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Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
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https://archive.org/details/executrixsaleent1872geor 


26 

EXECUTRIX’  SALE. 

>  - 

THE  ENTIRE  COLLECTION 

/  **  ' 

*v  t  OF  IMPORTANT 

Modern  Paintings, 

•  f  tafmirj),  ^von^e,  Articles  of  |leriu,  (!hc., 

BELONGING  TO  THE  LATE 

Mr.  LE  GRAND  LOCKWOOD, 

WILL  BE  SOLD  BY  AUCTION 

AT  THE 

Clinton  Hall  Book  Sale  Rooms, 

ON 

THURSDAY  &  FRIDAY  EVENINGS, 

April  18th  and  19th,  at  8  o’clock. 


THESE  MAGNIFICENT  PAINTINGS 

Are  now  on  Exhibition,  Day  and  Evening-,  Free,  at  the 


Leavitt  Art  Booms,  817  Broadway, 


THE  STATUARY,  THE  UNIQUE  AND  SUPERB  CLOCK,  VASES,  Etc.. 

ARE  NOW  ON  EXHIBITION  FREE, 

At  the  CLINTON  HALL  SALE  ROOMS. 

GEO.  A.  LEA^TTT  &  Co.,  Auctioneers. 


NEW  VQRK,  1873. 


S 


CATALOGUE. 

FIRST  EVENING’S  SALE. 


[The  figures  in  the  catalogue  give  the  size  in  inches  of  the  canvas  of  each 
painting— the  height  and  width ;  in  each  instance  the  figures  coming  first  show 
the  height,  thus  indicating  the  upright  of  the  picture.] 


I 

C.  E.  BOETTCHER,  Dusseldorf. 

A  Slight  Misunderstanding. 

12  X  IO. 


2 

C.  E.  BOETTCHER,  Dusseldorf. 

“  Now  Don’t  You  Tell!” 

12  X  10. 

This  artist  is  renowned  as  amongst  the  most  successful  of  the  painters 
of  child -life  in  all  its  phases.  In  these  companion  pictures,  we 
have  two  sides  of  it — the  quarrelsome  and  the  confidential,  admir 
ably  painted  in  all  their  details. 


/ 


3 


New  Yoik. 


JAMES  M.  HART, 

Landscape.  6  x  9. 

A  covetable  little  gem.  expressing  this  favorite  artist’s  skill  most 
satisfactorily. 


4 

DAVID  JOHNSON,  New  York. 

Essex  County  Scenery.  I0  x  i5. 

A  most  pleasing,  silvery  picture,  witli  the  effect  oi  distance  well 
managed. 


5 

WILMS,  Dusseldorf. 

Fruit  and  Wine.  i5  x  i3. 

A  very  careful  and  elaborately  painted  piece  of  still  life,  from  an 
artist  second  only  to  Preyer. 


6 

GEO.  H.  SMILLIE,  New  York. 

Lake  in  the  Woods.  I0  x  us. 

7 

A.  BIERSTADT,  New  York. 

Italian  Landscape.  28  x  3s. 

An  Italian  scene,  painted  by  Bierstadt  in  1859,  and  considered  a  fine 
example  of  his  brilliant  color  and  effective  arrangement  of  light 
and  shade.  In  the  foreground  is  one  of  the  ancient  and  picturesque 
fountains  seen  beneath  the  hills  on  the  road -sides  in  Italy — favorite 
places  for  gossip  with  the  women  water-carriers,  and  of  the  wag¬ 
oners  on  their  way  to  the  city.  The  distant  landscape  and  the 
city  on  the  hill  are  eminently  picturesque. 

4 


8 


R  GIGNOUX,  New  York. 

Landscape — Summer.  2I  x  ,0. 

A  vigorous  example  of  this  well-known  artist,  for  many  years  resi¬ 
dent  in  Europe.  This  specimen  is  in  his  best  manner,  broad  in 
treatment  and  brilliant  in  color. 


9 

W.  J.  HAYS,  .  New  York. 

Deer. 

A  thoroughly  satisfactory  example  of  the  skill  of  the  naturalist- 
painter  Hays,  whose  life  study  has  been  of  the  forms  and  habits  of 
such  subjects. 

10 

A.  ARNZ,  Dusseldorf. 

Castle  St.  Angelo,  Rome. 

26.x  37. 

Of  the  Dusseldorf  school,  as  expressed  in  the  works  of  the  Achen- 
bachs,  of  whom  Arnz  is  a  most  successful  pupil.  A  brilliant 
summer  sunset  effect ;  view  of  St.  Peter’s  in  the  distance,  Castle  St. 
Angelo  and  the  Bridge  in  the  middle  distance,  with  the  Tiber 
passing  into  the  foreground. 

I  I 

J.  ROPES,  Rome. 

Italian  Landscape. 

A  picturesque  view  of  a  Roman  highway  and  its  surroundings  passing 
into  a  city.  In  this  particular,  it  is  pronounced  a  very  faithful 
work. 


46  X  38. 


5 


J.  ROPES, 


I  2 

Rome. 

Italian  Landscape. 


An  Italian  lake  scene,  suggesting  a  delightful  place  to  spend  a  sum 
mer’s  leisure. 


13 

J.  DUNTRE,  Dusseldorf. 

The  Old  Mill. 


30  x  44. 


Unique  in  subject,  and  painted  with  exceeding  care.  The  frozen  pool 
in  the  foreground,  with  its  figures,  is  good  work.  The  ice  tex¬ 
ture  is  remarkably  well  suggested. 


14 

J.  FAY,  Dusseldorf. 

Italian  Cattle  Drovers.  34  x  4e. 

A  scene  near  an  Italian  city,  with  drovers  and  their  cattle  moving 
towards  it.  This  picture  is  quite  fine  in  its  atmospheric  elfect,  and 
full  of  life  and  motion.  It  is  drawn  with  great  care,  and  well  com¬ 
posed  and  painted  in  all  its  parts. 


15 


A.  SIEGERT, 

/ 

The  Luncheon. 


Dusseldorf. 


5  V* 


-£ 


II  X  12. 


A  capital  cabinet  example  of  this  artist,  and  a  most  pleasing  picture 
of  a  bon  vivnnt. 


6 


i6 

J.  M.  CULVERHOUSE, 


New  York. 


Market  Scene — Moonlight 
and  Candlelight  Effect. 

A  good  specimen  oi'  this  English  artist,  second  only  to  Van  Schendel 
in  his  treatment  of  this  class  of  subjects. 


17 

L.  CALLE,  Munich. 


Church  Interior. 


32  X  42. 


18 


R.  W.  HUBBARD, 


New  York. 


Autumn  Landscape. 


4  7  x  41. 


An  autumn  landscape,  in  which  this  well-known  artist  gives  fine 
expression  to  the  wealth  of  color  which  characterizes  the  season  in 
this  country.  The  viewr  is  from  the  heights  looking  down  upon 
Lake  Champlain. 


19 

T.  S.  COOPER.  London. 

Landscape  and  Cattle. 

This  is  pronounced  by  the  critics  to  be  one  of  the  best  specimens 
of  this  famous  English  painter.  It  is  inch  in  color,  fine  in  its  mas¬ 
sive  cloud  effect,  and  remarkably  suggestive  of  the  character  of  the 
long  stretch  of  English  moor. 


27  X  36. 


7 


20 


A.  LEU,  Dusseldorf. 

Scene  in  Bavarian  Alps. 

33  x  38. 

A  highly  picturesque  and  ably  painted  scene  in  the  Bavarian  Alps. 
Time,  after  sunrise,  with  tl*e  clouds  lifting  and  the  vaporous  light 
flooding  the  valley. 


2  I 


WEISCHEBRINK, 

^  Too  Hot. 


Dusseldorf. 


14  x  21. 


One  of  the  most  thoroughly  beautiful  and  in  every  way  satisfactory 
genres  of  the  collection,  telling  its  story  of  the  birth-day  feast  most 
charmingly.  The  grouping  and  color  are  most  pleasing,  and  the 
rare  charm  of  naturalness  is  every  where  apparent.  Apple-cake 
was  never  in  more  appreciative  company,  and  the  young  person  in 
whose  honor  the  feast  is  given,  and  who  is  first  served,  is  not  the 
least  eager  to  show  his  love  for  his  good  mother’s  baking. 


22 


A.  KAUFMANN,  New  York. 

14  ’  J  General  Sherman  in  Camp. 

The  famous  picture  of  Sherman  outside  his  tent,  painted  to  order, 
and  pronounced  Kaufmann’s  greatest  work.  It  represents  an  epi¬ 
sode  in  the  war,  and  suggests  the  thoughtful  character  of  the  great¬ 
est.  general  of  his  time.  The  portrait  of  Sherman  is  pronounced  good. 


23 

S.  JACOBSEN,  Dusseldorf. 

Norwegian  Harbor — Moon- 

hght.  40  x  59. 

.  A  fine  moonlight  effect  by  an  artist  of  repute.  The  hazy  semi-lumi¬ 
nous  effect  of  the  hour  is  well  secured. 


8 


24 


Dusseldorf. 


AUGUST  BECKER, 


Swiss  Landscape  among  the 

31  x  42. 


A  highly  picturesque  view  of  a  Swiss  valley  under  a  brilliant  sun¬ 
light  effect. 


2S 

J.  G.  BROWN,  New  York. 

“  Have  a  Shine,  Sir?’ 


3  £ 6 

19  x  15. 


26 


DAVID  NEAL,  Munich. 

Interior — San  Marco,  Vienna: 


40  x  34. 


One  of  Neal’s  finest  interiors,  admirable  in  both  perspective  and  color 
Neal  has  attained  a  high  reputation,  taking  first  rank  among  the 
American  artists  abroad  who  do  honor  to  their  country.  He  was  a 
pupil  of  the  celebrated  Piloty,  and  one  of  the  most  successful  of 
them.  But  few  of  his  paintings  come  to  this  country,  as  he  is  well 
patronized  with  European  commissions,  having  made  his  home  in 
Munich,  where  he.  married  the  daughter  of  Prof.  Ainmuller,  the 
famous  painter  on  glass. 


27 


DAVID  NEAL,  Munich. 

Exterior — San  Marco,  Vienna.  ~7 


40  X  34. 


Another  fine  architectural  subject  by  this  artist. 


9 


HENRY  DILLENS, 


Brussels. 


6 


The  Youthful  Teacher.  3g  x  30. 

A  capital  story,  and  well  grouped  and  painted.  The  color  is  quiet, 
yet  very  pleasing. 


29 

A.  R  JONES,  Brussels. 

if  0 

Highland  Sheep  29  x  23. 

An  attractive  specimen  of  the  English  school  of  combined  landscape 
and  animal  painting. 


30 

H.  SALENTIN,  Dusseldorf. 

Morning  Devotion. 


32  x  26. 


C 


One  of  the  pleasing  stories  of  domestic  life,  which  this  artist  tells  so 
well.  This  painting  has  all  his  best  qualities  as  a  draughtsman 
and  a  colorist. 


31 

CHAS.  SPITZWEG,  Munich. 

The  Bookworm. 


This  painting  of  the  “  Book  Worm  ”  has  a  wide  reputation.  It 
is,  in  every  way,  admirable  ;  painted  with  great  skill,  and  brimful 
of  humor. 


32 


W.  BRADFORD, 


New  York. 


Scene  off  the  Coast  of  Labra- 

doi  •  30  x  20. 

A  desirable  example  of  an  artist  who  has  made  this  class  of  subjects 
his  life’s  study. 


S.  J.  GUY, 


33 

New  York. 


The  Young  Jehu. 


9  x  12. 


This  favorite  American  artist,  one  of  the  first  among  our  colorists,  is 
well  represented  by  this  unique  example  of  his  skill.  This  is 
indeed  a  gem,  charming  in  color  and  story,  and  painted  in  the 
minutest  detail,  with  a  finish  in  no  degree  inferior  to  the  best 
examples  of  Meissonier. 


34 


J.  W.  PREYER, 


Dusseldorf. 


A  Re^al  Dessert. 

o 


14  X  21. 


An  unusually  brilliant  example  of  this  great  artist,  second  to  none  in 
the  world  in  his  specialty  of  subject.  This  is  the  most  important 
of  his  works  ever  exhibited  here,  and,  as  will  be  apparent,  has  the 
best  qualities  of  his  work  in  a  remarkable  degree — beauty  of  com¬ 
position,  pleasing  color,  and- marvellous  realization  of  the  quality  of 
things.  Such  a  picture  as  this  stirs  the  appetite,  even  as  would  the 
fruit  and  wine  themselves,  were  they  placed  before  us  ;  yet  is  not, 
like  these,  an  ephemeral  gratification,  but  a  joy  for  ever. 


35 


P.  VAN  SCHEN DEL,  (deceased,)  Brussels. 

Market  Scene  Moonlight  and 

39  x  29- 


Candle-light  Effect. 


One  of  his  famous  market  scenes  by  candle-light.  The  opposing 
effects  of  moonlight  and  artificial  light  are  rendered  in  the  masterly 
manner  peculiar  to  the  artist. 


36 


m 


tu<yrO 


J.  F.  CROPSEY,  New  York. 

Landscape.  I3  x  ^ . 


<f)  / 

c^(p  0 


Quite  a  fine  example  of  this  artist,  when  at  his  prime,  picturesque  in 
subject  and  vigorously  handled. 


11 


37 


A.  VAN  HAMME, 


Brussels. 


Return  from  Market. 


A  specimen  of  the  elaborate  treatment  of  interiors  and  fastidious  care 
in  i he  figure  | tainting  and  details,  for  which  the  school  of  Holland 
has  been  famous  for  five  centuries. 


Dusseldorf. 


H.  HERZOG, 


Wetterhorn,  Switzerland. 

42  X  36. 


A  Swiss  scene  by  an  artist  who  has  distinguished  himself  by  his 
painting  of  such  subjects.  This  is  a  very  satisfactory  example  of 
him,  quiet  but  rich  in  color,  and  pleasing  in  composition. 


Dusseldorf. 


E.  GESELSCHAP, 


Sunday  Afternoon. 


A  pleasing,  quiet  interior,  admirably  in  keeping  with  the  devotional 
character  of  the  subject. 


40 

Prof.  R.  SOHN,  (deceased,)  Dusseldorf. 

Interior — A  Mother’s  Happi- 


Dusseldorf. 


ness. 


30  x  27. 


One  of  the  best  examples  of  an  artist  who  held  first  rank  in  the 
school  of  Dusseldorf.  All  that  goes  to  make  a  thoroughly  satis¬ 
factory  genre  picture  is  seen  in  this  work.  It.  is  charming  in  story, 
in  composition,  and  in  color,  and  faultless  in  quality  and  texture, 
The  story  of  a  mother’s  tender  love  and  watchfulness  was  never 
more  sweetly  told.  The  light,  effect  is  admirable,  and  the  realiza¬ 
tion  of  detail  shows  the  utmost  care  and  love  of  truth.  The  group 
composed  by  the  baby  and  her  sister  is  inexpressibly  charming. 
But  few  of  lfichard  Sohn’s  pictures  reach  our  market,  his  price  is 
among  the  highest  and  his  patronage  large. 


12 


4i 

W.  WHITTREDGE, 


New  York. 


Autumn  Landscape.  lg  x  3a 

An  excellent  wood  scene  by  an  artist  of  high  reputation.  The  light 
is  skilfully  managed,  foliage  loose  and  water  liquid  and  full  of  mo¬ 
tion. 


PLATHNER, 


42 

Dusseldorf. 


Caught  in  the  Act.  ,3  x  20. 

A  thoroughly  well  painted  cabinet  picture  with  an  excellent  story, 
showing  card-players  detected  by  an  officer,  in  the  act  of  using 
cards  without  the  government  stamp. 


43 

W.  H.  BEARD,  New  York. 

“  Thunder !  what’s  there  ?” 

l6  X  21. 

This  is  pronounced  by  the  many  admirers  of  Mr.  Beard,  to  be  his  chef 
d'ceuvre  in  humorous  subjects.  It  is  not  only  noticeable,  however, 
for  the  humor  of  its  story,  but  also  for  the  admirable  painting  of 
both  figure  and  landscape  Neither  is  the  fun  of  it  limited  to  the 
quaint  awkward  figure  of  the  frightened  boy  and  bis  expressive 
face  and  attitude  ;  for  there  is  quite  as  much  of  fun  in  the  expres¬ 
sion  of  the  stupid  alarmer — the  owl — and  in  those  of  the  spectators 
in  the  bush.  1  lie  very  dog  in  his  slinking  ugliness  comes  in  for 
his  share  of  attention  and  contributes  forcibly  to  complete  a  scene 
urrque  in  its  laughter-creating  power. 

44 

J.  McENTEE,  New  York. 

Wooded  Landscape.  24  x  20 

One  of  the  best  of  Mr.  Me Kn tee’s  wood  interiors,  and  he  has  no 
successful  rival  in  this  aspect  of  nature,  he  interprets  its  beauty 
and  solemnity  so  well. 


13 


45 


D.  HUNTINGTON, 


5&> 

New  York. 


Katrina  Van  Tassel 


19  X  24. 


A  very  covetable  example  of  Mr  Huntington’s  skill  in  genre  painting. 
This  picture  was  painted  in  1859,  since  when  Mr.  Huntington  was 
president  of  the  National  Academy  for  several  years.  It  is  charm¬ 
ing  in  expression  and  color  and  the  light  is  skillfully  managed. 


46 

E.  VERBOECKHOVEN, 


r  1 1 o 

Brussels. 


Landscape  and  Cattle.  .  2G  x  30. 

A  fine  specimen  of  this  master  in  his  best  day.  This  picture  was 
painted  in  1859. 


47 


MEYER,  von  BREMEN. 

The  Young  Mother. 


24  X  20. 


A  characteristic  specimen  of  this  favorite  master,  telling  its  story  of 
solicitude  for  the  first  born  excellently  well.  It  has  all  the  charm 
of  color,  and  effectiveness  in  arrangement  of  forms  for  which  Meyer 
von  Bremen’s  pictures  are  so  prized. 


48 

J.  SCHRADER,  Berlin. 

Cupid  Caught  Napping.  /  % 

Painted  in  1805,  in  the  zenith  of  his  power,  and  one  of  the  most 
graceful  of  his  compositions.  In  color  it  is  charming,  and  its  tone 
is  admirable  throughout.  The  varied  expressions  in  the  faces  of 
Cupid’s  surprisers  are  most  satisfactorily  suggestive  of  the  phases 
of  life  and  of  the  degrees  of  suscep'ibilitv  to  his  power — the 
thoughtless  play  of  the  children,  the  tender  surprise  and  emotional 
observation  of  the  maidens.  Truly  a  great  work  by  a  great  master, 
and  one  which  speaks  convincingly  in  its  own  behalf. 

14 


49 


S.  R.  GIFFORD,  New  York. 

Moer  Mountain.  l8  x  24. 

A  brilliant  example  of  an  artist  who  is  among1  the  first  of  American 
landscapists,  and  unrivalled  anywhere  in  the  delicacy  and  beauty 
of  his  atmospheric  effects.  He  gives  us  here  a  scene,  which,  in  its 
beauty,  excels  the  picturesque  charms  of  the  Lake  of  Como. 

rLO  A-  t'O 

So 

OSWALD  ACHENBACH,  Dusseldorf. 

Via  Appia,  Rome.  lg  x  28< 

A  view  near  Rome  ;  a  fine  specuria,  cloud  effect  brilliant,  and  distance 
most  skillfully  treated. 


S' 

W.  S.  MOUNT,  (deceased,)  New  York. 

Hustling  Pennies. 

A  very  desirable  example  of  one  of  the  first  among  American  genre 
painters — agreeable  in  story  and  graceful  in  composition  and  color. 


52 

A.  D.  SHATTUCK,  New  York. 

White  Mountains.  20  x  34 

A  fine  low-toned  Autumn  Sunset,  having  all  the  best  qualities  of 
Mr.  Shattuck’s  manner.  The  effect  of  the  sunlight  on  the  foliage 
is  very  fine,  and  the  effect  in  shidow  suggests,  and  well,  the 
solemnity  of  the  approaching  twilight. 


CARL  BECKER,  Dusseldorf. 

Winding  the  Clock. 

The  only  example  of  this  artist  in  the  collection,  and  one  of  the 
choicest  of  his  works.  It  has  all  the  fine  qualities  which  charac¬ 
terize  him — excellent  story,  graceful  composition,  rich  color,  and 
exquisite  finish. 


/  ^Zro 


15 


54 


A.  BIERSTADT,  New  York. 

Rocky  Mountains.  52  x  3s. 

Painted  in  186(5,  and  a  fine  example  of  tlie  artist,  showing  his  master¬ 
ly  power  of  composition  and  in  securing  the  grandest  atmospheric 
effects.  The  subtle  gradations,  from  immediate  foreground  to  re¬ 
motest  distance,  are  in  this  picture  quite  remarkable  ;  whilst  the 
scene  depicted  is  one  of  the  most  sublime  in  nature. 


M.  F.  H.  DE  HAAS, 

Marine  View. 


New  York. 


24  X 


A  carefully  painted  Marine,  quiet  in  color,  vet  highly  effective.  A 
tine  specimen  of  the  artist. 


JULIUS  HUBNER,  Munich. 

Love  in  Winter. 

Hubner,  the  director  of  the  famous  Dresden  gallery,  and  a  brother  of 
Carl  Hubner.  This  artist  also  painted  “  Love  in  Summer,”  a  coun¬ 
terpart  of  “  Love  in  Winter,’’  and  which  is  the  property  of  the  Em¬ 
peror  of  Russia.  In  this  |  icture  Cupid  is  represented  winged,  but. 
bowing  down  beneath  a  load  of  fagots,  at  the  entrance  of  a  house 
to  which  he  seems  to  seek  access  ;  the  snowy  adjuncts  of  the  scene 
suggest  the  season  ;  wintry  birds  flutter  around,  and  Cupid  has 
the  air  and  aspect  of  that  brisk  alacrity  that  comes  from  exercise  in 
December  or  January,  The  idea  is  evident  that  Love  lights  his 
fires  even  amid  the  cold  and  snows  of  midwinter  The  drawing  of 
the  cupid,  especially  that  of  the  legs,  is  to  be  admired,  and  the 
.expression  of  the  face  is  full  of  significance.  I  he  graceful  and 
poetical  idea  of  the  artist  finds  a  very  fitting  embodiment  in  this 
tasteful  work  of  art. 


16 


1 


J.  P.  HASENCLEVER, 


Dusseldorf. 


The  Wine  Tasters. 


42  x  54-  3  6  2  6" 


This  painting  by  the  renowned  Hasenclever  is  of  world  wide  celeb¬ 
rity.  He  painted  one  of  a  similar  character,  but  different  in  com 
position,  now  in  the  possession  of  the  Emperor  of  Germany. 
Hasenclever  died  in  1853,  covered  with  honors,  and  was  buried  in 
Dusseldorf,  of  the  famous  school  of  which  place  he  was  an  acknow¬ 
ledged  master.  Among  the  many  orders  by  which  he  was  decorated 
was  the  Medaille  d’Or,  presented  to  him  by  the  King  of  the  Bel¬ 
gians.  He  was  a  member  .of  the  Academies  of  Fine  Arts  of 
Amsterdam  and  Berlin. 

This  picture  of  “  The  Wine  Tasters”  exhibits  him  in  the  fullness  of  his 
power  and  is  a  brilliant  example  of  his  rare  and  exquisite  humor 
and  powers  of  characterization  ;  a  power  which  was  never  degraded 
into  caricature.  It  is  remarkable  also  as  showing  his  healthy 
coloring,  his  realization  with  breadth  of  treatment,  and  fastidious 
care  in  giving  the  least  important  accessories  their  proper  place  and 
value.  The  scene  tells  its  own  story,  for  we  see  gathered  here  the 
bom  meant s  of  different  classes  of  society,  and  also  those  who  cater 
to  their  enjoyment — the  parson,  the  merchant,  the  fast  youth,  the 
well-to-do  veteran,  the  carrier — agent  for  the  country  merchants, 
the  cooper  of  the  cellar,  no  less  a  connoisseur,  and  the  other  char¬ 
acters,  which  go  to  suggest  the  democracy  of  good  living.  The 
varied  expressions  of  unqualified  pleasure,  criticism,  and  so  forth, 
on  the  faces  of  the  party  an;  admirably  suggestive.  One  readily 
fancies  himself  a  boon  companion,  and  feels  tempted  to  put  his 
hand  out  for  a  glass  to  try  the  virtues  of  the  generous  juice,  so 
bountifully  distributed. 


17 


GRUBOS, 


Rome. 


Moonlight  Scene,  Grand  Canal 
of  Venice.  33x47. 

59 

F.  CHURCH,  .  New  York. 

Niagara  Falls.  Retouched  Chromo. 

60 

Madonna. 

61 

GUIDO,  Florence. 

Aurora.  Copy  of  his  celebrated 
painting. 

C 


6ia 


Card  Players. 

A  very  interesting  work,  apart  from  its  merits  as  a  painting.  It  is  a 
unique  example  of  the  success  of  a  determined  will  in  achieving 
what  might  well  seem  to  he  ah  impossibility.  The  picture  is  the 
work  of  an  artist  without  hands.  He  draws  and  paints,  holding 
the  pencil  or  crayon  between  his  toes' 

18 


SECOND  EVENING’S  SALE. 


»-  « ■ »  ■< 


62 

Landscape — Sunset. 

'This  painting  is  supposed  to  be  by  A.  Bierstadt. 


63 

J.  HENNESSY,  New  York. 

Landscape.  I7  x  I2. 

This  artist’s  works  in  color  are  now  very  scarce.  The  light  effect, 
here  is  quite  fine. 

64 

YV.  E.  PERRY,  New  York. 

Watching  the  Wheel.  22  x  29. 

One  of  Perry’s  conscientiously  painted  New  England  interiors,  with 
the  figures  telling  a  pleasant  story  of  domestic  life. 


65 

A.  BIERSTADT,  New  York. 

Scene  in  the  Rocky  Moun¬ 
tains.  ,7  x  29. 

A  very  beautiful  low-toned  picture,  with  the  light  admirably  man¬ 
aged  and  the  rocks  most  carefully  modelled.  The  subject  is  a  scene 
described  in  Longfellow’s  “  Hiawatha.” 


19 


66 


A.  B.  DURAND,  New  York.  ^ 

Rocks. — A  study.  24  x  ,7. 

An  excellently  faithful  cut-door  study  of  rocks,  by  the  oldest  living 
American  landscape  painter,  and  ex-President  of  the  National 
Academy,  whose  working  days  are  nearly  over.  This  is  a  most 
desirable  example  of  his  strength  and  truth. 


67 

W.  J.  HAYS,  New  York. 

Lake  Trout. 


7.3  ° 

15  x  28. 


68 


H.  HERZOG, 


Dusseldorf. 


Swiss  Landscape. 


Another  powerful  picture  of  this  artist,  with  characteristic  features 
already  described. 


69 

R.  GIGNOUX,  New  York. 

Landscape — Winter.  2I  x  3a 

A  winter  scene  in  the  northern  part  of  this  State.  A  fine  specimen  of 
an  artist  whose  pictures  are  much  esteemed  and  bring  high  prices. 
The  atmosphere  of  the  raw  cold  day  is  well  suggested,  and  there  is 
a  striking  realization  throughout  which  is  quite  powerful. 


70 

E.  VERBOECKHOVEN,  . 

Sheep, 

A  brilliant  cabinet  example. 


20 


H.  SALENTIN, 


71 


Dusseldorf. 


The  Christening. 


39  x  33- 


This  is  perhaps  the  finest  example  of  Salentin  in  this  country.  It  is 
eminently  pleasing  in  subject,  breathing  an  air  of  great  purity.  In 
color  it  is  quite  brilliant,  especially  in  the  treatment  of  the  more 
prominent  figure — that  of  the  young  girl  with  her  innocent  burden 
coming  from  the  church.  The  drapery  which  covers  the  infant  is 
exquisitely  painted;  whi'st  the  individualization  of  the  spectators 
is  managed  in  the  most  satisfactory  way. 


J.  B.  BRISTOL, 


72 


New  York 


New  England  Landscape. 

26  X  33- 


One  of  the  best  pictures  ever  painted  by  this  artist,  noticeably  good  in 
its  atmospheric  effect. 


73 

j.  SCHRADER,  Berlin. 

\ 

The  Pet  Lamb. 

This  painting  ranks  among  the  finest  from  this  great  artist’s  easel. 
Its  subject  is  one  of  tender  beauty  and  simplicity,  and  it  is  painted 
throughout  with  great  vigor  of  touch.  There  is  no  other  artist 
who  combines  in  such  a  remarkable  degree  the  skill  of  the  accom¬ 
plished  figure  painter  and  that  of  the  perfect  master  in  the  know¬ 
ledge  and  treatment  of  animal  forms  and  texture.  The  figure  has 
the  grace,  exquisite  flesh  painting  and  expression  of  the  work  of 
Merle,  whilst  the  sheep  are  painted  in  form  arid  texture,  with  a 
realistic  power,  not  less  marked  than  that  seen  in  the  best  exam 
pies  of  the  celebrated  Jacques. 

21 


7  6S~0 


74 


THOS.  DOUGHTY,  (deceased,)  New  York. 

Landscape.  V, 


A  desirable  specimen  of  the  work  of  one  of  the  earlier  American 
painters,  called  the  father  of  American  landscape  art.  Doughty 
is  most  prized  for  his  faithful  rendition  of  tree  forms  and  foliage, 
and  for  his  atmospheric  effect,  all  of  which  this  painting  ably 
sustains. 


•? 


/ 


J.  B.  IRVING, 


New  York. 


Mother  and  Child. 


A  very  attractive  picture,  and  the  work  of  an  American  artist  of 
rapidly  rising  reputation. 


Dusseldorf. 


S.  JACOBSEN 


The  Monastery. 


Visit  to  the 

5i  x  39. 


The  monks  are  on  their  way  to  a  death  bed,  carrying  the  elements  of 
the  last  sacrament.  There  is  much  solemnity  in  this  scene,  and 
good  and  effective  painting  Of  monastery  and  of  the  trees  that  sur¬ 
round  it  under  the  effect  of  a  winter’s  snow. 


A.  SIEGERT, 


Dusseldorf. 


Grandmamma’s  birthday  is  one  of  the  best  told  of  Siegert’s  stories  ; 
and  in  this  picture  we  have  a  rare  example  of  characterization, 
good  color,  and  artistic  treatment  of  subject  throughout. 


22 


OSWALD  ACHENBACH,  Dusseldorf. 

The  Coming  Storm.  42  x  60. 

A  vigorous  expression  of  the  great  artist’s  power,  in  which  the  de¬ 
scending  storm  and  its  first  effects  are  shown  witli  power.  The 
lurid  light  effect  is  fine,  and  the  whole  treatment  broad  and 
masterly.  Certainly  no  finer  work  of  this  artist  has  ever  been  seen 
in  this  country. 


79 

J.  G.  BROWN, 

In 

One  of  the  most  S] 

— familiarly  known  as  “  Child  Brown.”  Tt  is  brilliant  in  its  effect 
of  sunlight,  and  charming  in  color  and  expression.  A  most  coveta- 
ble  gem  in  every  way. 


New  York. 

the  Swing.  ,4  x  I0. 

parkling  pictures  ever  painted  by  this  favorite  artist 


V 


So 


DAVID  JOHNSON. 

Landscape.  ^  x  26. 

A  fine  view  of  the  favorite  summer  haunt  of  the  artist—  Lake  George 
— and  a  paintimr  which  possesses  great  delicacy  of  handling  and 
luminous  color. 

C  ■  *  81 

F.  KRAUS,  Berlin. 


The  Forbidden  Book.  25  x  20. 

This  is  a  most  beautiful  example  of  a  truly  great  artist.  It  exhibits, 
in  a  remarkable  manner,  his  great  ability  in  securing  the  quality  of 
the  objects  depicted  ;  drapery,  wood-work,  and  accessories  of  every 
kind,  as  painted,  represent,  in  the  most  faithful  way,  the  things 
they  are.  Nor  could  a  sweeter  story  be  better  told.  The  mother 
chides  her  daughter  for  reading  a  forbidden  book — Don  Juan,  may 
be.  The  quiet  dignity  of  the  parent,  and  the  conscious  guilt  of  the 
daughter,  whose  face  is  suffused  with  the  blush  of  shame,  are  most 
admirably  suggested. 


82 


W.  BRADFORD, 


New  York. 


Crushed  in  the  Icebergs. 

72  X  120. 

This  is  acknowledged  to  be  the  masterpiece  of  the  artist.  It  was 
painted  in  1800  (a  commission  from  Mr.  Lockwood),  after  his  return 
from  the  famous  Greenland  Expedition,  and  from  drawings  and 
studies  in  color  made  in  the  presence  of  the  scene  and  incidents 
depicted.  The  subject  illustrates  not  only  the  peculiar  grandeur 
in  form  and  color  of  the  Northern  Seas,  hut  also  the  perils  of  its 
navigators.  The  incident  depicted  is  thus  described  by  the  artist  :  — 
“  Tt  represents  an  incident  in  a  scene  when  over  thirty  vessels  were 
destroyed  within  three  days’  time,  and  over  a  thousand  men  were 
thrown  out  on  the  ice,  and  some  of  them  obliged  to  make  their  way 
to  other  vessels  and  to  the  shore.  The  vessel  burning  in  the  dis¬ 
tance  is  one  which  has  been  abandoned,  and  then  fired  to  prevent 
her  drifting  down  the  coast,  after  the  ice  melts  up,  later  in  the 
season  ;  as  she  would  be  laken  thus  down  by  the  Arctic  current  off 
the  banks  of  Newfoundland,  where  vessels  making  the  passages 
across  the  Atlantic  might  come  in  collision.” 


24r 


P.  VAN  SCHENDEL,  (deceased,) 


Brussels. 


The  Annunciation. 


104  X  94-1 


This  painting  was  a  labor  of  love  to  the  artist,  and  painted  for  his 
studio,  where  it  remained  several  years,  visited  by  artists  and  con¬ 
noisseurs.  until  purchased  by  Mr.  Lockwood.  It  is  conceded  to  be 
the  finest,  as  it  is  undoubtedly  the  most  important  of  the  artist’s 
works,  ably  representing  his  great  technical  ability,  his  strength 
combined  with  beauty  as  a  colorist,  and  his  masterly  management 
of  light  and  shade.  I  he  kneeling  virgin  is  eminently  graceful  and 
dignified  ;  her  drapery  and  that  of  the  pries  Dieux  exhibit  exquisite 
technique.  'The  figure  of  the  announcing  angel  is  posed  with  in¬ 
finite  grace,  and  the  light  effect  is  brilliant,  which  suggests  the 
immediate  presence  of  the  Holy  Ghost. 


84 

A.  BIERSTADT,  New  York. 


The  Domes  of  the  Yosemite. 

116  x  180. 


This  famous  painting  of  the  Valley  of  the  Yosemite  is  considered  to 
be  the  crowning  effort  of  Bierstadt’s  power.  It  was  exhibited  in 
the  principal  cities  of  Europe  and  of  this  country,  attracting  the 
attention  of  hundreds  of  thousands,  and  winning  the  approval 
everywhere  of  tlie  most  critical.  The  waterfall,  seen  in  the  fore¬ 
ground  to  the  left,  represents  the  most  beautiful  cataract  in  the 
world,  “  The  Bridal  Veil.’’  To  the  left  and  right  of  the  valley  are 
seen  the  great  sentinels  of  the  river,  “  The  Domes  of  the  Yosemite." 
It  is  impossible  to  look  on  this  noble  picture  and  not  be  impressed 
with  the  vastness  and  grandness  of  the  wonderful  region  depicted. 


26 


V- 


8S 

J.  HENRY  HAZELTINE,  Rome. 

Kissing  Cherubs. 

A  very  pleasing-  group,  modelled  with  true  artistic  feeling,  and  with 
the  flesh  texture  well  suggested. 


86 


MISS  STEBBINS,  Rome. 

Samuel. 

A  uoble  illustration  of  the  genius  of  an  American  sculptress  of  wide 
reputation.  The  pose  of  the  figure  is  eminently  graceful,  and  the 
modelling  is  done  with  a  firm  and  able  hand.  The  face  most 
truthfully  suggests  the  devotion  of  the  young  worshipper. 


87 

J.  MOZIER,  Rome. 

Pocahontas. 

This  chaste  figure  is  one  of  tlio  finest  expressions  of  the  artist’s 
power.  The  forms  are  carefully  and  satisfactorily  modelled,  and 
the  idealized  Indian  face  expressive  of  thought  and  feeling.  Her 
contemplation  of  the  cross  suggests  her  conversion  to  Christian¬ 
ity,  as  the  deer  is  the  symbol  of  her  affectionate  and  faithful 
nature. 


27 


J.  MOZIER, 


88 


Rome. 


Wept  of  the  Wish-Ton- Wish. 

An  exquisite  composition,  suggested  by  the  heroine  of  the  well- 
known  tale  by  J.  Fenimore  Cooper.  The  form  is  one  of  great 
grace,  the  drapery  is  skillfully  managed,  and  the  face  full  of  ex¬ 
pression. 


89 

J.  HENRY  HAZELTINE,  Rome. 

Excelsior. 

Suggestive  of  Longfellow's  poem.  The  tigure  is  finely  posed  and 
body  and  limbs  modelled  with  masterly  ability.  The  earnestness 
and  determined  purpose  of  the  character  are  well  expressed,. in  the 
motion  of  the  tigure  and  in  the  face.  It  is,  indeed,  an  admirable 
interpretation  of  the  hero  of  the  illustrious  verse  : — 

A  youth  who  bore  'mid  snow  and  ice 
A  banner  with  the  strange  device, 

Excelsior ! 

His  brow  was  sad  :  his  eye  beneath 
Flashed  like  a  f  lchion  from  its  sheath  ; 

And  like  a  silver  clarion  rung 
The  accents  of  that  unknown  tongue. 

Excelsior ! 

The  has  reliefs  illustrate  other  verses  of  the  poem,  and  the  sad  ending 
of  the  hero’s  aspirations. 


90 

RANDOLPH  ROGERS,  Rome. 

“Isaac.”.  (Bronze.) 

This  noble  work,  illustrating  one  of  the  most  beautiful  passages  of 
Scripture  history,  is  acknowledged  to  rank  with  the  most  success¬ 
ful  creation  of  any  modern  sculptor.  And  we  may  well  be  proud 
that  it  is  from  the  hand  of  an  American  artist.  This  is  the  only 
bronze  ever  made  of  the  subject. 

28 


91 

The  Vases. 


(A  pair.) 


These  superb  works  of  art,  exquisite  in  design  and  elegant  in  every 
detail,  were  among  the  chief  attractions  of  the  Paris  Exposition 
They  are  composed  of  the  rarest  marbles,  with  ornamentation  in 
ormolu.  Nothing  equal  to  these  in  beauty  has  ever  been  imported 
here. 


The  Clock. 


This  unique  and  magnificent  piece  of  workmanship  tells  its  own  story. 
It  is  one  of  the  most  superb  and  perfect  ever  produced.  The  figure 
supporting  the  candelabra  is  of  oxvdized  silver,  and  in  itself  a 
highly  finished  work  of  art,  designed  expressly  for  its  noble 
pedestal.  Mr.  Lockwood  purchased  this  clock  from  the  Paris  Ex¬ 
position. 


One  Large  Marble  Pedestal. 


29 


FINE  ARTS. 

A  millionaire’s  collection. 

The  collection  of  a  private  gentleman  lately 
deceased  is  now  on  exhibition  at  the  Leavitt  Art  Rooms 
in  Broadway,  and  is  to  be  sold  at  Clinton  Hall  by  auc¬ 
tion  on  the  evenings  of  the  18th  and  lOtli  of  this  month. 
Tho  late  owner  was  a  gentleman  of  great  wealth  and 
generosity,  who  had  good  intentions  in  the  direction  of 
the  liberal  arts.  He  built  a  magnificent  house,  and  very 
properly  thought  its  upholstery  would  not  bo  complete 
without  some  great  pictures.  For  that  purpose  ho  or¬ 
dered  £ome  of  the  largest  pictures  ever  paiuted  in  this 
conutry,  and  bought  during  a  tour  in  Europe  oue  of  the 
largest  pictures  ever  painted  in  Belgium.  The  great 
spaces  of  his  palace  having  thus  been  satisfactorily 
covered,  he  went  ou  buying  pictures  with  open-handed 
freedom  until  he  had  accumulated  the  presont  collection 
of  8-i  specimens.  The  services  of  such  patrons  to  the 
causo  of  art  are  deserving  of  all  praise  and 
encouragement.  They  empty  meritorious  studios  of 
unsalable  canvases  which  take  up  a  good  deal  of  room  l 
and  injure  the  sale  of  better  things.  No  man  can  always 
do  life  best,  and  unless  it  were  for  these  facile  buyers 
,  the  time  employed  on  indifferent  pictures  would  be  en¬ 
tirely  wasted.  Besides,  in  working  for  these  munificent 
patrons,  young  and  struggling  artists  get  paid  for  the 
processes  through  which  they  arrive  at  the  maturity  of 
their  powers.  The  price  of  one  picture  will  furnish  them 
th  9  frugal  black  broth  of  Bohemia  for  many  mouths,  and 
give  them  time  for  repentance  and  reformation. 

It  usually  happens  that  in  the  course  of  this  energetic 
buying,  one  is  almost  sure'  to  get  some  good  pictures 
among  the  others.  In  the  collection  we  are  speaking  of 
there  are  a  good  many— if  they  cost  twice  as  much  as  J 
they  were  worth',  the  cost  came  from  a  quarter  where  it 
would  not  be  missed,  and  there  is  little  to  regret  where  • 
Art  spoils  Philistia.  No  one  can  go  into  this  gallery 
and  look  about  him  without  a  congratulatory  shrug 
over  the  announcement  of  the  advertisement  that 
“three  of  the  paintings  cost  the  owner  Fifty 
Thousand  Dollars !’’  If  you  have  auy  doubt  which 
three  it  was,  you  must  take  your  tape-liue 
and  see;  and  if  you  were  inclined  to  accuse 
these  pictures  of  sharp  practice  in  getting  so  much  money  1 
lor  themselves,  they  could  protest  with  perfect  truthful¬ 
ness,  that  “they  will  never  do  so  again.”  But  we  were  ' 
saying  that  there  are  some  good  pictures  among  the 
others.  The  sketches  of  comic  children,  by  Boettcher  of 
Dusseldorf,  are  admirably  conceived  and  drawn.  So  is 
the  busy  domestic  scent)  of  Weischebrinck,  called  in  the 
catalogue  “Too  Hot.”  The  “Young  Jehu”  of  Guy  is 
not  without  a  certain  vigor  and  dash,  but  when  the  cata¬ 
logue  tells  us  it  is  painted  “  with  a  fluish  iu  no  degree  in¬ 
ferior  to  the  best  examples  of  MeiSsonier  ”  we  cannot  but 
hope  that  some  one  may  think  so  at  the  sale.  The 
“  Book  Worm  ”  of  Spitzweg  is  a  careful  and 
satisfactory  cabinet  picture.  Preyer  has  a  superb 
dessert  piece,  exceedingly  brilliant  iu  color,  and  harmoni¬ 
ous  in  arrangement.  Van  Schendel,  the  great  candle-light 
painter  of  Brussels,  who  recently  died,  is  represented  by 
an  excellent  piece  of  work  in  his  own  specialty,  a  market 
scene,  showing  the  mingled  efleot  of  moonlight  and 
candle-light.  It  is  scarcely  possible  for  illusion  to  go 
further  than  the  effect  which  Van  Schendel  creates  of 
the  glare  of  a  tallow  candle  on  a  face  in  its  immediate 
neighborhood.  There  is  a  wearisome  sameness  In  his 
pictures,  and  an  almost  absolute  identity  in  his  faces. 
They  all  seem  cut  with  a  penknife  on  the  head  of  a  stick- 
all  with  the  same  round  cheeks  and  blunt  noses.  But  th* 
candle-light  is  a  genuine .  piece  of  work.  You  will 
scarcely  see  how  good  it  is,  until  you  compare  it  with  an 
attempt  iu  the  same  direction  by  Mr.  Culverliouse,  the 


other  side  of  the  door  There  is  a  little  pictu 
Brown,  called  “  In  the  Swing,”  which  is  full  a 
over  with  sunshine— a  little  girl,  whose  f 
prettluess  are  in  perfect  keeping  with  the 
and  lovely  garden.  But  of  all  the  genre  j. 

In  the  collection  there  Is  none  better  than  “  The  F 
den  Book”  by  Kraus.  The  wicked  volume  is  in  the  white 
hand  of  a  charming  young  girl  who  blushes  like  a  Sum¬ 
mer  sunset  at  the  grave  reproof  of  her  mother.  The  exe¬ 
cution  of  this  fine  picture  is  not  less  worthy  of  admira¬ 
tion  than  its  truth  and  delicacy  of  sentiment.  There  is  a 
Meyer  von  Bremen  which  is  carefully  and  minutely  com¬ 
monplace,  as  usual;  a  “genteel”  Mother  and  Child  by 
Mr.  Irving;  a  quiet,  sleepy  “Sunday  Afternoon”  by 
Gcselscbap;  a  fine  composition  of  Carl  Becker  called 
“Winding  the  Clock”— a  well-nourished  handmaiden 
stands  on  tip-toe  on  a  chair  in  her  stockinged  feet  to 
reach  the  quaint  timepiece,  and  assumes  an  attitude 
full  of  unconscious  grace  in  doing  it. 

There  are  some  good  landscapes,  also  ;  one  by  Arnz  of 
Dusseldorf,  the  Castle  of  St.  Angelo  at  Rome,  a  superbly 
luminous  effect  of  Summer  sunset.  Perhaps  the  best 
thing  iu  the  collection  is  a  “  Storm  Coming  ’*"* 
Oswald  Aelicnbacb.  On  the  right  a  gust  of  winU  . 
the  coming  tempest,  driving  clouds  above  an 
below,  both  smitten  and  pierced  by  the  lurid  light  of  the 
yet  unvailed  sun.  A  group  of  women  rush  to  save  their 
washing  from  the  walls.  The  poplars  shudder  and  shrink 
from  the  storm.  An  ashy  shadow  is  thrown  on  the 
stuccoed  facades  of  the  houses,  and  far  off  in  the  west  a 
red  sky  is  fading.  Throughout  the  picture  is  felt  a 
hurrying  sense  of  danger  aud  expectation.  Mr.  McEn* 
lias  a  charming  idyllic  scene  of  green  Summer  woodsy 
which  is  all  the  more  precious  as  he  rarely  allows  us  to  see 
more  than  the  sere  aud  yellow  autumn  of  the  year.  There 
Is  a  pretty  Rocky  Mountain  View  by  Bierstadt,  which 
shows  how  well  he  can  understand  and  reproduce  moun¬ 
tain  scenery  when  his  mind  is  ou  his  work. 

We  have  little  space  left  for  the  150,000  trio.  The  “An 
nunciation”  of  Van  Schendel  seems  to  be  oue  of  those 
unavailing  protests  against  one’s  grade  which  we  see 
from  time  to  time,  which  induce  Lester.Wallack  to  think 
he  is  better  in  “  Hamlet”  than  in  “Rosedale,”  and  which 
made  John  Quincy  Adams  prefer  his  poetry  to  his 
speeches.  Van  Schendel  painted  the  play  of  candle¬ 
light  on  carrots  and  squashes  better  than  any  man  in 
the  world,  but  could  not  rest  until  he  had  covered  t 
side  of  a  house  with  an  immense  Annunciation,  will 
after  all,  contains  several  square  feet  of  excellent  pah-, 
Ing  and  several  square  yards  of  misused  canvas.  A 
greater  picture  than  this  (inasmuch  as  116x180  is  greater 
than  152x104)  is  Mr.  Bierstadt’s  “Domes  of  the  Yo- 
Semite,”  to  which  it  would  be  difficult  to  do  justice 
with  anything  less  than  the  genius  wbich  executed  it. 
It  can  proudly  boast,  as  we  all  brag  of  our  Capitol, 
“  Whatever  you  may  say  of  it,  you  can’t  deny  that  it  is 
big.”  Mr.  Bradford’s  “  Crushed  in  the  Icebergs  ”  is  not 
up  to  the  requirements  of  the  ocoasion  in  the  matter  of 
size,  containing  only  CO  square  feet,  but  these  are  easily 
worse  than  any  given  60  of  the  others.  It  is  a  raw, 
hard  piece  of  of  journey-work,  without  even  a  trick  of 
charlatanry  to  flatter  the  unsophisticated  spectator.  Yet 
two  young  gentlemen  stood  before  it  yesterday,  and  one 
said,  “  Dashed  if  I  ever  saw  any  water  as  green  as  tb- 
did  you?”  “No,  but  I  guess  it’s  all  right.  He’s 
there.”  In  the  face  of  these  facts  there  are  mi 
pretend  to  say  that  the  age  of  faith  is  past. 


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