his father, Valcntyn van Orley Court-painter to Margaret and Mary, Regents of the Netherlands, 1524-3$ Court-painter to Emperor Charles V. The close commercial relations which existed in the 1 6th century between the Low Countries and Italy tended to lessen the national influences in the art of the former and led, as a direct consequence, to an imitation of the Italian Renaissance painters. Orley seems to have gone early to Rome where he was possibly instructed by Raphael, cer- tainly became his very successful follower. He was requested to superintend th,e manufacture of the tap- estries in the Vatican designed by Raphael for Leo X. and was employed in finishing many of the grand compositions of that inimitable master. Re- turning to Brussels with a distinguished reputation Orley painted many religious pictures in a style careful and sincere. The brilliant tone of color that he attained is attributed to the supposed use of a gold ground. 219. Adoration of the Magii [Triptych] 31% x 49>4. Wings, 14 x 51. OTTER (Thomas) Philadelphia 220. Moonlight 47 X 26. Dated i860 PALAMEDES (Antonis, surnamed Stevaerts) Holland Born, Delft, 1601. Died, Delft, 1673-74 Influenced by Mierevelt and Frans Hals Member of Guild of Delft, 1621 The charm and dignity of young womanhood is rendered in the picture here exhibited with that keen insight and truth for which Palamedes is emi- nent. With delicate accuracy of draughtsmanship, with purity of tone and well balanced unity of eflfect, the portrait lives on the canvas. "Painting is nature seen through the prism of an emotion," writes Alfred Stevens. In genre work, Palamedes shows the influence of Dirk Hals, a brother and pupil of Frans Hals, the master. 221 Portrait of a Lady PABMIGIANINO (Parmigiano, II) (Francesco Mazzola) Italy Born, Parma, 1504. Died, Casal Maggiore, 1540 Pupil of his brother, Michele and Pierilario Lombard School The uselessness of the tragic end of Parmigianino's career is the more deplorable because of his brilliant ability. An idea of his exceptional power of mental concentration is found in an incident which occurred during the memorable sacking of Rome in 1527. Padre Afifo relates that while the walls were scaled and the city taken by the invaders, Parmigianino con- tinued his painting, **paying no attention to the roar of the artillery, the tumult of the people, or the shouts of the military.*' Fortunately the leader of the law- less men who invaded his house ''happened to be an amateur of painting," and *' contented himself by only requiring him to execute a good number of drawings.*' Unfortunately an infatuation for the cture of the tap- Raphael for Leo g many of the ble master. Re- ^ iished reputation pictures in a style )t tone of color that OTTEB (Thoiu: Philadelphia 220. Moonlight i860 PALAMEDES (Antoiub, sl . lacu Stevaerts) Holland Born, Delft. 1601. Died, Delft, 1673-74 Infiucnccd by Micrevelt and Frans Hals Membtr of Guild of Delft, 1621 and dignity of young womanhood is he picture • ' ibited with that and trutl) ' ; alamedes is emi- ih delicate jf draughtsmanship, -ii balanced unity of effect, Palamedks (Asro^is,^m^MtD^§il^m^ ^^^^^e ^•>^i^"t:pORTaAtt OP^A-tADY'^^^^^^' writes s. In genre work, ralamedes shows' * ^ Dirk Hals, a brother and pupil of • er. 26% X 32V2 FA»M:i<>lANrN0 (Parmigiano, II) (Francesco Mazzola) Italy I*arma, 1504. Died, Casal Maggiore, 1540 f his brother, Michele and Pierilario Lombard School i he useicssness of the tragic end of Parmigianino's career is the more deplorable because of his brilliant ability. An idea of his exceptional power of mental t ration ' I in an incident which occurred *hv r\ ^.>le sacking of Rome in 1527. lates that while the walls were scaled Liiy taken by the invaders, Parmigianino con- . ; i his painting, ^'paying no attention to the roar of the artillery, the tumult of the people, or the shouts 'itary." Fortunately the leader of the law- /vho invaded his house ^'happened to be an amateur of painting/* and " contented himself by only requiring him to execute a good numl^er of drawings." Unfortunately an infatuation fjJfJofTfeNumbcr I study of alchemy led Parmigianino to waste his time and health in a search for the philosopher's stone, that dangerous reef to the mediaeval world of science. In consequence of these researches a breach of con- tract occurred and he was thrown into prison. On promise of completing the desired fresco he was re- leased, only to die shortly after. Sir Joshua Rey- nolds comments : "We are at a loss which to admire most, the correctness of drawing or the grandeur of the conception." 222. Circumcision 62y2 X 94% PEALE (Rembrandt) Philadelphia Born, Pennsylvania, 1787. Died, Philadelphia, i860 Pupil of Benjamin West. 223. Colossal Portrait of Washington 28 X 30. After Houdon's bust of 1785 PETERSSEN (Eilif) Norway Born, Christiania, 1852 Pupil of Riefstahl, Descondrcs and Diez Medals, Munich, 1876. Paris, 1878-89-93, E. U. Hors Concours The Expositions held in Paris 1889 and at Chicago 1893 were a revelation of Scandinavian strength in the art world. These painters of the North, with their effects of brilliant lighting and of realism at times almost startling, have based their work on Parisian methods, while retaining an individuality and sincerity all their own. Eilif Peterssen is one of the best known and most admired leaders of this school. 224. Waiting for the Rise of the Salmon 71% X 51% PIAZZA (Callisto) Italy Born, Lodi. Died, Lodi, 1561 (?) Pupil of his father, Martino Piazza Venetian School Piazza was one of Titian's most successful fol- lowers, although his work shows as well a distinct infusion of Giorgione's influence. Lanzi writes: "He boasts a very noble design, is tolerably select in his forms, and rich and harmonious in his coloring.'' The honor with which this artist was received when visiting Spain and Portugal proves that his work was of more than local celebrity. 225. The Woman Taken in Adultexy 41% X 31 PICARD (Louis) Paris Born, Paris, 1850 Honorable Mention, 1887. Medal, 1900, E. U. Legion of Honor 1900 Societaire de la Societe Nationale des P>eaux-Arts Picard's work never lacks a suggestion of liter- ary interest^ which is again observed in this figure of a sensitive flower girl. Little spots of light in orange and pale gold are charmingly introduced within a distance of delicate tone, all in beautiful harmony with the violets which are the key note of the pic- ture. 226. The Violet Girl 25% X 32 PONCHIN (Antoine) Paris Born, Marseille (Bouches-dii-Rhone). Contemporary Honorable Mention, 1904. Medal, 1906 Prix de Raigecourt-Goyon, 1906 Membre de la Societe des Artistes frangais The glow of the sunset transforms this scene on the Loire into a world of transcendent radiance. Wide stretches of rolling ground and white houses are vividly iridescent in the free ebb and flow of the magnificent color effect. The picture is one of beauty and compelling force. 227. Sunset on the Loire POirSSIN (Nicolas) France Born, Andelys, Normandy, 1593. Died, Rome, 1663 Pupil of Quentin Varin, Noel Jouvenet, Ferdinand Elle, Lallemont and Duquesno Poussin, the founder of the classic and the aca- demic in French art was called by Ruskin "the great master of elevated ideal landscape/' In 1624 he visited and settled in Rome, but in 1640 he re- turned to France, Cardinal Richelieu having pre- vailed upon Louis XIII. "to adorn himself with the talent of the absent artist." Although the king gave Poussin apartments in the Tuileries and showed him all honor, yet the painter found his position intol- erable on account of jealous intrigues, and after two years he returned again to Rome. Hazlitt has said: "The Poussinesque landscape is characterized by something of the pedantry, the same stiffness, the same elevation, the same grandeur, the same mixture of art and nature as Milton's poetry.'' 228. The Universal Deluge 95% X 671/2 ' lis. ladmuVI ^u^o^^^^^ Paris i >n, 1887. Medal, 1900, ^ion of Honor 1900 •ciet6 Nationalc des Rea or lacks a suggestiuu uf liter- again observed in this figure of Little spots of light in orange g-ly introduced within a U in beautiful harmony •he key note of the pic- Paris : liis scene on icnt radiance, md white houses ebb and flow of picture is one of RAEfiURi^ (SiR'HfiNRY) PORTRAIT OF COI^ONEiU MacDONALD OF ST. MARTIN'S POXrSSXN (Nicolas) France Born, Andelys, Normandy, 1593. Died, Rome, 1665 \Juentin Varin, Noel Jouvenet, Ferdinand Elle, Lallemont and Duqueano Poussin,, the founder of the classic and the aca- demic in French art was called by Ruskin "the great master of elevated ideal landscape.'' In 1624 he visited and settled in Rome, but in 1640 he re- turned to France, Cardinal Richelieu having pre- vailed upon Louis XIII. "to adorn himself with the talent of the absent artist.'' Although the king gave Poussin apartments in the Tuileries and showed him all honor, yet the painter found his position intol- erable on account of jealous intrigues, and after two years he returned again to Rome. Hazlitt has said: "The Poussinesque landscape is characterized by something of the pedantry, the same stiffness, the same elevation, the same grandeur, the same mixture of art and nature as Milton's poetry." 228. The Universal Deluge 95% X 67l^ Catalogue Number 231. PBEYEB (Johann Wilhelm) Diisseldorf Born Rheydt, near Diisseldorf, 1803 Pupil of Diisseldorf Acadcmj In the glass of wine here represented is painted a reflected portrait of Preyer, said to be executed by the artist's daughter, Emilie Preyer. 229. StiU Life 14 X 16. Dated 1870 PBEYER (Emilie) Diisseldorf 230. Fruit 14 X 16. Dated 1870 BAEBIJKN (Sir Henry) Edinburgh Born, Stockbridge, 1756. Died, Scotland, 1823 President of the Society of Artists in Scotland, 1812 Royal Academician, 1815. Knighted by George IV., 1822 Appointed His Majesty's Limner for Scotland, 1823 Apprenticed to a goldsmith, Raeburn's first steps in art were minute drawings on ivory. Finished por- traits in miniature soon followed, of which his worthy master assisted him to dispose with such success^ that the young workman was enabled to purchase the remainder of his apprenticeship and to become professedly a painter of miniatures and, later, of portraits in oil. "For years, application, improvement and success went hand in hand," states Bryan, "and he might reckon the greater part of the distinguished men of Scotland of his time among his sitters and friends." The portrait here exhibited is strong in characterization^ impressive in its coloring, life-like and vigorous in design, and is executed in a decisive and dashing style. It is a most convincing evidence of the power of Raeburn as an artist. 231. Portrait of Colonel MacDonald of St. Martin's 76 X SQVs ItAFFAELLI (Jean Francois) Pari* Born, Paris, 1845 Pupil of J. L. Gerome Medal, 1889, E. U. Hors Concours Legion of Honor, 1895; Officer, 1906 Societaire de la Societe Nationale des Beaux-Arts The chief characteristic of Raffaelli's painting is the undeniable probability of its representation — the conviction of reality we experience when seeing it. With originality, keen observation and a fine sense of humor, he has seen nature alive, and with a rapid and facile brush has so painted it. Strength and character are evident everywhere. The street scenes of this 'Tainter of the Boulevards'' are more instinct with vitality^ movement, the ever changing effects of restless city Hfe, than is possible with work of more studied conventionality and academic accu- racy. "Repose," the picture here exhibited, won for the artist a gold medal when exhibited at the Paris Exposition of 1889. 232. Bepose 721/3 X 571/2 BENAN (Ary) Parii Born, Paris. Contemporary Pupil of Dclaunay and Puvis de Chavennes Legion of Honor, 1895. Hors Concours Societaire de la Societe Nationale des Beaux-Arts This picture is delightful for the temperamental feeling with which it is painted. A mysterious moth- like figure of a woman is standing in the enveloping twilight before the long window of a brilliantly lighted room. The young moon and the woman's mystical face are reflected in the partially curtained caserr^t. The relation of the atmosphere, in which the figure stands, to the lighted room in the back- ground has been well maintained. 233. At the Window 37% X 5iya BIBEKA (Josef de) (Lo Spagnoletto) Spain Born, Jativa, 1588. Died, Naples, 1656 Pupil of Francisco Ribalta Appointed Court painter. Knighted by Innocent X., 1644 Member of the Academy of St. Luke, 1630 Valencian and Neapolitan Schools According to Cean Bermudes, Ribera was des- tined by his parents for the pursuit of letters, but preferring an art studio to a university he went early to Italy. Here he painted with untiring energy, although his extreme poverty at times made him de- pendent upon the precarious charity of his fellow- students. A Cardinal, who pitied Lo Spagnoletto (the little Spaniard), attached him to his retinue. Ribera did not long remain, saying that the spur of poverty was necessary to his artistic success. He spent the greater part of his life in Italy, marrying the daughter of a rich picture dealer at Naples. A pronounced mannerist, he was yet a man of remark- able strength and notwithstanding his choice of heavy shadows, a painter with fine color instinct. 234. Archimedes 52% X 39% 235. St. Sebastian 108% X 72% RICHARDS (William Trost) Philadelphia Born, Philadelphia, 1883. Died, Rhode Island, 1905 Pupil of Paul Weber Medals, Philadelphia, 1876, Temple Fund, 1885 Honorary Member, National Academy This conscientious student and lover of nature was one of the most successful of American paint- ers. His interpretations of the sea especially, whether in water-color or oil, won warm response and admiration. Richards contributed to the vari- ous exhibitions of our principal cities and to those of London and Paris. 236. Landscape 40 X 30 237. The Neglected Corner of a Wheatfield 12 X 14 238. Mountain Landscape 44 X 30 RICO (Martin) Paris Born, Madrid. Pupil of F. de Madrazo Medals, 1878-89, E. U. Hors Concours Legion of Honor, 1878 Supported himself while studying at Madrid by drawing and engraving on wood. During the sum- mer fostered his love for nature by wandering through the country, living from hand to mouth, often the companion of gypsies, but studying and absorbing qualities that proved the foundation of his success. It was in Paris however with Zamacois, Meissonier and Daubigny to encourage him and the American art patron, William Stewart, to advance his interests that he climbed rapidly the ladder of fame. His work in oil and water colors is equally brilliant, animated and delicate, his pictures fairly sparkling with crisp effects. 239. Landscape 18 X 10 RIEDER (Marcel) Paris Born, Thann (Haat-Rhine). Contemporary Pupil of Cabanel Medals, 1898-99, 1900, E. U. Hors Concours Membre de la Societe des Artistes frangais This modern treatment of a modern subject is rendered with a trustworthy analysis of the con- trasting effects of light. "An artist must compel nature to pass through his intelligence and his heart,'' as Paul Delaroche states. This artist has here succeeded in materializing a musical group in a subtle quality of light. 240. The Trio 22l^ X l8 RIEFSTAHL (Wilhelm) Munich Born, Neustrelitz, 1827. Died, Munich, 1888 Pupil of Berlin Academy Gold Medal, Berlin, 1864. Vienna, 1873 Member of the Berlin and Munich Academies "He sees justly, feels profoundly, and knows how to express what he feels.'' — Eugene Miintz. 241. Returning from the Christening 42j4 X 2654. Dated 1865 BOSA (Salvator) Italy Born, Renclla, near Naples, 1615. Died, Rome, 1673 Pupil of Paolo Greco and Francesco Fracanzano Neapolitan School *'What is most admired in the works of Salvator Rosa/' says Sir Joshua Reynolds, '*is the perfect cor- respondence between the subjects which he chose and his manner of treating them. Everything is of a piece: his rocks, trees, sky, even to his hand- ling, have the same rude and wild character which animates his figures." Developed under the in- fluence of the naturalistic school, at eighteen years of age Salvator Rosa made a sketching tour through the Abruzzi. Among the dens of the banditti in this romantic and picturesque region he found many of the incidents of his pictures. Into landscapes of dramatic magnificence he also painted many battle scenes, the figures of which are full of movement and expression. Distinguished for a poetic elevation of soul, for daring conception, and splendor of coloring, Salvator Rosa became the boast of Naples, and the delight of Rome. Here, in addition to his artistic renown he also became famous as a musician, actor and a satirical poet. 242. Pyramid of Caius Cestius 100% X 77% 243. The Battle 67% X 49 KOSSET-GRANGER (Edouard) Paris Born, Vincennes. Contemporary Bourse de Voyage, 1881. Medals, 1884-89, E. U., 1900, E. U. Legion of Honor. Hors Concours. Menibre de la Societe des Artistes, frangais Societaire de la Societe Nationale des Beaux-Arts This picture is painted lovingly and with tender- ness. The sympathy of the related tones together with the portrayal of the child and its reflection, are worthy of careful consideration. 244. Curiosity 213/4 X 27J^ KOTHEBMEIi (Peter Frederic) Philadelphia Born, Pennsylvania, 1817. Died, 1895 Associate of the Pennsylvania Academy of Fine Arts ^ Not a draughtsman, perhaps, but a colorist, whose high aim, fine composition and rich harmonious schemes of color, have received warm recognition not only in America, but in Italy, France and Rus- sia. 245. King Lear and Cordelia 30 X 25 ROUSSEATJ (Philippe) Paris Born, Paris, 1816 Pupil of Gros and Bertin Medals, 1845-48-55-78 Legion of Honor, 1852; Officer, 1870 Mr. Wilstach referred to the picture here exhibited in a letter to a friend: "Wylie (the artist Robert Wylie) is delighted at my buying the Rousseau ; he writes me that he thinks I have probably one of the finest, if not the finest, still life picture of the modern French school/' 246. Peaches 38% X 50% BOTJSSEATJ (Pierre Etienne Theodore) Paris Born, Paris, 1812. Died, Barbizon, 1867 Pupil of Remond and Letliiere Medals, 1834-49-55. Grand Medal of Honor, 1867, E. U. Legion of Honor, 1852 Diploma to the Memory of Deceased Artists, 1878, E. U. ' This first apostle of truth in landscape/' as Ed- mond About calls Rousseau, 'Svas one of the most profound thinkers of this century in his own line." Foremost in the celebrated Fontainebleau-Barbizon school, he may be said to have founded the modern realistic method of portraying nature. He was de- voted to its analysis and aimed to give pictorial ex- pression to the inherent beauty contained in the truths of color, light and atmosphere. Exception- ally vigorous in technique and of fine imaginative powers, Rousseau gave a broad, majestic concep- tion of nature which was frequently sublime in its pictorial poetry. Albert Wolfe asserts: ''Corot painted the grace; Millet, the hidden voice; Jules Dupre^ the majestic strength. Theodore Rousseau has been by turns as much a poet as Corot, as mel- ancholy as Millet as awful as Dupre; he is the most complete, for he embraces landscape art absolutely." The honor of the earliest appreciation of the genius of Rousseau belongs to America. 247. Landscape 13 X 10 BOYBET (Ferdinand Victor Leon) France Born, Uzes, 1840 Pupil of Ecole des Beaux-Arts in Lyons Medals, 1866-93. Grand Medals, Munich, 1894, and Berlin, 1895 Legion of Honor, 1892; Officer, 1900 Hors Concours Membre perpetuel de la Societe des Artistes frangais Always a lover of rich color and decorative effect, Roybet evinced a delight in painting rare stuffs and tapestries that even surpassed his pleasure in ren- dering the episodes to which these are merely an environment. He was guided in his quest of the picturesque by a vivid imagination. "The Sultan's Vengeance" is characteristic of his effective and dramatic art. An exhibition of his collected work given in Paris^ in 1890, inspired an enthusiasm rare- ly aroused in this great centre of art by the work of any one man. 248. The Sultan's Vengeance 30% X 26% RUBENS (Peter Paul) Antwerp Born, Westphalia, 1577. Died, Antwerp, 1640 Pupil of Tobias Verhaegt, Adam van Noort and Otto van Veen Court painter, 1609 Knighted by Charles I. of England and Philip IV. of Spain Honorary degree at the University of Cambridge Knight of the Golden Spur; Order of the Golden Key At the Spanish Court, Gentleman of the Bedchamber Painter, scholar, linguist, diplomatist. So splen- did and varied is the record of this master's achieve- ment that we do not wonder at the glowing tribute of the Marquis of Spinola when he said of Rubens: *'He found so many talents combined in him, that for his own part, he believed the gift of painting to be one of the least considerable of them." Rubens was a man of experience in many countries. He visited the Court of Spain as messenger of the Duke of Mantua in 1603. Nineteen years later he went to Paris at the express invitation of Maria de' Medici. In 1627, with the title of ambassador, he was sent to England as mediator in negotiating peace be- tween that country and Spain. Here he was re- ceived with the honor due to his rank and com- menced a brilliant, though arduous, career in diplomacy which lasted several years. Although Rubens (Peter Paul) ACHILLES RECOGNIZED BY ULYSSES AMID THE DAUGHTERS OF LYCOMEDES Catalogue Number 249. .el's, j^dmuVL au^oIfiJfiD RuiSDAEL (Jacob Van) LANDSCx\PE WITH WATERFALL Catalogue Number 250. these delicate negotiations necessitated much time and travel he never ceased to paint. He is reported to have said: 'The painter Rubens occasionally amuses himself with diplomacy/' If happiness is to be found in the successful cultivation and exer- cise of inherent talent, this master genius must have been the happiest of men. '*He has taken a posses- sion of the earth that no other man has;'' states Eugene Fromentin. "His painted work comprises about fifteen hundred productions, the most im- mense output that ever issued from one brain. * * The means are simple, the method elementary, but employed by a hand magnificently agile, adroit, sen- sitive, and composed." 249. Achilles recognized by Ulysses Amid the Daughters of Lycomedes 19% X 14V8 RTJISDAEL (Jacob Van) Haarlem Born, Haarlem about 1625. Died, 1682 Pupil of his father and uncle, Izack and Salomon Ruisdael Member of the Guild of St. Luke '*Of all the Dutch painters, Ruisdael is the one who most nobly resembles his country. He has its breadth, sadness, rather dreary placidity and its monotonous and tranquil charm. He has left us of Holland a portrait which I will not call familiar, but intimate, lovable, admirably faithful, which never grows old. By still other claims Ruisdael is, as I fully believe, the most distinguished figure in the school after Rembrant. * Nothing, or almost nothing, is known of his existence. His great labor did not enrich him, and his title of burgher of Haarlem did not prevent him, it appears, from being almost forgotten. Of this we should have a truly harrowing proof, if it is true that, in commiseration of his distress, more than from respect to his genius, which was barely suspected by anyone, they were obliged to admit him to the almshouse at Haarlem, his native town, and that there he died.' — Eugene Fromentin. 250. Iiaiidscax)e and Waterfall 55% X 40 251. River Scene with Barges 41% X 29% RXJSINOL (Santiago) Spain Born, Barcelona. Contemporary Honorable Mention, 1889 Associ6 de la Soci^te Nationale des Beaux- Arts The placidity and repose of an old garden has been w^ell expressed by this painter. The mystery of night has already fallen upon the earth; it is an hour in thorough sympathy with the poetry of the subject. 252. The Garden 24 X 32% SACCHI (Andrea) Italy Born, near Rome, 1600. Died there, 1661 Pupil of his father, Benedetto Sacchi and Albani Roman School "The merit of a painter does not consist in giving to the world a large number of works of mediocrity, but a few perfect ones," said Andrea Sacchi. Act- ing on this maxim this painter became the most learned designer as well as the soundest colorist of the later Roman school. His pictures are rare, but Philadelphia has now two possessing both grace and distinction. Together with accuracy of draughts- manship and characterization, there is a true harmon- ious tone of color in which everything takes its appro- priate place. The Vision of St. Romuald, in the Vatican, is Sacchi' s greatest work, it having been considered the fourth best easel picture in Rome. 253. St. Augustine 58 X 44% 254. St. Gregory 57y3 X 44V4 SCABSELLA (Ippolito) (ScarseUino, Lo) Italy Born, Fcrrara, 1551. Died, Ferrara, 1621 Pupil of his father, Sigismondo Scarsella Lombard School '*Scarsella executed more pictures for the churches and individuals in his native city than many other artists together/' writes Abate Luigi Lanzi, an early and eminent commentator, ''on comparison v^ith Veronese, it is evident that his style is derived from that source though it is different, being comr posed of the Venetian and the Lombard, of native and foreign schools, the offspring of an intellect well founded in the theory of the art, if not always equal, yet always prompt, spirited and rapid.'' 255. St. John 36 X 42% 256. St. Luke 36% X 43V8 257. St. Mark 361A X 42% 258. St. Matthew 35% X 42% SCHLESINGEK (Henri Guillaume) Paria Born, Frankfort-on-the-Main, 1814 Pupil of Vienna Academy Medals, 1840-47 Legion of Honor, 1866 Went early in life to Paris where he was natural- ized. Since his first exhibition in 1840, his pictures have been received as noted acquisitions to the Paris Salon. 259. Alone at the Atelier 28 X 36. Dated 1868 SCHOREEL (Scorel, Schoorlo) (Jan Van) Holland Born, Schorel, near Alkenaar, 1495. Died, Haarlem or Utrecht, 1562 Pupil of Wcllem and Jacob Cornelisz, Mabuse and Albrecht Diirer Appointed overseer of the Vatican Gallery by Pope Adrian VI. The adherence of Albrecht Diirer to the teachings of Luther caused Schoreel to leave the studio of the former. Later he travelled to Italy, visiting in every city through which he passed the most eminent artists in order to observe their different methods of paint- ing. Settling later in Utrecht, Schoreel opened a school to introduce Italian art methods into Holland. In this he had a large following, and was the leader of that movement in Italian imitation which ex- tended over Holland during the sixteenth century. 260. Christ and Judas SSVa X 25% (SCHBEYEB (Adolf) Paris Born, Frankfort-on-the-Main, 1828 Studied Frankfort, Stuttgart, Munich and Dusseldorf Medals, 1864-65-67, E. U. Brussels, 1863. Vienna, 1873. Munich, Painter to the Court of the Grand Duke of Mecklenburg-Schwerin, 1862 Order of Leopold, 1866. Officer of the Star of Roumania, 1888 Member of the Academies of Antwerp and Rotterdam Honorary Member of the Deutches Nochstiff Born of a wealthy and distinguished family, Schreyer was given every opportunity for study and travel. His work is dashing, bold, resolute and full of fine mellow color and poetic sentiment. A de- lightful letter to Schreyer reads : ''I came with Hert and Martinet to see you. You are gone out, but your genius remains at home. We have admired this marvellous picture of 'Chasse-Niege,' so true, so pic- turesque, so dramatic. I am egotistic enough to be- lieve that I am a good judge in this matter. I have been myself enveloped in a snowy whirlwind near Kowno, and your canvas makes me shiver; I seem to be still in Russia. We hope that you will be willing to send this masterpiece to our exposition. I dare not believe in such a happiness, and I thank you in my name and in the name of the Societe Nationale des Beaux- Arts. Your admirer and Pres- ident, Theophile Gautier/' 261. Winter 44V2 X 35 SCHBOEDTER (Adolf) Berlin Born, 1805. Died, Carlsruhe, 1875 Pupil of his father, and of the Berlin and Diisseldorf Academies Don Quixote in His Study 20 X 24 Two Monks in a Wine Cellar X \^V2» Dated 1863 SCOTT (Samuel) England Born, London, 1710 (?). Died, London, 1772 Walpole considered that the figures in Scott's pictures "were judiciously chosen and admirably painted/' and that "he introduced buildings in his pictures with consummate skill.'' His pictures have now also a quaint illustrative quality that is very charming. Besides being considered the best marine painter of his time, Halloway further dis- tinguished Scott by styling him "the father of the modern school of painting in water colors/' 264. View of the Old Rochester Bridge 34% X 22% SEGHERS (Segers, Zeghers) (Daniel) Antwerp Born, Antwerp, 1590. Died, Antwerp, i66t Pupil of Jan Brueghel Master of the Guild, 161 1 Seghers devoted his art entirely to the painting of flower subjects, having laid the foundation for his success in this direction by a careful study of horti- culture. His skilful gardening enabled him always to have at hand dainty models for his pictures. Bryan states that he "gave to his imitations the beauty, brilliancy and variety with which nature clothed the originals." Seghers painted in collabo- ration with various artists of his time, notably the master Rubens. His pictures were eagerly sought and proved a source of honor and profit to the Jesuits of which society he was a member. 265. Elowers 2878 X 47% SEYDEL (Edward) 266< Street Scene in Front of a Meat Shop 8x7. Dated 1845 262. 263. 8IEGEBT (Auguat) Du.8eldorf Born, Ncuwied, 1820. Died, Diisseldorf, 1883 Pupil of Diisseldorf Academy and Schadow, 1835-46 Medal in Vienna Member of Amsterdam Academy 267. Grace Before Meat 9% X 11% 268. No Grace Before Meat 9% X 11% SIMON (Lucien) Paris Bom, Paris. Contemporary Honorable Mention, 1885 Medal, 1890, 1900, E. U. Legion of Honor, 1900 Societairc de la Societe Nationale de« Beaux-Arts This family group in their home is presented in the very fascinating and entertaining manner which has made this clever executant so prominent in the contemporary world of art. 269. Portraits goV4, X 72V4: SIRANI (Elizabetta) Italy Born, Bologna, 1638. Died, Bolojfna, 166s Pupil of her father, Andrea Sirani Bolognese School It is astonishing that in only twenty-seven years of life Elizabetta Sirani accomplished so much. A list of her work enumerated by Malvaria, copied from the list kept by herself, amounts to one hun- dred and fifty pictures and portraits. Many of these are of large size and all are most carefully painted. When only seventeen years of age she had acquired such a reputation that commissions came to her from Italian prinqes, and the distinguished personages and monarchs of Europe. Her brilliant career came to an abrupt end through her death by poison, professional jealousy, it was thought, hav- ing instigated Elizabetta's maid to the murder. She was buried, with public demonstrations of sorrow in the Church of S. Domenico, resting in the same vault with the remains of Guido, the master whose methods she had followed and who had been the in- spiration of her remarkable career. 270. The Holy Family 15% X 2iVl BTUANI (Giovanni Andrea) Italy Born, Bologna, 1610. Died, Bologna, 1670 Pupil of Cavedone and of Guido Bolognese School The favorite disciple of Guido, Sirani was selected to complete several pictures left unfinished on the death of the master. The success of this work brought Sirani many conimisaions. He was a fol- lower of Guido's second manner of painting, pre- ferring, like him, to paint in the grand style on large canvases. Later he added a strong system of light and shadow, approaching nearer to that used by Car- avaggio. The three daughters of Sirani were paint- ers, but Elizabetta alone became famous. His work is chiefly to be found in the gallery and various churches of Bologna. 271. Birth of Christ 1SV4, X 14 SMITH (Xanthus) Philadelphia 272. Coast Scene off South Carolina 18 X 12. Dated 1869 SNYDEBS (Franz) Antwerp Born, Antwerp, 1579. Died, Antwerp, 1657 Pupil of Pieter Brueghel, the younger, and Hendrik van Balen Master of the Guild, 1602 A contemporary who won the admiration of Rubens, Jordaens, and Van Dyck. Rubens had a deep affection as well as admiration for Snyders and appointed him in his will to supervise the sale of his works of art. Van Dyck frequently painted his por- trait. Even during the life of Snyders, his pictures were in great demand, princes and nobles of his own and of other countries desiring to obtain them. Philip of Spain gave him large commissions. The work of Snyders is mainly the valued possession of the large European galleries or of the private Eng- lish collections. Philadelphia has in her keeping exceptionally fine examples of the master. 273. Dead Game 65V4, X 4SV2 274. StiU Life 94 X 66 SOLAKIO (Solari) (Andrea da) Italy Born, Solario, about 1458. Died, Pavia, about 1530 Lombard School Very little can be accurately told concerning the early life of Solario. His first artistic knowledge, probably, was the Flemish method of painting as practised by Antonello da Messino. Later he came under the spell of Leonardo da Vinci. Other noted examples of the work of this tender, careful and re- fined painter are to be found at Milan, Rome, Berlin, London and Paris. 275. Christ Crowned with Thorns 16 X 24V4. brought Sirani many comniisgions. He was a fol- lower of Guido's second manner of painting, pre- ferring, like him, to paint in the grand style on large canvases. Later he added a strong system of light and shadow, approaching nearer to that used by Car- avaggio. The three daughters of Sirani were paint- ers, but Elizabetta alone became famous. His work is chiefly to be found in the gallery and various churches of Bologna. 271. Birth of Christ 18^4 X 14 SMITH (Xanthus) Philadelphia 272. Coast Scene off South Carolina 18 X 12. Dated 1869 SNYDEBS (Fiunz; Antwerp Bom, Antwerp, 1579. Died, Antwerp, 1657 Pupil of Pictcr Brueghel, the younger, and Hendrik van Balen Master of the Guild* 1602 A contemporary who won the admiration of Rubens, Jordaens, and Van Dy6k. Rubens had a deep affection as well as admiration for Snyders and appointed him in his will to supervise the sale of his works of art. Van DjJjjkDfeg^C^x^r) painted his por- trait. Even during thfitittLL lif? ^^-i's, his pictures were in great demand^ princes and nobles of his own and of other countries desiring to obtain them. Philip of Spain gave him large commissions. The work of Snyder's is mainly the valued possession of the large European galleries or of the private Eng- lish collections. Philadelphia has in her Veeping exceptionally fine examples of the master 273. Dead Game 274. StiU Life 94 X fx 80LABI0 (Solari) (Andrea da) Italy Born, Solario, about 1458. Died, Pavia, about 1530 Lombard School Very little can be accurately told concerning the early life of Solario. His first artistic knowledge, probably, was the Flemish method of painting as practised by Antonello da Messino. Later he came under the spell of Leonardo da Vinci. Other noted examples of the work of this tender, careful and re- fined painter are to be found at Milan, Rome, Berlin, London and Paris. Catalogue Number 375. Christ Crowned with Thorns 16 X 24^A SOROLLA Y BASTIDA (Joaquin) Madrid Boriij Valence. Contemporary Pupil of ficole des Beaux-Arts at Valence. Medals, 1893-1895. Grand Prix, 1900 (E. U.) Legion of Honor, 1900. Hors Concours. Sorolla has won the first place in contemporary Spanish art. He dehghts to depict scenes to which he can give infinite color and life. Selecting fre- quently out of door subjects^ Sorolla cleverly repro- duces the scintillating color with a touch rapid and clear. The delicious awkwardnessof immaturity, and its rounded curves are charmingly rendered in this picture. **Art is but praise of life, and it is only through the arts that we can praise life" is the opin- ion of George Moore. 276. Border of the Sea 51 f S X 38 SPITZWEG (Karl) Germany Born, Munich, 1808. Died, 1885 Pupil of Hanson Order of St. Michael, 1865 277. The Alchemist 16 X 14 SPKINGER (Cornelis) Amsterdam Born, Amsterdam, 1817 Pupil of Kaspar Karson Gold Medal, The Hague, 1857 Orders of Oaken Crown, 1861, and of Leopold Member of Rotterdam Academy, 1856 278. Street Scene in Amsterdam 16% X 20^/4 STAMMEL (Eberhard) Dusseldorl Born, Duren, 1832 Studied at Diisseldorf, Munich, Paris and Antwerp 279. La Partie Marriage 25 X 22. Dated 1863 STEEN (Jan) Holland Born, Leyden, 1626. Died, Leyden, 1679 Pupil of Nicolas Knupfer and Jan van Goyen Influenced by Frans Hals and Adriaan van Ostade Member of the Guild of Leyden, 1648 **One of the really fine brushmen of Holland/' writes Henry Van Dyke, ''a man greatly admired by Sir Joshua Reynolds and many an artist since. * His brush was as limpid and graceful as though painting angels instead of Dutch boors." Steen presented life as a comedy, sometimes with grim | satire and rather unpleasant truth, yet often in a | spirit of sympathetic and genial toleration. As a dramatist he has been likened to Moliere. He drew ' human nature and was a master of physiognomy. j His figured groups are remarkable compositions because they give to the most thoughtful arrange- ment the effect of accidental combination. The subjects painted by Steen range from the grave Dutch citizen in his home, to the tavern scenes, which he studied while tavern keeper at Leyden. 280. The Fortune Teller 36% X 39% STEVENS CAlfred) Belgium Born, Brussels, 1828. Died, Belgium, 1906 Pupil of f:cole des Beaux-Arts, Navez and Roqueplan Medals, Brussels, 1851. Paris, 1853-55-67-78 Grand Medals of Honor at Paris, Amsterdam, Berlin, E. U. and Austria Legion of Honor, 1863; Officer, 1867; Commander, 1878 Order of Leopold, 1855; Officer, 1863 — Afterward Commander Commander of Austrian Order Francis Joseph and of Bavarian Order of St. Michael Crois of the Lion of the Netherlands and of the Order of Merit from BaTaria France and Belgium present rival claims for this artist, who resided and exhibited in both Paris and Brussels. He added to the strength and exact- ness of his early Flemish education the greater sub- tlety of impression and the freedom and grace of French execution. Ranking with the ablest and most charming painters of modern life, Ste- vens's pictures are remarkable for their delicacy of tone and perfection of coloring. 281. Will you go with me, Tidef igVi X 24V2 BTBOBENTZ (rredirlck) Hungary Born, Budapest. Contemporary Honorable mention, 1894 This portrayal of two figures seated in the shade of an arbor, behind whose leafy wall the sun is bril- liantly shining is one of frank realism and sincerity of purpose. It evidences a most careful and con- scientious study from nature. 282. The Visit 63% X 42»/8- Dated 1894 BXTLLY (Thomas) Philadelphia Born, England, 1783. Died, Philadelphia, 1872. Pupil of Gilbert Stuart and Benjamin West In 1792 came to America with his parents, who were comedians. In 1810, settled in Philadelphia, where he was very successful as a portrait painter. Later visited England and painted from life a full- length portrait of Queen Victoria. 283. Gypsy Woman and Child, after Murillo 24 X 30. Dated 1852 284. Peasant Girl, after Rembrandt 24 X 30. Dated 1857 SteExX (Jan) THE FORTUNE TELLER Catalogue Number 280. Swan (John Macallan) TIGERS BY MOONLIGHT Catalogue Number 285. SWAN (John Macallan) England Born. Brcntfort. Contemporary Pupil of Gerome and Fremiet Medals, 1889-1900, E. U. Hors Concours Associate of the Royal Academy of Arts This English painter and sculptor of animal life owes his training entirely to France. His studies at the Beaux Arts, where he was fortunate in being placed with fellow students of such serious purpose as Bastien-Lepage and Dagnan-Bouveret, were sup- plemented, as his love for animals assumed definite form, by much practice at the Zoological Garden, and a most diligent study of anatomy at the various hospitals of Paris. A realist of finesse and forceful technique, Mr. Swan combines with his artistic knowledge of form and movement, a fine apprecia- tion of color and a strong realization of the value of tonality — of oneness of feeling. Mr. R. A. N. Stev- enson writes of ''The Tigers by Moonlight," here exhibited: ''The relation of the animals to the land- scape is admirable. It is by no means easy to adjust these huge, near-at-hand, forms with long undulat- ing backs, so as to secure decorative dignity and some sense of natural space and proportion. The management of the stripes, moreover, deserves attention; far from producing an irritable pattern, they fall into the general arrangement and follow the form with agreeable suavity." 285. Tigers by Moonlight 39% X 48% TANNER (Henry O.) Pari* Born, Pennsylvanim, 1859 Pupil of P. A. F. A., Jean Paul Laurens and Benjamin Constant Medals, 1S97-1900, E, U. — 1906. Hors Concours Walter Lippincott Prize, P. A. F. A., 1900 Son of Bishop Tanner of the African Methodist Episcopal Church, this young Philadelphia painter has already won a prominent place in the ranks of American artists and has overcome any possible prejudice, especially in Paris, where Art is suf- ficiently catholic to ignore the distinctions of race. Tanner has had the courage to choose scriptural subjects for his pictures, and has thus challenged comparison with the great painters of every age and race. His pictures having much of the simplicity and fervid religious feeling of the old masters, are yet more than servile imitations, and are distin- guished by originality and nobility in conception and no ordinary skill in execution. 286. L'Annonciation 69y4 X 561/2 TARBELL (Edmund C.) Boston Born, Massachusetts, 1862 Pupil, Boston Museum of Fine Arts, Boulanger and Lefebvre, Paris Clark Prize, N. A. D., 1900. Shaw Fund ($1,500), Society of American Artists, 1900. Medal, Columbian Exposition, 1893. First Hallgartin Prize, N. A. D., 1894. Walter Lippincott Prize, P. A. F. A., 1895. Temple Gold Medal, P. A. F. A., 1895. Geld Medal, Art Club of Philadelphia, 1895. Honorable Mention, Tennessee Exposition, 1900. First Prize, Boston Charitable Mechanics' Association Bronze Medal, Paris Exposition, igoo Member of the "Ten American I'ainters" This picture, so simple, yet so gracious in feeling, is lifted to a high plane by beauty of workmanship and distinction of style. It is not painted for the human interest — not with a portrait feeling — but for the sake of tender color in subtle contrast, and of val- ues delicately differentiated that yet form perfect harmony. "The color is the melody, the values are the orchestration of the melody/' says George Moore: "As the orchestration serves to enrich the melody, so do the values enrich the color/' In this tone production in painting, with infinite subtlety and charm Mr. Tarbell has attained a mastery of truth. 287. The Afternoon Tea 40 X 45 THATJLOW (Fritz) Norway Born, Christiania,, 1847. Died, Paris, 1906 Grand Prix, 1900, E. U. Hors Concours Legion of Honor, 1889; Officer, 1901 Societaire de la Societe Nationale des Beaux-Arts Goethe's maxim that ''no real circumstance is unpoetical so long as the poet knows how to use it," applies to this painting, which shows the country landscape enveloped in snow. The atmo- spheric quahty suggests the icy transparency of winter interfused with the faint sunlight of the North. Iridescent swirling water breaks through the ice and runs cold under the pale canopy of the sky. There are signs of habitation, yet solitude is graphically expressed. A subject somewhat dreary but splendidly presented. 288. The Sun in Norway 36y4 X 2878 guished by originality and nobility in conception and no ordinary skill in execution. 286. L'Annonciation TARBELL (Edmund C.) Boston Born, Massachusetts, i86a Pupil, Boston Museum of Fine Arts, Boulanger and Lefebvre, Paris •Clark Prize, N. A. D., 1900. Shaw Fund ($1,500), Society of American Artists, 1900. Medal, Columbian Exposition", 1893. First Hallgartin Prize, N, A. D., 1894. Walter Lippincott Prize, P. A. F. A., 1895. Temple Gold Medal, P. A. F. A., 1895. Gold Medal, Art Club of Philadelphia, 1895. Honorable Mention, Tennessee Exposition, 1900, First Prize, Boston Charitable Mechanics' Association Bronze Medal, Paris Exposition. 1900 Member of the "Ten American Painters" This picture, so simple, yet so gracious in feeling, is lifted to a high plane by beauty of workmanship and distinction of style. It is not painted for the human interest — not with a portrait feeling — but for the sake of tender color in subtle contrast, and of val- ues delicately differentiated that yet form perfect harmony. **The color is the melody, the values are the orchestration of the melody/' says George Moore: Tiii®L(th^B>retaestifi4it!)reTA^rves to enrich the melodjigiiBia® tHEAfeltK^ Slitftl^WK color/' In this tone production in painting, with infinite subtlety and charm Mr. Tarl>ell has attained a mastery of truth. 287. The Afternoon Tea 40 X 45 THAULOW (Fritz) ISTorway Born, Christiania,, 1847. Died, Paris, 1906 Grand Prix, 1900, E. U. Hors Concours Legion of Honor, 1889; Officer, 1901 Societaire de la Societc Nationale des Beaux-Arts Goethe's maxim that ''no real circumstance is unpoetical so long as the poet knows how to use it," applies to this painting, which shows the country landscape enveloped in snow. The atmo- spheric quality suggests the icy transparency of winter interfused with the faint sunlight of the North. Iridescent swirling water breaks through the ice and runs cold under the pale canopy of the sky. There are signs of habitation, yet solitude is graphically expressed. A subject somewhat dreary but splendidly presented. catalogue Number 289. 288. The Sun in Norway 361/4x28% I TIEPOLO (Giovanni Battista) Venice Born, Venice, 1696. Died, Madrid, 1770 Pupil of Gregorio Lazzarini Influenced by Giovanni Battista Piazzetta and Paolo Veronese Director of the Academy of Painting at Venice, 1753 Venetian School Modern painters warmly praise this last of the great decorative painters of the Venetian school. Historians regard him as having been far in ad- vance of his age. He painted many magnificent mural decorations in Venice, Milan and other Ital- ian cities. He decorated the Archbishop's palace at Wurtzburg, and also, at the request of Charles ni., the royal palace at Madrid. Tiepolo W2is gifted not only with a brilliant fancy and inventive power, but was also master of a style which was splendidly fluent and decorative. He understood thoroughly the capability of fresco and mural decoration to give appropriate color, to influence the effect of space and light. In his easel pictures, which were painted in oil, Tiepolo especially displays his harmonious color, his true pictorial knowledge and the brilliant vivacity of his touch. 289. Christ Healing the Sick 44V4 X 26V4 290. The Last Supper 42% X 23% TILBURG (Tilborch, Tilborgh) (Edidius or Gilles Van) Brussels Born, Brussels, 1625. Died about 1678 In the richly toned pictures of this painter the in- fluence of Teniers, his probable master, is percep- tible, but that of Brouwer is still more strongly to be seen. The varied composition shown in his treat- ment of the picturesque subjects he selected from the life that surrounded him proves the fruitfulness of his imagination. The artists of Holland painted the things they saw, not imagined, finding in every- day life material of inexhaustible interest from which each man chose according to his pleasure. 291. Guard Room X 36% TINTORETTO, IL (Giacomo Robusti) Italy Born, Venice, 1518. Died, Venice, 1594 Venetian School II Tintoretto (the little dyer) derived his name from the occupation of his father, who was a silk dyer (tintore). Tintoretto had no acknowledged preceptor. He entered the studio of Titian, but after a few days his master dismissed him without assigning any reason. This msult served as an added spur to the superb energy of the young man. He devoted the day to painting, and the night to drawing, and on the wall of his studio he set forth his ideal: "The drawing of Michelangelo and the coloring of Titian." Tintoretto never refused work^ frequently asking, as his only recompense, an opportunity to express the abundant wealth of his own thoughts. He was one of the great painters of the world before his fortieth year, and an acknowl- edged rival even of Titian. Berenson writes: ''Tintoretto painted portraits not only vdth much of the air of good breeding of Titian's likenesses, but with even greater splendor and wlith an astonishing rapidity of execution. His portraits always render the man at his best, in glowing health, full of life and determination and make us look back with amaze- ment to a state where the htmian plant was in such vigor as to produce old men of the kind represented in most of his pictures." 202. Portrait of a Gentleman of the Pesaro Family 51 X 44V4 TODD (George) Parli 293. Poor Man's Bouquet 23V2 X 28%. Dated 1869 TBOYON (Constant) Paris Born, Sevres, 1810. Died, 1865 Pupil of Riocreux and Poupart Medals, 1838-40-46-48-55 Legion of Honor, 1849 Diploma to the Memory of Deceased Artists, E. U., 1878 Member of Amsterdam Academy A powerful landscape and animal painter. His superb grasp of the subject is full of force, freedom and directness. His knowledge of the animals he paints, their appearance, motions, life and peculiar characteristics, is complete. "The poetry of the fields has never been more feelingly interpreted than by him," writes Hamerton. "In the 'Oxen Going to Work,' we have a page of rustic descrip- tion as good as anything in literature, of mighty oxen marching slowly to their toil! Who, that have seen these creatures work, can be indifferent to the steadfast grandeur of their nature? They have no petulance, no hurry, no nervous excitabil- ity, but they will bear the yoke upon their necks. , ^-w^> Tintoretto, II (Giacomo Robusti) PORTRAIT OF A GENTLEMAN OF THE PESARO FAMILY Cataloifue Number agM. Catalogue Number 294. i and the thongs about their horns^ and push forward without flinching from sunrise until dusk." 294. Yoke of Oxen and Boy 50 X 35 ULMANN (Raoul-Andre) Paris Born, Paris. Contemporary Associe dc la Societe Nationale des Beaux-Arts A picturesque and interesting rendition of the sub- ject given with a sincere and appropriate execution. 295. The Wharf at Hamburg 26% X 21V4 UNKNOWN. Early Italian (XVI Century) Italy 296. Frieze of the Candelabra 29 X 38% 297. Madonna and Infant 13Vm X 18% 298. Madonna, Infant and St. Catharine 251/8 X 29% 299. Madonna, Infant and Two Saints 1SV2 X 25% 300. Orpheus Rescuing Eurydice from the Inferno 64% X sSV4 These pictures so gracious in color and composi- tion are expressed with a simplicity and dignity very characteristic of the paintings of Italy. **The Italian painter attends only to the invariable, the great, and general ideas, which are fixed and inherent in uni- versal nature,'' writes Sir Joshua Reynolds. 301. Landscape 8 X 10. Dated 1862 302. Old Dutch Still Life (Cabbage and Fish) Balzac defines art as "a bit of nature seen through a temperament." In an old Dutch still life, like the remarkable picture here catalogued, we see the plain independent point of view which was so characteristic of the people of Holland. Content to make their own choice of subject, regardless of the canons of art, they were convinced that a pic- ture was good because it was true. Tuican School (XV Century) Italy 303. The Visitation 271/, X 36% Henry Havard has said **The art of a nation is the synthesis of its dominating thoughts.'* Fully three-quarters of the paintings of the fifteenth century were of a religious character, the reason beino^ not far to seek. Religious faith was the all- pervading spirit of the age, the Church being an en- lightened and generous art patron. Art was not only an adornment, it was a necessity to present to the people, who had no books, the vital points of their religious belief. "Painting was the color-thought and form language of the people," as John C. Van Dyke has truly said. UTRECHT (Adriaen Van) Antwerp Born, Antwerp, 1599. Died, Antwerp, 1652 Pupil of Harmen de Neyt Master of Antwerp Guild, 1625 At first Utrecht painted simply for amusement, but his successful rendition of still life and the animals of the barnyard decided him to adopt art as a profession. The correctness of his composition, combincietaire de la Societe Nationale des Beaux-Arts President of Society of British Artists, ' 1886 The delicate expressiveness of Whistler's art is entirely personal and in its refinement of invention and mysterious simplicity of method has always re- mained very much the same. The flowing, supple execution is apparently very sketchy; but^ as John C. Van Dyke has truly said, "it is the maximum of effect with the minimum of effort." Without any loss to his own individuality. Whistler has studied the art of Japan and that of Velasques, and has known how to succesisfully assimilate their great principles of selection from nature's subtleties, rather than attempt to literally ^copy her charm. His Nocturnes are unrivalled m their vibrant, transparent, luminous darkness, and the portraits of this master are painted with imaginative and decorative treatment. The lady here portrayed, passing into mysterious space, is given with tender analytical judgment, combined with rare simplicity of intention ^^^^mso^jj^^|0)ig^^ McNeh^O 326. The La^^ig^^ ))^^ 'fi^Jj^^^^^ELLOW BUSKIN 84V4 * 43 WILIiAEBTS (Ferdinand) Belgium Born, Gand, Belgium. Conterrporiry Medal, 1900, E. U. Associc dc la Societe Nationale des i caux Arts Stamped with a healthy appreciation of nature, this picture by Willa'erts is expressed with more than average ability. The placid waters of the canal, with its many reflections, the effect of distance, the play of light so well diffused through the picture, all attest a mind both skilled and thoughtful. 337. Belgian Canal ,13 X 44% WILLEMS (Florent) Belgium Born, Belgium, 1823. Died, 1905- Pupil of Mechlin Academy Medals, Paris, i844-46-S5-67-78, Brussels, 1843 Legion of Honor, 1853; Officer, 1864; Commander, 1878 Chevalier and Officer of the Order of Leopold j Commander of the Order of Francis Joseph of Austria Catalogue "The dainty domestic painter'' was the way that Rosetti designated Willems. 328. I Was There 19 X 25 329. Signed and Sealed 19 X 231/4 WITTKAMP (John Bernard) Antwerp Born, Westphalia, 1820 Studied at Rotterdam and Antwerp Medals at Brussels, The Hague, Bruges and London Honorary Member of Amsterdam and Philadelphia Academies 330. The Widow 40 X 30 WOOD (George B. Jr.) Philadelphia Born, Philadelphia, 1832 Pupil of Pennsylvania Academy of the Fine Arts Member Pennsylvania Academy of the Fine Arts 331. Winter Twilight 8x6 WYLIE (Robert) Philadelphia Born, Isle of Man, 1839. Died, Brittany, 1877 Studied in Philadelphia and Paris Medal, Paris, 1872. This artist, in whose career Mr. Wilstach took a deep personal interest, went to Paris in 1865 to study with Barye, intent upon becoming a sculptor. He finally settled in Britanny, where he turned his attention to painting, continuing to show in this medium that pronounced and delicate feeling for form which had drawn him to sculpture. His pic- tures are painted in a style full of truthfulness and authority, with much solidity and breadth of treat- ment. 332. The Postman 57 X 451/2. Dated 1868 333. A Koman Girl 25% X 32. Dated 1869 ZAMACOIS (Eduardo) Spain Born, Spain, 1842. Died, 1871 Pupil of Madrid Academy under F. de Madrazo and in Paris of Meissonicr Medals, Paris, 1867. Munich, 1870 Diploma to the memory of deceased artists, E. U., 1878 A man of keen wit and originality, painting, with pure and intense color, in a style polished and com- plete. His pictures are mainly satires^ rendered with force and ability. Eugene Benson says : "Za- macois has a suspicion of malice that must be de- lightful to the compatriots of Voltiaire," and later that he is "kindred to Moliere. If you could sup- . pose something of Moliere's genius, embodied in a series of sonnets, you would have a just literary ex- pression of Zamacois as a painter/' Dyin^ when but thirty years of age he left the memory of a ca- reer of unusual brilliancy. 334. Decorative Painter 14% ^ 22% 335. Before the Battle 5x7 336. After the Battle ZIEM (Felix) Paris Born, Beaune, 1831 Pupil of Art School oi Dijon Medals, 1851-52-55, E. U. Legion of Honor, 1857; Officer, 1878 In that first requirement and indispensable charm of painting, the harmonious fusion of color, in atmosphere and suggestion of movement, we find Ziem at his best. The mornings and evenings of Holland and Venice, which he has given us, are melodious with rhythmic notes of color, the rich re- flections of the artist's colorful mind. *'He excels/' writes Edmond About, *'in mirroring the most bril- liant colors in a canal. The least wind, which per- chance ruffles the face of the water, furnishes a de- licious matter for his brush/' 337. Mills in Holland .S2 X 31 ZIMMERMAN (Albert) Munich Born, Saxony, 1808 Studied in Dresden and Munich Bavarian Order of St. Michael Member Munich and St. Petersburg Academies 338. Bella^o, Lake Como 50 ^ 37 ZIMMERMAN (R. J.) Munich 339. Too Late for The Cars 32 X 28. DatrH Tfte^ ZO, (Henri) i'iria Born Bayonne. (Basses-Pyrcn^s.) Contemporary Pupil of Achillc Zo, Leon Bonnat and Albert Maignaji. Medals, 1899-rQoo. E, U, — 1901. Hers Concours Bourse de X'oyage, 1901. Prix Rosa-Bonheur, 1903. Prix Nationale 1905. Membre de la Societe des Artistes frangais Racially very interesting, these portraits present Spanish characteristics with directness and a force that is typical. The treatment, if rather hard and tin- compromising, shows skilled workmanship. The background to the right repeats the colors of the flowers in a delightful manner. 340. Spanish Family 543/4 X 81 Vs ZUBBARAN (Francisco de) Spain Born, Fucntc dc Cantos, Estremadura, 1598. Died, Madrid, 1662 i^upil of Juan de las Koelas Although the parents of Zurbaran were of the laboring class^ they gave their son an opportunity to study art at Seville, recognizing his especial talent. The young student constantly painted from nature, cultivating that broad handling and strong contrast of light and shade which won for him the title of **the Spanish Caravaggio/' Before his twentieth year he had acquired a wide reputation. In 1650 he was called by Philip IV. to Madrid to decorate a room at the Buen Retiro Palace. The King showed him many marks of friendship, affec- tionately styling him 'Tainter to the King and King of Painters." Although he shared with his friend Velasques the title of Court Painter, he was essentially a recluse and loved most the religious atmosphere of the cloister. His representations of monastic life won for him an ever increasing repu- tation. It is believed that the noted beauties of his time were the originals of the lovely saints he pic- tured. Zurbaran possessed great strength and finish of treatment, together with a free, vigorous touch. The soft glow of color which permeates his pictures suggests the Venetian painters. 841. Portrait and Landscape 46y. X 41% 342. The Annunciation WATER COLORS, PASTELS, CRAYONS, ETC. Pictures not otherwise denoted are water colors ACHENBACH (Oswald) Dusseldorf 343 Scene near Naples 20 X 14 BBOCHART (C.) Paris 344. Les Belles Espagnoles 31 X 38. Pastel 345 Les Belles Francaises 31 X 38. Pastel GALLAIT (Louis) Brussels Born, Belgium, 1810. Died, 1887 Pupil of Celothen and Hennequin Medals, 1835-48. Legion of Honor, 1841 Chevalier of the Order of the Crown of Oak, Holland and Prussian Order of Merit Grand Cordon of the Order of Leopold, 1881 Honorary Member of the Royal Academy, London Member of the Brussels, Antwerp, Paris, Berlin and Munich Academies 346. Water Color 10V2 X I2l^. Dated 1868 HAMILTON* (James) Philadelphia 347. Sunset on the Jersey Flats 16 X 9 348. Moonlight Scene 15 X 15 349. Buins 15 X 15 350. Beach Scene II X 7 351. New York and Brooklyn from the Bay 16 X 9 352. View of New York 10V2 X 7^4 JOHN (J. W.) 353. Landscape II X i5Vi MOBAN (Thomas) 354. View in the Susquehanna Valley 19 X 13. Dated 1865 355. Buins on the Nile 16% X 21 Dated 1858 356. Study (after Turner) 16 X 16 357. Study (after Turner) 16 X 16 New York TOWNE (Bosa) 358. Wild Flowers II X 9 WILLIS (H. B.) 359. Interior of a Stable 14 X 10. Dated 1856 SPBINGEB (Cornells) 360. Street Scene Philadelphia ijondon Amsterdam SVa X loVz Dated 1867 VAUTIEB (Benjamin) I>usseldort 361. Scene in a German Church 13 X 15. Crayon Drawing. Dated 1858 WITTKAMP (John Bernard) Antwerp 362. Dathsen Preaching before the Walls of Ghent 10 X 8 BRONZES BABYE (Antoine Louis) Paris Born, Paris, 1795. Died, 1875 Medal, 1831. Grand Medal of Honor, iSss, E. U. Chevalier of the Legion of Honor, 1853; Officer, 1855. Member of the Institute, 1868 ''Keenly tormented by his intense desire to be- come a sculptor," as Barye expressed it, his appren- ticeship of twenty-two years was one of great poverty, disappointment and patient labor. His love and unwavering belief in his art, his capacity for incessant study, his complete insight and artistic knowledge of the character, mode of life, power and fascination of animal nature and his comprehension of arrested movements were the attributes of gen- ius. Leon Bonnat writes : "Barye is one of the great- est artists of the age, I may even say of all the ages. If I had a comparison to make I should think of Bal- f zac. Barye has understood the animal and conveyed it with a power ,equal to that which Balzac has mani- fested in those passionate researches, in which he has so poweriully interpreted the heart of man. Both have left their ineffaceable stamp upon the world/' 1. Buffalo Cow 2. Eagle and Heron 3. Leopard 4. Leopard and Panther. 5. Leopard and Panther. 6. Lion Walking 7. Lion and Serpent 8. Lizard 9. Panther Devouring a Stag 10. Small Turtle 11. Tiger Devouring an Antelope 12. Turtle 13. Two Rabbits (Bas Relief) (Bas Relief) SANSON (J.) Romt Born, Nemours Pupil of Jouffrcy Chevalier of the Legion of Honor 14. The Musician UNKNOWN 15. Indian Hunter on Horseback 16. Morning — After Thorwaldsen 17. Night— After Thorwaldsen MARBLES POWERS (Hiram) Florence Bom, Vermont, 1807. Died, Florence, 1873 It was in 1826 that Powers discovered his latent talent for sculpture. With a quickly acquired knowledge of modelling, he secured a position as general assistant and artist in the waxwork depart- ment of a museum in Cincinnati where certain of his ingenious illustrations of Dante's Inferno awakened general attention. Powers then studied modelling and casting thoroughly and in 1834 went to Washington, where he modelled portraits of the President and many leading statesmen. In 1837 he settled in Flor- ence, where his statue of "Eve" (pronounced a mas- terpiece by Thorwaldsen) and his well known "Greek Slave/' were given to the world. 18. Bust of Washington Dated 1864 BINEHABT (WiHiam Henry) Rome Born, Maryland, 1825. Died, Rome, 1874 A Statue of Chief Justice Taney, ordered by the State of Maryland, is at Annapolis. Rinehart is rep- resented at the Peabody Institute by "Clytie," which he considered his masterpiece, and at the Corcoran Gallery by "Rebecca." 19. Bust of Wniiam P. Wilstach Dated 1870 UNKNOWN 20. Bust of Washington M p.]