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THE GEORGE A. HEARN GIFT 
 
 TO THE 
 
 METROPOLITAN MUSEUM OF ART 
 
 OF THE 
 
 CITY OF NEW YORK 
 

THE 
 
 GEORGE A. HEARN GIFT 
 
 TO THE 
 
 METROPOLITAN MUSEUM 
 OF ART 
 
 IN THE CITY OF NEW YORK 
 IN THE YEAR MCMVI 
 
 
 N EW YORK 
 
 PRINTED FORTHE MUSEUM 
 
 MCMVI 
 

CORRESPONDENCE 
 
 THE following letters which passed between Mr. Hearn and 
 the President and Trustees of the Metropolitan Museum 
 set forth the wishes of the donor and the conditions under 
 which the gift was made and accepted. 
 
 THE OFFER 
 
 December i8, 1905. 
 
 J. PiERPONT Morgan, Esq., 
 
 President, Metropolitan Museum of Art, Central Park, New 
 York City. 
 
 Dear Sir: 
 
 According to my recollection there are fifty pictures in Gallery 
 15, twenty-two of which have been given and twenty-eight loaned 
 by me. 
 
 Instead of four of these, 1 wish to substitute four others, being 
 better pictures, namely: " Lady Hamilton as Daphne," by George 
 Romney; "Peg Woffington," by William Hogarth; "Mrs. Pulham," 
 by John Constable, and " Master Hare," by Sir Joshua Reynolds. 
 
 After the changes are made I desire to present them all to the 
 Museum, on condition that they shall all remain together in the 
 gallery they are now in or some other of equal size and importance, 
 equally well lighted. 
 
 In connection with the above I will also give One Hundred Thou- 
 sand Dollars, income to be used in purchase of American pictures. 
 
 If this is agreeable to the Trustees, 1 will either have the four 
 pictures sent to the Museum or show them to the Committee on 
 Paintings at my home at such time as may be convenient to them. 
 
 On notification that these gifts will be acceptable, I will make 
 offer formal. 
 
 Yours truly, 
 
 George A. Hearn. 
 
 vii 
 
 M52180 
 
To THE Trustees of the Metropolitan Museum of Art. 
 
 Thursday, January ii, 1906. 
 Gentlemen: 
 
 Objection having been raised to the condition accompanying my 
 offer of pictures and money to the Museum, I deem it but due to 
 myself to offer justification therefor. 
 
 It having been said that it is difficult to meet the demand that 
 gifts of paintings be kept together permanently, because such collec- 
 tions represent different nationalities and periods, I would reply, 
 that while such difficulty might arise where the gifts number a dozen 
 or so, it cannot be true where an entire gallery is harmoniously filled 
 from a definite standpoint, for then the collection becomes a unit, or, 
 let us say, a small museum in itself, the separate works contained 
 therein, holding consistent relation to each other, completing the 
 roundness of the whole. 
 
 This collection is not simply a number of unrelated pictures that 
 happened to please the fancy, brought to the Museum from the 
 walls of my home; on the contrary, it is a collection formed in the 
 gallery where it now hangs, during a number of years, having been 
 subjected to frequent changes, always with improvement, and, by 
 consent and approval of the authorities, until the present harmony 
 was secured. 
 
 To scatter these paintings through different rooms would be to 
 undo the result I have desired to attain, and the artist or art lover 
 will find nothing in Gallery i 5 to interfere with his enjoyment, nor 
 can the effect be said to be disturbing to the Museum. 
 
 It is but natural that donors should prefer to have their gifts 
 assembled where they may be seen at their best, rather than scattered 
 through various rooms. Certain collections of paintings, porcelains, 
 jades and musical instruments, now in the Museum, are far more 
 interesting shown by themselves, than if broken up. Furthermore, 
 they are gifts no Museum can afford to refuse on the ground that 
 they are to be kept together permanently; for it is to the generosity 
 of private individuals that we must look for the constant growth 
 of the institution. 
 
 To distribute this collection now according to schools would be 
 to substitute a mechanical subdivision for an arrangement arrived 
 at after years of loving study. 
 
 The objection raised to keeping together individual collections 
 has not disturbed European Museums. For example, in the Na- 
 tional Gallery we find the Peel Collection, though purchased in 1871, 
 is still kept together; then there are those notable examples of 
 Turner, which were accepted by the Trustees with the condition 
 that they should hang with the Claudes. In the South Kensington 
 we find the Sheepshanks Pictures kept together, as well as the Forster, 
 the Dyce and others; also the admirable collection of Furniture, 
 Pictures and Art Objects bequeathed by Mr. Jones. 
 
 In the Louvre hangs the La Gaze Collection. In the Ryks Mu- 
 
 viii 
 
seum at Amsterdam we find the Van der Hoop Collection occupy- 
 ing rooms by itself; and in this same Museum we note the Dupper 
 Q)llection, the Van de Poll Q)llection, as well as four lesser ones, 
 kept together as harmonious units. 
 
 It is worthy of remark that the Reid Collection bequeathed to 
 the Glasgow Gallery with the same condition, numbers but ten 
 paintings, divided between four nationalities; others might be 
 named if further examples were needed. In fact, if there be any 
 ground for such objection, does it not seem strange that the fore- 
 most European Museums deliberately create such collections by 
 assembling conspicuous pictures of different periods and nation- 
 alities in single rooms. In the Tribune of the Uffizi in Florence do 
 we not find works by Van Dyck, Diirer and Cranach hanging with 
 those of Titian, Raphael and Correggio? In the Salon Carre 
 of the Louvre we find Rembrandt, Dou and Van Dyck hanging with 
 Bellini, Titian and Leonardo, or touching shoulders with Murillo, 
 Paul Veronese, Memlinc, Rubens, Holbein and others. 
 
 The same assembling of varied works appears in the great Gallery 
 of the Wallace Collection, the latest European museum opened— one 
 of the great rooms of the world — where Dutch, Flemish and Eng- 
 lish, Italian and Spanish pictures hang side by side to the advantage 
 of the whole. The great room of the Hermitage Gallery contains 
 works by Italian, Spanish, Dutch, Flemish and other nationalities. 
 
 On the other hand, anyone who has visited the exhibitions of 
 the work of a single painter, must have felt the loss which such 
 a painter sustains in the ordeal, whether it be the great Rem- 
 brandt and Van Dyck exhibitions of a few years ago abroad, or 
 the shows of modern painters, like Cazin and Inness, held in this 
 city. It is an indisputable fact that two pictures, both good, by 
 the same artist, may be hurt by being hung together; this is recog- 
 nized in the best arranged galleries of the world. Who has not 
 felt disappointed on first visiting the room in the National Gallery 
 where the Turners hang, or upon entering the great room in the 
 Hermitage, where forty-one examples of Rembrandt are to be seen? 
 
 If paintings are only to be enjoyed and studied when arranged 
 in chronological sequence, the same rule would apply to exhibits of 
 sculpture, bronzes, porcelains and other objects shown in these halls. 
 But will any one claim that such is the case? The proportion 
 of visitors that demand such a condition for their enjoyment is 
 small indeed. /Esthetic pleasure derived from a work of art is not 
 dependent on any such chronological or mathematical arrangement. 
 While considerations of size, color and tone, and space to be oc- 
 cupied, must enter into any arrangement of pictures, it is essential, 
 first and last, that the works shown be of good quality and repre- 
 sentative of their authors. 
 
 The fifty-one paintings in this collection in Gallery i 5 embrace 
 only four nationalities, 34 of them being English, 8 Dutch and 
 Flemish, 3 French and 6 American. The English pictures are 
 arranged in two groups, facing each other on the east and west 
 
 ix 
 
walls. The Dutch and Flemish, by making one change, can be 
 practically brought together, namely, by transposing the Van Dyck 
 and the Vincent and the Romney; but this, in my opinion, would 
 not be an improvement, as the light is more favorable to the Van 
 Dyck where it now hangs. 
 
 The Americans were purposely hung in the Gallery to show that 
 good American pictures can hold their own against the foreigners; 
 I never having discriminated in making purchases, the test always 
 being, " Is the picture good?" and the only preference being to buy 
 the American when quality and value were equal. 
 
 While under the impression that my gifts of pictures and money, 
 as offered at the December i8th meeting of the Board, had been 
 unanimously accepted by the Trustees, nevertheless, in deference to 
 views of those who think that the Museum should not be bound 
 to perpetual conditions, I have amended the offer, in full expec- 
 tation that the authorities of the Museum, as now or hereafter 
 constituted, will consider themselves under moral obligation to 
 conform to wishes expressed. 
 
 Very truly yours, 
 
 George A. Hearn. 
 
 THE AMENDED OFFER 
 
 Thursday, January ii, 1906. 
 
 J. PiERPONT Morgan, Esq., 
 
 President, Metropolitan Museum of Art, Central Park, New 
 York City. 
 
 Dear Sir: 
 
 I have heretofore presented to the Museum twenty-four pictures, 
 and now desire to present in addition twenty-seven pictures with 
 the full expectation that the authorities of the Museum as now or 
 hereafter constituted will consider themselves under moral ob- 
 ligation to keep the fifty-one pictures (see list below) together, 
 for the period of not less than twenty-five years from the date 
 hereof, in the gallery they are now in, or all together in some other 
 gallery of the Museum of equal size and importance, equally well 
 lighted. 
 
 Should the pictures of the Museum, after the twenty-five years 
 have expired, become so numerous as to make it desirable for them 
 to be grouped according to their respective schools of art, while 1 
 should prefer that they should remain in a gallery by themselves, 
 as above stated, it will be deemed, compliance with above expressed 
 expectation, if all of the pictures belonging to each school are hung 
 together as a group, in galleries with others of the same school with 
 a group label above each group, designating the pictures as belong- 
 
ing to the "George A. Hearn Collection," and each picture neatly 
 labeled, in addition to the name of the artist, "George A. Hearn 
 
 Gift." 
 
 *Inness, George, N. A. 
 Peace and Plenty 
 
 ♦Gainsborough, Thomas, R. A. 
 Portrait of Mr. Burroughs, 
 Uncle of the Artist 
 
 *B0NNINGT0N, RiCHARD PaRKES 
 
 Coast Scene, Normandy 
 *Stark, James 
 Willows by the Water Courses 
 *WiLsoN, Richard, R. A. 
 The Storm 
 ♦Callcott, Sir Augustus Wall, R. A 
 Landscape 
 *Harlow, George Henry 
 Portrait of the Artist 
 
 ♦Reynolds, Sir Joshua, P. R. A. 
 Portrait of Mrs. Arnold 
 
 ♦Constable, John, R. A. 
 Bridge on the Stour 
 
 ♦Pine, Robert Edge 
 
 Portrait of Mrs. Reid, 
 
 in Character of Sultana 
 
 ♦Hoppner, John, R. A. 
 
 Portrait of a Lady 
 
 known as the Lady with Coral Necklace 
 
 ♦Lely, Sir Peter 
 Portrait of Sir William Temple 
 
 Hogarth, William, 
 Peg WofTmgton 
 
 ♦Kneller, Sir Godfrey, Bart., 
 Portrait of Lady Mary Berkeley 
 
 ♦Raeburn, Sir Henry 
 Portrait of William Forsyth 
 
 ♦Reynolds, Sir Joshua, P. R. A. 
 The Duke of Cumberland 
 
 ♦MoRLAND, George 
 Midday Meal. 
 
 ♦Cottman John Sell 
 Coast Scene 
 
 ♦Beechey, Sir William, R. A. 
 Portrait of a Lady 
 
 ♦Claude, Le Lorrain 
 A Seaport 
 
 ♦Wilson, Richard R. A. 
 Landscape and Figures 
 
 ♦OSTADE, ISACK VAN 
 
 Winter in Holland 
 ♦Hooch, Pieter de 
 Dutch Interior 
 
 WiLLAERTs, Adam 
 River Scene with Boats 
 
 Eeckhout, Gerbrandt van den 
 Destruction of Sodom and Gommorah 
 
 MuRANT, Emanuel 
 
 The Farm 
 
 PoussiN, Gaspard 
 
 Landscape and Figures 
 
 CuYP, Aelbert 
 Landscape with Cattle 
 
 Reynolds, Sir Joshua, P. R. A. 
 Portrait of a Lady 
 
 Vincent, George 
 Landscape 
 
 RoMNEY, George 
 Lady Hamilton 
 
 Crome, John (called Old Crome) 
 The Landing 
 
 CoTMAN, John Sell 
 English Village 
 
 Nasmyth, Peter (called Patrick) 
 Landscape 
 
 Van Dyck, Sir Anthony 
 Baron Arnold de Roy 
 
 Wilson, Richard, R. A. 
 Italian Landscape 
 
 JoNGKiND, John Barthold 
 
 Sunset on the Scheldt 
 
 Reynolds, Sir Joshua, P. R. A. 
 Master Hare 
 
 Reynolds, Sir Joshua, P. R. A. 
 Portrait of Mrs. Angelo 
 
 Blanchard, Jacques 
 Venus and Adonis 
 
 HuYSMANs, Cornelius 
 Landscape with Figures 
 
 ^Indicates pictures heretofore presented 
 
 XI 
 
Constable, John, R. A. 
 Mrs. Pulham 
 
 Lawrence, Sir Thomas, P. R. A. 
 Lady Ellenborough 
 
 Gainsborough, Thomas, R. A. 
 English Landscape 
 
 Philip, John, R. A. 
 Gossips at the Well 
 
 Mytens, Daniel 
 Portrait of King Charles 1 
 
 Blakelock, Ralph A. 
 Indian Encampment 
 
 Martin, Homer D. 
 Sand Dunes, Lake Ontario 
 
 Wyant, Alexander H. 
 Looking Towards the Sea 
 
 Wyant, Alexander H. 
 Landscape 
 
 Wyant, Alexander H.. 
 Broad Silent Valley 
 
 I would ask the privilege, from time to time, to exchange for 
 others in the above-named collection such paintings as I may now 
 have, or may hereafter acquire, that may improve the harmony 
 and quality of the collection, each of such exchanges to be made 
 with consent and approval of the Trustees. 
 
 In connection with the above, and for the encouragement of 
 the art of painting in this country, 1 will also give One Hundred 
 Thousand Dollars in cash, to be invested by the authorities of the 
 Museum in such securities as their judgment may deem advisable, 
 the income to be expended for paintings by persons now living who 
 are, or may be at the time of purchase, citizens of the United States 
 of America, or by those hereafter born, who may at the time of 
 purchase have become citizens thereof. 
 
 And I desire to empower the authorities of the Museum, as now 
 or hereafter constituted, to exchange or sell any painting or paint- 
 ings purchased with the income of the fund of One Hundred Thou- 
 sand Dollars; such paintings to be exchanged for, or proceeds of 
 paintings sold to be expended for, another painting or paintings by 
 citizens of the United States of America, as limited in last preceding 
 paragraph. 
 
 To make the One Hundred Thousand Dollars immediately 
 available, and to insure an income of five thousand dollars for some 
 years to come, I desire to give an additional Twenty-five Thousand 
 Dollars, so that five thousand dollars may be spent for paintings 
 during the year 1906, and from the twenty thousand dollars remain- 
 ing there may be taken sufficient to make up each year such 
 amount as the income of the One Hundred Thousand Dollars may 
 fall short of five thousand dollars. 
 
 In connection with the above, I also offer the choice of all of the 
 following twelve paintings by living American artists, to be hung 
 as the authorities of the Museum may elect: 
 
 Two by Winslow Homer, choice of two out of three, "Northeaster," 
 "Search Light, Santiago de Cuba," "Cannon Rock"; one by Horatio 
 Walker, "The narrower"; one by J. Alden Weir, "Green Bodice"; one 
 by Elliott Daingerfield, "Slumbering Fog"; one by Abbott H. Thayer, 
 "Young Woman"; two by George H. Bogert, "Chale Church, Isle of 
 Wight, England," "October Moonlight" (Hallgarten prize) ; one by 
 Henry W. Ranger, "Spring Woods"; one by Louis Paul Dessar, 
 
 Xll 
 
"Evening"; one by F. Ballard Williams, "Passaic River"; one by 
 D. W. Tryon, choice of "Moonlight" or "Autumn." 
 
 1 believe the paintings in Gallery 15 are all worthy examples 
 of and executed by artists to whom they are attributed. Never- 
 theless, to provide for contingency of dispute as to authenticity, 
 I will, in connection with the above-named gifts, present to the 
 Museum an additional Twenty-five Thousand Dollars, to be in- 
 vested as the authorities may elect, and, in case of dispute and 
 unfavorable decision by experts (to be selected by the Museum) 
 in regard to any painting or paintings, during ten years from the 
 date hereof, I will, with the consent and approval of the authorities, 
 withdraw and replace with others such disputed and discredited 
 painting or paintings, if any; and in case I cannot find the painting 
 or paintings in my own collection, or cannot remove them without 
 disarrangement of my home, 1 to be privileged to use all or part of 
 this fund of Twenty-five Thousand Dollars toward the purchase of 
 the newly selected painting or paintings, allowing the Museum such 
 amount as the disputed painting or paintings can be sold for. 
 
 In case of my death, the authorities of the Museum shall be like- 
 wise privileged to sell such disputed and discredited painting or 
 paintings, if any, using the proceeds thereof and the fund of Twenty- 
 five Thousand Dollars, with its accumulated interest, or so much 
 thereof as needed, to pay for the picture or pictures purchased. 
 
 After ten years this Twenty-five Thousand Dollars (or so much 
 as may not have been expended as above provided), together with 
 its accumulated interest, shall be added to the heretofore named 
 gift of One Hundred Thousand and so much as remains of the 
 Twenty-five Thousand Dollar gift provided to purchase paintings 
 during the year 1906, etc., and from the income, paintings by living 
 American artists to be likewise purchased. 
 
 Very truly yours, 
 
 George A. Hearn. 
 
 RESOLUTION OF ACCEPTANCE 
 
 At a meeting of the Board of Trustees, held January 26, 1906, 
 the following resolution was adopted in regard to the gift of Mr. 
 George A. Hearn: 
 
 Resolved, That the Trustees of the Metropolitan Museum of 
 Art accept the munificent gift of Mr. George A. Hearn, up>on the 
 terms contained in his letter of January 1 1, 1906, and in accepting 
 it they desire to put on record their warm appreciation of Mr. 
 Heam's generosity to the Museum and through the Museum to the 
 people of this city. 
 
 The collection of pictures, which has been assembled in the 
 gallery of the Museum, and already bears his name, is a notable one. 
 We recognize his generous intention of making it even more repre- 
 
 xiii 
 
sentative from time to time. We particularly welcome his gift 
 of American pictures, and the generous endowment which he has 
 made for the acquisition of contemporary American paintings. 
 
 We recognize the careful forethought with which he has guarded 
 his gift, by providing for the withdrawal of any picture which on 
 expert opinion shall not be deemed authentic, and by permitting 
 the exchange of American pictures hereafter acquired for those 
 of greater merit, whenever the opportunity for such a favorable 
 exchange shall present itself. 
 
 We trust he may realize for himself some of the pleasure and 
 satisfaction which his fellow Trustees and his fellow citizens find 
 in this important addition to our collections and our resources. 
 
 xiv 
 
CATALOGUE 
 
NOTE 
 The illustrations are from negatives made ex- 
 pressly for this catalogue by Mr. Charles Balliard 
 
BARON ARNOLD DE ROY OF ZUIDERWYN 
 
 SIR ANTHONY VAN DYCK 
 
SIR ANTHONY VAN DYCK 
 1 599-1641 
 
 BARON ARNOLD DE ROY OF ZUIDERWYN 
 
 (frontispiece) 
 
 At fifteen Van Dyck entered the studio of 
 Rubens, and soon became his principal assistant, 
 remaining there four years. Then for five years, 
 under the spell of Titian, he traveled and worked in 
 Italy, where he was kept busy painting portraits of 
 the nobility. Charles I invited him to England, 
 where he remained for about seven years, industri- 
 ously at work. He painted nineteen portraits of the 
 King, seventeen of his queen, and several of his 
 children. Notwithstanding the gayety and splen- 
 dor of his life his productions are numerous, one 
 half of which are held in England. He was dis- 
 tinctly a portrait painter, giving a courtly grace 
 and dignity to his sitters which found' many imita- 
 tors. He died at forty-two, and was buried in St. 
 Paul's Cathedral, London. 
 
 Canvas. H. 76 in. W. 48 in. 
 
PEACE AND PLENTY 
 
 GEORGE INNESS, N. A. 
 
GEORGE INNESS, N. A. 
 1 825- 1 894 
 
 PEACE AND PLENTY 
 
 This picture belongs to the middle period of the 
 artist's career, when his temperamental qualities 
 were struggling for expression against the conven- 
 tionality of the time. While there is abundant in- 
 cident set down with care, the pastoral scene is 
 marked by breadth, vigor and honesty and a lofty 
 love of nature. He has invested it with his own 
 sympathetic spirit, and its peace and harmony 
 steal over the contemplative observer like an ex- 
 quisite dream. Possessing the spirit of the in- 
 vestigator, he looked below the surface of things, 
 and his pictures are fraught with a message from 
 the fullness of his heart. His art, in which he 
 was wholly self-taught, was his life, and he was 
 intensely in earnest in his effort to express what 
 he saw and felt. His death, while on a visit to 
 Scotland in 1894, assumed the importance of a 
 national loss, so highly was he esteemed and so 
 thoroughly did his art express the landscape ideal 
 of the country. 
 
 Canvas. H.yyin. W. 112 in. Signed. Dated 1865. 
 
REV. HUMPHREY BURROUGHS 
 
 THOMAS GAINSBOROUGH, R. A. 
 
THOMAS GAINSBOROUGH, R. A. 
 
 1 727- 1 788 
 
 REV. HUMPHREY BURROUGHS 
 
 Developing a talent for art at an early age, 
 the future great rival of Reynolds was sent to 
 London, at fourteen, to study, and after four 
 years' stay returned to his native Suffolk an 
 accomplished painter. He is one of the few 
 painters that were equally great in landscape 
 and portrait art. Ruskin called him the great- 
 est colorist since Rubens, and found his hand 
 as light as the sweep of a cloud and as swift as 
 the flash of a sunbeam. Whatever he did was 
 always marked by great sensibility and by a 
 profound sense of beauty. 
 
 The Rev. Humphrey Burroughs here por- 
 trayed was a brother of the artist's mother, and 
 presided over the Sudbury Grammar School, 
 where the boy was sent in his youth. 
 
 Canvas. H. 28^ in. W. 23^ in. 
 
 10 
 
COAST SCENE, NORMANDY 
 
 RICHARD PARKES BONINGTON 
 
 13 
 
RICHARD PARKES BONINGTON 
 
 1801-1828 
 
 COAST SCENE, NORMANDY 
 
 Of English nationality, Bonington's art was 
 developed under French influence, his father hav- 
 ing moved to Paris, where the boy came under the 
 instruction of Baron Gros. He soon made a repu- 
 tation by his water colors of street and river 
 scenes, which sold rapidly. When twenty-one he 
 visited Italy, which improved his reputation. Al- 
 though the French contended for his pictures he 
 was unknown in England until he returned to 
 London to die, having contracted consumption. 
 He accomplished much in the brief term of his 
 life, being known both as a landscape and figure 
 painter. One of his pictures is in the Louvre. 
 
 Canvas. H. 3iin. W. 48 in. 
 
 14 
 
WILLOWS BY THE WATER COURSES 
 
 JAMES STARK 
 
 COAST SCENE 
 
 JOHN SELL COTMAN 
 
 17 
 
JAMES STARK 
 1 794- 1 859 
 
 WILLOWS BY THE WATER COURSES 
 
 One of the best-known pupils of Crome, Stark, 
 like his fellow pupil Vincent, is identified with the 
 Norwich group of painters. After his period of 
 instruction he spent some time in London, where 
 he gained considerable success, then returned to 
 Norwich, where he remained for twelve years and 
 where he published a meritorious work on "The 
 Scenery of the Rivers of Norfolk." He also lived 
 for some years at Windsor, finding many subjects 
 there to his liking. His style follows that of his mas- 
 ter Crome, but lacks his force and richness of color. 
 
 Canvas, H. 17^^ in. W. 23 in. 
 
 JOHN SELL COTMAN 
 1 782- 1 842 
 
 COAST SCENE 
 
 The son of a linen merchant, Cotman received 
 advantages of education in his youth, and being of 
 handsome appearance and possessing agreeable 
 manners, he was welcomed at the country houses 
 of the gentry about Norwich, whose children 
 he taught, and whose parks and country seats he 
 painted for them. He was a man of great ver- 
 satility. Early in his career he followed portrait 
 painting; then for twelve years he settled at Yar- 
 mouth', where he painted studies of the sea 
 coast. Later he was afflicted with great ner- 
 vous depression which brought on mental aberration. 
 
 Panel. H. i6>^ in. W. ly^^in. 
 
 18 
 
THE STORM 
 
 RICHARD WILSON, R. A. 
 
 21 
 
RICHARD WILSON, R. A 
 
 1 713-1782 
 
 THE STORM 
 
 Born in Wales, Wilson, until he was thirty-six 
 years of age, devoted himself to portrait painting 
 when he decided to visit Italy. There, upon the 
 advice of Zuccarelli, he abandoned portrait for 
 landscape art. Studying the old masters with 
 enthusiasm, he formed his style upon that of 
 Claude, Poussin and Salvator Rosa. During the 
 six years he remained in Rome he devoted himself 
 wholly to landscapes in the classical style, and 
 achieved considerable reputation. His pictures 
 do not follow nature closely, but are poetic remin- 
 iscences of the land in which his spirit found de- 
 light. He sought to convey an impression of 
 grandeur by an agreeable arrangement of the 
 parts of his composition and by the suppression 
 of what he deemed ignoble. Sensitive to beauty, 
 his pictures have an elegance that reflects the re- 
 finement of his native taste. The examples in 
 this collection are thoroughly characteristic and 
 show his nobility of style and pleasing color. 
 
 Canvas. H. 41 in. W. 53 in. 
 
 22 
 
LANDSCAPE 
 
 SIR AUGUSTUS WALL CALLCOTT, R. A. 
 
 25 
 
SIR AUGUSTUS WALL CALLCOTT, R. A. 
 
 1 779- 1 844 
 
 LANDSCAPE 
 
 In his boyhood Callcott was a choir-boy at 
 Westminster Abbey, but at eighteen took up the 
 study of art at the Royal Academy, being for a 
 time a pupil of Hoppner. Beginning as a portrait 
 painter, he soon turned to landscape as more con- 
 genial, which he followed for the rest of his career 
 save for the production of a couple of historical 
 compositions. Of courtly manners, his studio 
 was frequented by the fashionable world, and upon 
 the accession of Victoria he was knighted. Call- 
 cott's art was pleasing and easily comprehended 
 and he was flooded with commissions, hence, to 
 meet the demand, he turned out pictures with- 
 out reference to nature. His best work, dealing 
 with English landscape, was produced before his 
 marriage at fifty, and shows serious study and 
 firm technique. 
 
 Canvas. H. 27^ in. W. 35^ in. 
 
 26 
 
PORTRAIT OF THE ARTIST 
 
 GEORGE HENRY HARLOW 
 
 29 
 
GEORGE HENRY HARLOW 
 
 1787-1819 
 
 PORTRAIT OF THE ARTIST 
 
 Had not Harlow died at the early age of thirty- 
 one it is thought he might have become a power- 
 ful rival of Lawrence. Giving early indication of 
 great artistic talent, and being a handsome youth, 
 he was much flattered, which brought a distaste 
 for serious study, and retarded his development. 
 After some time with lesser painters he was 
 placed with Lawrence by his mother. After a 
 stay of eighteen months they quarreled and Har- 
 low at sixteen set up a studio for himself. During 
 his term in Lawrence's studio, he had acquired 
 something of that painter's manner of posing as 
 well as his process of working, which served him 
 well. He painted many portraits of actors and 
 public men, and won a distinguished reputation in 
 his day. 
 
 Canvas. H. 29 in. W. 24 in. 
 
 30 
 
MRS. ARNOLD 
 
 SIR JOSHUA REYNOLDS, P. R. A. 
 
 33 
 
SIR JOSHUA REYNOLDS, P. R. A. 
 
 1723-1792 
 
 MRS. ARNOLD 
 
 The foremost of the great English portrait 
 painters of the eighteenth century began to prac- 
 tice his profession at twenty-three. At twenty- 
 six he went to Italy, where he spent three years 
 studying the work of the old masters. Upon re- 
 turning to London, he established himself as a 
 portrait painter, in spite of the denunciation of 
 his style of work by other artists, and soon won 
 fame and fortune. At thirty-six he was obliged 
 to keep a list of applicants for portraits and take 
 them in turn, receiving as many as six each day. 
 All of the men and women prominent in English 
 society in his time came to him. Mrs. Arnold, the 
 subject of this portrait, sat in 1757. He painted 
 with great rapidity between the hours of eleven 
 and four. He allowed only about four hours to a 
 portrait, and often sent the canvases home before 
 they were dry. 
 
 Canvas. H. 28^2 in. W. 24 in. 
 
 34 
 
BRIDGE ON THE STOUR 
 
 JOHN CONSTABLE, R. A. 
 
 37 
 
JOHN CONSTABLE, R. A. 
 
 1776-1837 
 
 BRIDGE ON THE STOUR 
 
 While Constable's foremost contemporaries 
 in landscape art built on foreign models, Crome 
 following Ruysdael and Hobbema, and Turnerfol- 
 lowing Claude, he himself was, first and last, dis- 
 tinctly English in his art. He never visited Italy, 
 but was content with the simple scenes with which 
 he, a miller's son, had been familiar from child- 
 hood — the streams and meadows, the locks and 
 bridges of his native Suffolk. By close study of 
 nature he freed himself from all influence of the 
 traditional schools, and opened a way for modern 
 landscape art. When forty-five he produced his 
 masterpiece," The Haywain," which was exhibited 
 at the Royal Academy without finding a purchaser. 
 Three years later it was shown in Paris, creating a 
 profound impression at the Salon, being awarded 
 a gold medal. Thoroughly English, in that it ex- 
 presses the spirit of rural England, Constable's 
 art exerted great influence in the development of 
 the group of landscape men of 1830. 
 
 Canvas. H. 21 in. W. 32^ in. 
 
 38 
 
MRS. REID AS A SULTANA 
 
 ROBERT EDGE PINE 
 
 41 
 
ROBERT EDGE PINE 
 
 1 742- 1 790 
 
 MRS. REID AS A SULTANA 
 
 Pine, who was the son of an English engraver, 
 achieved brilliant popular success at eighteen by 
 an historical painting "The Surrender of Calais," 
 and two years later received a prize for his " King 
 Canute." With this record, when forty-two years 
 of age, he came to Philadelphia with the purpose of 
 painting a great historical composition containing 
 portraits of men who had figured conspicuously in 
 the Revolution. He secured the consent of Wash- 
 ington to give him sittings, but the work made 
 little progress, and was finally abandoned. Re- 
 ceiving but little encouragement for his project, he 
 turned his attention to painting portraits, a field in 
 which he was more successful. 
 
 Canvas. H. 341^ in. W. 27 in. 
 
 42 
 
LADY WITH A CORAL NECKLACE 
 
 JOHN HOPPNER, R. A. 
 
 45 
 
JOHN HOPPNER, R. A. 
 
 1758-1810 
 
 LADY WITH A CORAL NECKLACE 
 
 The son of one of the German Ladies-in-Wait- 
 ing, Hoppner's life was spent in the shadow of the 
 Court. As a boy he was a chorister in the Chapel 
 Royal, and at sixteen took up the study of art at 
 the Royal Academy where, three years later, he 
 was given a medal for drawing and afterward the 
 Academy's highest award, a gold medal for histor- 
 ical painting. At twenty-two he was established 
 as a portrait painter, and at thirty was styled 
 painter to the Prince of Wales. For eighteen 
 years there was the keenest rivalry for fashionable 
 patronage between himself and Lawrence, who, 
 though ten years younger, had been made court 
 painter to the King. Possessing a winning per- 
 sonality and agreeable social qualities, Hoppner 
 achieved great popular success. While he met 
 the demand that he should flatter his sitters, he 
 did produce interesting and life-like portraits. 
 The necklace of coral was resorted to by him 
 for its brilliant color, and has important bearing 
 on the tone of the flesh-painting; it also draws the 
 eye to the face. 
 
 Canvas. H. 28>^ in. W. ^y/z in. 
 
 46 
 
SIR WILLIAM TEMPLE 
 
 SIR PETER LELY 
 
 49 
 
SIR PETER LELY 
 
 1618-1680 
 
 SIR WILLIAM TEMPLE 
 
 Coming to England in 1643, when but twenty- 
 six, and in the train of WiUiam of Orange, Lely, a 
 native of Westphalia, found an opportunity to 
 step into the place left vacant by the death of Van 
 Dyck two years before. He was made court 
 painter by Charles 1, holding the same position 
 under Cromwell and the second Charles, until 
 succeeded by Kneller. For thirty years Lely was 
 the most popular painter in England. 
 
 Sir William Temple (1628- 1699) was an am- 
 bassador at Brussels and The Hague and nego- 
 tiated with the Dutch and Swedes the triple 
 alliance against Louis XIV, in 1668. He declined 
 the position of Secretary of State, and retiring to 
 his home in Surrey, spent the after part of his life 
 in writing his Memoirs and political treatises. 
 Swift the humorist, who afterward. became Dean, 
 acting as his secretary. 
 
 Canvas. H. 47 in. W. 38 in. 
 
 50 
 
PEG WOFFINGTON 
 
 WILLIAM HOGARTH 
 
 53 
 
WILLIAM HOGARTH 
 1 697- 1 764 
 
 PEG WOFFINGTON 
 
 Hogarth, the great satirist of English painting, 
 who loved to portray the foibles and frailties 
 of fashionable life, was also successful as a portrait 
 painter. The son of a school master, he was" 
 apprenticed for seven years to an engraver. 
 When twenty-three he set up for himself, at- 
 tracting attention by his departures from estab- 
 lished lines. Instead of painting dead saints 
 and martyrs, so long in fashion, he presented the 
 drama of living sinners in a series of adventures, 
 with great realism and interest, his work seeming 
 like a novel in paint. His portraits are marked 
 by the same vigorous truth. 
 
 Margaret, generally called Peg Woffmgton, 
 was a celebrated Irish actress, born in Dublin, 
 who achieved success in London at twenty as Sir 
 Harry Wildair, a part which Garrick had made 
 popular. She was called the handsomest woman 
 on the stage in her time, but when thirty-nine was 
 stricken with paralysis on the Covent Garden 
 stage, while playing Rosalinda. 
 
 Canvas. H. 28 in. W. 24 in. 
 
 54 
 
LADY MARY BERKELEY 
 
 SIR GODFREY KNELLER 
 
 57 
 
SIR GODFREY KNELLER 
 1 646- 1 723 
 
 LADY MARY BERKELEY 
 
 Kneller, who followed Lely as English Court 
 painter, was born in Liibeck but studied in Hol- 
 land, where he was a pupil of Bol, and for a time of 
 Rembrandt, then later in Italy. He came to 
 England when twenty-eight years of age, and 
 through the patronage of Charles II became the 
 fashionable painter of his time. So greatly was 
 he esteemed that no less than ten sovereigns sat 
 to him, including Charles II, James II, William 
 HI, Mary, Louis XIV, Peter the Great, Queen 
 Anne, Charles VI, of Spain and George I. He 
 undertook the portrait of the last named when he 
 was nearly seventy years of age. The influence 
 he exerted on the art of his time was very great. 
 
 Canvas. H. 28 in. W. 24 in. Signed. Dated 1700. 
 
 58 
 

WILLIAM FORSYTH 
 
 SIR HENRY RAEBURN 
 
 6i 
 
SIR HENRY RAEBURN 
 1756-1823 
 
 WILLIAM FORSYTH 
 
 In the beginning Raeburn developed himself 
 against heavy odds, but at twenty-two, through 
 his marriage, he acquired means to go to London 
 where he was admitted to the studio of Reynolds. 
 Recognizing his ability, Reynolds advised him to 
 go to Rome. He remained in Italy two years, 
 then at thirty-one returned to Edingburgh where 
 he soon found full employment in portraiture, 
 the foremost men and women of the time becom- 
 ing his sitters. However, he was more successful 
 with men than with women. Personally he was 
 thoroughly well-liked and enjoyed uninterrupted 
 success, receiving many honors after he had en- 
 tered middle life, but these he did not live long to 
 enjoy. 
 
 William Forsyth was an eminent Scotch horti- 
 culturalist who was appointed Superintendent 
 of Kensington Gardens. He wrote a book on the 
 Management of Fruit Trees. 
 
 Canvas. H. 29 in. W. 24^4 in. 
 
 62 
 
• • » t . • • 
 
H. R. H. WILLIAM AUGUSTUS 
 DUKE OF CUMBERLAND 
 
 SIR JOSHUA REYNOLDS, P. R. A. 
 
 65 
 
SIR JOSHUA REYNOLDS, P. R. A, 
 
 1 723-1 792 
 
 H. R. H. WILLIAM AUGUSTUS 
 DUKE OF CUMBERLAND 
 
 Although portraying a military commander, 
 Reynolds presents here, as always, the refined and 
 admirable side of English society. He never 
 gives us the massive dullness of the Dutch por- 
 traits, but infuses them with his own kindly na- 
 ture, which may be taken as one reason for the 
 unbounded popularity of the painter in his life- 
 time, and for his portraits continuing to excite our 
 admiration to-day. Through all the many changes 
 of fashion in art, they still live on to delight us. 
 
 The subject of this portrait was the second son 
 of King George II, and commander-in-chief at the 
 battle of Fontenoy, when he was defeated by Mar- 
 shall Saxe; again he commanded at the battle of 
 Culloden, defeating Prince Charles and the claims 
 of the Scotch Pretender, and ending the struggle 
 of the Stuarts to regain the lost throne. 
 
 Canvas. H. 49 in. W. 39 in. 
 
 66 
 
<'. 4 i ^l^i'-K'^ii I A "'- 
 
MIDDAY MEAL 
 
 GEORGE MORLAND 
 
 69 
 
GEORGE MORLAND 
 
 1 763- 1 804 
 
 MIDDAY MEAL 
 
 The son of a portrait painter, George Mor- 
 land's talent developed so early that he became 
 famous at sixteen, receiving abundant patronage 
 from engravers, dealers and collectors. To gain 
 money from his work his father kept him a 
 prisoner and a slave. His productivity was enor- 
 mous, yet his technique shows refinement of touch 
 and beauty of color. His subjects were always 
 chosen from low life, and rendered with an air 
 of truth and reality. He was the rustic painter 
 for the common people, portraying what he saw 
 with wonderful skill. So great were his powers of 
 production that during the last eight years of his 
 life his paintings numbered about eight hundred, 
 in addition to hundreds of drawings. Although 
 of great talent, he sank to the grossest dissipation, 
 which ended his life at forty-one. 
 
 Canvas. H. 27;^ in. W. 35 in. Signed. Dated 1795. 
 
 70 
 
PORTRAIT OF A LADY 
 
 SIR WILLIAM BEECHEY, R. A. 
 
 73 
 
SIR WILLIAM BEECHEY, R. A. 
 
 1753-1839 
 
 PORTRAIT OF A LADY 
 
 Commencing with the law, Beechey abandoned 
 this for the study of art, entering his career as a 
 portrait painter. Later he tried his hand at 
 several subject pictures, or conversation pieces, 
 as they were called, after the manner of Hogarth, 
 which he soon abandoned for portraits, which were 
 more in demand. Having been brought to the 
 notice of King George 111, through the rejection 
 of a portrait sent to the Academy, he painted in 
 1793 a full length of Queen Charlotte, who ap- 
 pointed him her portrait painter. This settled 
 his fortunes by bringing numerous commissions. 
 He was knighted at forty-five for a large eques- 
 trian group of George III reviewing troops, which 
 is now at Hampton Court. 'He excelled in por- 
 traits of women and children, his sitters including 
 many of the people of fashion of his day. 
 
 Canvas. H. 49 in. W. 39 in. 
 
 74 
 
A SEAPORT 
 
 CLAUDE LORRAIN 
 
 n 
 
CLAUDE LORRAIN 
 1 600- 1 682 
 
 A SEAPORT 
 
 From the humblest origin Claude rose to the 
 highest position of fame and wealth, being hon- 
 ored at thirty-five as the most distinguished 
 painter of his time. Though a slow worker he 
 was an assiduous one, and left about four hun- 
 dred paintings besides a large number of drawings 
 and etchings. He was not a man of robust 
 health, and after forty suffered greatly from gout, 
 which interfered with his long tramps in the 
 country. He received numerous commissions 
 from kings, popes and princes, but suffered from 
 frequent illness, and in the latter part of his life 
 was only able to work two or three hours a day. 
 The greatest part of his life was spent in Rome, 
 where he died. His influence on landscape art 
 was very great and he had a host of imitators, 
 but his influence has long since departed for the 
 reason that he preferred superficial effect to truth. 
 
 Canvas. H. 37^^ in. W. 47)^ in. 
 
 78 
 
ITALIAN LANDSCAPE 
 
 RICHARD WILSON, R. A. 
 
 8i 
 
RICHARD WILSON, R. A. 
 
 1713-1782 
 
 ITALIAN LANDSCAPE 
 
 Though he was the principal contemporary 
 landscape painter of Gainsborough, and one of 
 the thirty-six founders of the Royal Academy, 
 Wilson found patronage of his art so low that he 
 was hardly kept from actual want. Had he re- 
 mained in Italy he would have been highly 
 honored, but returning to England, this Welsh 
 painter died broken-hearted from neglect. Only 
 after his death did his pictures fmd appreciation, 
 and those poetic dreams have influenced many 
 painters since his day. Through all his land- 
 scapes runs a sense of peaceful quiet, touched 
 with sentiment. His marble temples, often in 
 ruin, recall the stories and legends of classic 
 Italy, and his wooded hillsides with silvery water- 
 falls suggest the abode of fauns and wood nymphs. 
 Although he suffered pitiable neglect during his 
 life, his talent established him in the first rank of 
 English 'landscape painters, and in recent years 
 he has become highly esteemed. 
 
 Canvas. H. 34 in. W. 51 in. 
 
 82 
 
WINTER IN HOLLAND 
 
 ISAAC VAN OSTADE 
 
 85 
 
ISAAC VAN OSTADE 
 1621-1649 
 
 WINTER IN HOLLAND 
 
 Isaac was the youngest of several brothers of 
 the celebrated Dutch painter, Adrian Van Ostade, 
 and also his pupil. In the beginning of his career 
 Isaac likewise portrayed the village carousals for 
 which his master had gained great reputation, but 
 later he turned his attention to Dutch country 
 scenes or the frozen canals enlivened with figures 
 which he presented with truth and power. During 
 his brief life of twenty-eight years he produced a 
 considerable number of works — Smith catalogues 
 one hundred and twelve — some of which are to be 
 found in the foremost European museums. His 
 pictures always exhibit careful draughtsmanship 
 and pleasing color, and carry conviction as to their 
 accuracy. 
 
 Canvas. H.4oin. W. 60 in. 
 
 86 
 
A DUTCH INTERIOR 
 
 PIETER DE HOOCH 
 
 89 
 
PIETER DE HOOCH 
 1632-1681 
 
 A DUTCH INTERIOR 
 
 From the number of conscientious painters 
 at work in Holland during the middle of the seven- 
 teenth century, we are more familiar with Dutch 
 domestic life than with that of other nations. 
 De Hooch, like his fellow artists, Ter Borch, Metsu, 
 and Dow, devoted himself to portraying the placid 
 domesticity of Dutch interiors, which he rendered 
 with exactitude and almost classic repose. His 
 pictures show fme draughtsmanship, refinement 
 and sincerity, and there is an absence of that 
 superfluous detail which marks the compositions 
 of some of his fellow painters. When still life 
 is introduced it is managed with great delicacy, 
 while in the treatment of light with which he 
 envelops his interiors he was only rivaled by 
 Vermeer. He placed his figures at their daily 
 tasks in marble-paved interiors, with sunny vistas 
 beyond. Note how well balanced his composition 
 is. The space required for his little domestic 
 drama is never large, his color is always warm, and 
 the architectural lines are sufficiently intricate to 
 interest the eye. 
 
 Panel. H.2iin. W. 26 in. 
 
 90 
 
RIVER SCENE WITH BOATS 
 
 ADAM WILLAERTS 
 
 93 
 
ADAM WILLAERTS 
 1 577-1664 
 
 RIVER SCENE WITH BOATS 
 
 In the sixteenth century Antwerp held fore- 
 most place as a School of Art. Here Adam 
 Willaerts was born the same year as his great 
 fellow townsman Rubens, whose after career 
 was so brilliant as almost to obscure the light of 
 all other painters of his time. Although born in 
 the Flemish city, Willaerts is classed with the 
 Dutch painters, having early taken up his resi- 
 dence at Utrecht, where he pursued his studies. 
 In Utrecht he won his artistic honors and there he 
 finally died at an advanced age. The date of 
 his death is somewhat uncertain. He became 
 a member of the Artists' Guild of that city, and was 
 one of its influential managers for nearly twenty 
 years. He devoted himself to painting land- 
 scapes, river scenes, village markets and merry- 
 makings. 
 
 Panel. H.2oin. W. 33 in. Signed. Dated 1645. 
 
 9^4 
 
THE FARM 
 
 EMANUEL MURANT 
 
 DESTRUCTION OF SODOM AND GOMORRAH 
 
 GERBRANDT VAN DEN EECKHOUT 
 
 97 
 
EMANUEL MURANT 
 1 622- 1 700 
 
 THE FARM 
 
 Murant, who belongs to the minor class of 
 Dutch painters, was born at Amsterdam and be- 
 came a pupil of Philips Wouverman. For his sub- 
 jects he chose dilapidated farm buildings and 
 street scenes, which he rendered with the careful 
 exactitude manifest in all Dutch painting. His 
 works are somewhat rare. 
 
 Canvas. H. 14 in. W. i8>^ in. 
 
 GERBRANDT VAN DEN EECKHOUT 
 1 62 1 - 1 674 
 
 DESTRUCTION OF SODOM AND GOMORRAH 
 
 When misfortune overtook Rembrandt and 
 he found himself involved in financial difficulties, 
 to add to his income he opened his studio to pupils, 
 receiving considerable sums for his instruction. 
 Among the many talented pupils who sat at his 
 feet was van den Eeckhout, whose works of all the 
 school most nearly approach those of the master 
 in subject and composition. So closely has he fol- 
 lowed him in some of his Biblical subjects that 
 the works of the pupil have been taken for those 
 of the master, though he lacks his gifts of color. 
 
 Panel. H. i4in. W. 20 in. 
 
 .98 
 
LANDSCAPE AND FIGURES 
 
 GASPARD POUSSIN 
 
 lOI 
 
GASPARD POUSSIN 
 1613-1675 
 
 LANDSCAPE AND FIGURES 
 
 When Nicolas Poussin, the great French painter, 
 had won success in Rome, he married a daughter 
 of a French family living there by the name of 
 Dughet, and, at the same time, adopted Gaspard, the 
 young brother of his wife. Taking the painter's 
 name, Gaspard became his pupil as well, and by 
 painting landscapes in the style of his master 
 won great success. Later his manner became 
 less severe and was marked by greater freedom 
 and warmth than that of Poussin. He strove 
 for vivid atmospheric effects, which led him to 
 paint land storms which became celebrated. He 
 worked rapidly, and left a large number of pictures 
 at his death. His life was spent in Rome, his na- 
 tive city. 
 
 Canvas. H. 35 in. W. 57 in. 
 
 102 
 
LANDSCAPE WITH CATTLE 
 
 AELBERT CUYP 
 
 105 
 
AELBERT CUYP 
 
 1605-1691 
 » 
 
 LANDSCAPE WITH CATTLE 
 
 In the Academy of Painting at Dordrecht, 
 founded by his father, who was a portrait and 
 landscape painter of talent, Aelbert Cuyp began his 
 studies. In the early part of his career he fol- 
 lowed the style of his father, but later turned to 
 the Dutch polders, with their fine cattle, for his 
 subjects. But it is not his painting of cattle on 
 which his fame rests, but on the splendor of light 
 which envelops them. He loved the mellow light 
 of evening, or the liquid aerial envelope of a warm 
 misty day, and in rendering these effects he em- 
 ulated De Hooch and Vermeer, but chose his sub- 
 jects out-of-doors. Among landscape painters he 
 had no rivals, except Claude, in rendering the golden 
 vibrating light of sunset. Although he painted 
 other subjects his best work is found in the pictures 
 of cattle and herdsmen on the banks of the Meuse, 
 which he lifted above the commbnplace by his 
 poetical treatment. 
 
 Canvas. H. 43 in. W. 70 in. Signed. 
 
 106 
 
PORTRAIT OF A LADY 
 
 SIR JOSHUA REYNOLDS, P. R. A. 
 
 109 
 
SIR JOSHUA REYNOLDS, P. R. A. 
 1 723- 1 792 
 
 PORTRAIT OF A LADY 
 
 The portraits of Reynolds, Gainsborough, 
 Romney, Raeburn and Hoppner present such a 
 varied vision of men and women of the eighteenth 
 century that we can read from them the social 
 history of their day. The painters pictured 
 society about them and covered a wide range 
 including representatives of the army and navy, 
 politicians and lawyers, statesmen and philosophers, 
 as well as the popular men and women of the 
 stage, and others famed for beauty and chivalry 
 in private life. Is it strange, then, if here and 
 there a sitter, as in the present instance, remains 
 unidentified, the portrait having been lost in ob- 
 scurity for a century or more? Whether the sub- 
 ject be known or unknown, it is the art of these 
 portraits that interests us to-day, since all are 
 touched with the imagination of the painter and 
 reveal a sense of beauty. 
 
 Canvas. H. 29 in. W. 24 in. 
 
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LANDSCAPE 
 
 GEORGE VINCENT 
 
 "3 
 
GEORGE VINCENT 
 1 796-1 832 
 
 LANDSCAPE 
 
 Another member of the Norwich School, this 
 talented pupil of Crome, began to exhibit his work 
 at, fifteen and made rapid progress for several 
 years after. At twenty-one he appeared in the 
 London Exhibitions and later settled in the 
 Metropolis, painting scenes along the River 
 Thames, which won for him great favor with 
 patrons. Marrying soon after his settling in Lon- 
 don, he at once became troubled by financial 
 difficulties, and his work greatly sufi'ered in quality; 
 his career, begun so brilliantly, fell into eclipse, 
 until, at the time of his death, he had been wholly 
 lost sight of. His style though based on that of 
 Crome is more varied. Later, like Constable, he 
 chose subjects in sunlight with luminous pearly 
 skies and broad masses of shadow. 
 
 Canvas. H. 25 in. W. 34^ in. 
 
 114 
 
LADY HAMILTON 
 
 GEORGE ROMNEY 
 
 117 
 
GEORGE ROMNEY 
 
 1 734- 1 802 
 
 LADY HAMILTON 
 
 Beginning life as a cabinet maker, Romney 
 soon turned his attention to portrait painting, 
 and won success, in spite of his lack of training, as 
 a roaming painter through the northern counties 
 of England. At twenty-eight he made his way to 
 London and two years later to Paris, where he 
 studied such works of art as he could find. After 
 several years more in London, during which his 
 portraits brought him prosperity, he visited Italy, 
 where he spent about two years. Returning, 
 at forty-two, he settled in London, and soon had a 
 constant influx of fashionable sitters. He made 
 many portraits of Emma Hart, the present subject, 
 who was raised from a painter's model to be an 
 ambassador's wife, and through her grace and 
 beauty became a conspicuous figure in social 
 life. Of ready execution,, Romney found constant 
 occupation, and became the foremost rival of 
 Reynolds who was a dozen years his senior. 
 
 Canvas. H. 29 in. W. 24 in. 
 
 118 
 
LANDSCAPE WITH FIGURES 
 
 CORNELIS HUYSMANS 
 
 ENGLISH VILLAGE 
 
 JOHN SELL COTMAN 
 
 121 
 
CORNELIS HUYSMANS 
 1 648- 1 727 
 
 LANDSCAPE WITH FIGURES 
 
 This Franco-Flemish painter was born at Ant- 
 werp and became a pupil of Jacobus van Artois, in 
 Brussels. His subjects were landscapes and wood- 
 land scenes, the forest of Soignes near Brussels 
 being his favorite resort of study. His pictures 
 are mostly of small size, and are distinguished by 
 able drawing and a fine sense of color. 
 
 Canvas. H.2i^in. W. 30 in. 
 
 JOHN SELL COTMAN 
 
 1 782- 1 842 
 
 ENGLISH VILLAGE 
 
 This friend and associate of Crome, also a native 
 of Norwich, worked both in oil and water colors. 
 Finding little sale for his paintings he became 
 a drawing master. In his leisure he executed a ser- 
 ies of etchings of architectural antiquities which 
 he had the gift of making interesting, and which 
 were published in two large volumes Through 
 the recommendation of Turner he received ap- 
 pointment as drawing master in King's College 
 School, London, which he held until his death. 
 His pictures show a masterly treatment of light 
 and shade, with pleasing color. 
 
 Canvas. H. 19 in. W. 15^^ in. 
 
 122 
 
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 "■«>: -•7T..> r;:; 
 
 ^ 
 
LANDSCAPE 
 
 PATRICK NASMYTH 
 
 LANDSC/PE AND FIGURES 
 
 RICHARD WILSON, R. A. 
 
 125 
 
PATRICK NASMYTH 
 
 1 786- 1 83 1 
 
 LANDSCAPE 
 
 The son of a Scotch landscape painter, Nasmyth 
 began his studies with his father in Edinburgh, but 
 at twenty left the North and settled in London. 
 Pollowing the fashion of the Dutch landscape 
 painters, then in favor with English patrons, 
 Nasmyth chose subjects similar to those of Wynants 
 and Hobbema — country lanes, sedgy pools, deep 
 shaded roads, or meadows skirted by dwarf oaks 
 with twisted limbs. His pictures show great elab- 
 oration of detail in foliage and low-toned color, but 
 his execution is firm and able 
 
 Canvas. H. 14 in. W. 19 in. Signed. 
 
 RICHARD WILSON R. A 
 
 1713-1782 ' 
 
 LANDSCAPE AND FIGURES 
 
 A year or two before Wilson left for Italy his 
 name as a portrait painter was so well established 
 that he was commissioned to paint a large portrait 
 of the future monarch with his brother the Duke of 
 York. When he returned to England, after six 
 years stay in Italy, where he had abandoned por- 
 traits forever, his landscapes were received with 
 much criticism, and an art committee decided that 
 his pictures were unsuited to English taste. He 
 was allowed to suffer from neglect, being only kept 
 from want by the stipend he received as librarian 
 of the Royal Academy. 
 
 Canvas. H. i7in. W. 21 in. 
 
 126 
 
SUNSET ON THE SCHELDT 
 
 JAN BARTHOLD JONGKIND 
 
 129 
 
JAN BARTHOLD JONGKIND 
 1819-1891 
 
 SUNSET ON THE SCHELDT 
 
 Born at Latrop, near Rotterdam, Jongkind 
 left his birthland early and began his studies at 
 Diisseldorf, being attracted by the fame that town 
 formerly had as an artistic centre. When about 
 twenty-five he took up his permanent residence in 
 Paris with occasional visits to Holland, finding 
 sufficient encouragement there to warrant this step. 
 He won his first recognition at the Salon of 1852, 
 when he was given a medal of the second class. 
 His subjects are landscapes and river views with 
 boatmen and sailing craft, or views of the Dutch 
 canals, which he painted with breadth and individ- 
 uality. 
 
 Canvas. H. 20^ in. W. 28^ in. Signed. 
 
 130 
 
MASTER FRANCIS GEORGE HARE 
 
 SIR JOSHUA REYNOLDS, P. R. A. 
 
 133 
 
SIR JOSHUA REYNOLDS, P. R. A. 
 1 723- 1 792 
 
 MASTER FRANCIS GEORGE HARE 
 
 With all the sense of beauty and grace that 
 marks Sir Joshua's portraits of men and women of 
 fashion, his portraits of children are even more 
 entrancing. He was fond of children, and a throng 
 of them have been immortalized for our enjoyment. 
 They look out from a long line of canvases with 
 wondering eyes and winning smiles, captivating 
 our fancy. 
 
 While in Italy Reynolds spent some time in the 
 study of Correggio, and to this study, as well as 
 to his natural love of children, we owe his many 
 infantile subjects, which are imbued with the feel- 
 ing of that master and show his impasto style of 
 execution. In these fancy pictures he was quick to 
 seize any chance attitude or passing action which 
 nature set before him, hence their great charm and 
 naturalness. 
 
 Canvas. H. 29 in. W. 24 in. 
 
 134 
 

MRS. ANGELO 
 
 SIR JOSHUA REYNOLDS, P. R. A. 
 
 137 
 
SIR JOSHUA REYNOLDS, P. R. A. 
 1 723- 1 792 
 
 MRS. ANGELO 
 
 The Royal Academy was founded in 1768 and 
 Reynolds, then forty-five, was made its first presi- 
 dent and received the honor of being knighted by 
 King George III. During the next twenty-two 
 years, until he lost the sight of one eye and was 
 obliged to give up painting, he exhibited two hun- 
 dred and forty-five works at the Academy, an av- 
 erage of eleven each year, which gives some idea of 
 his industry. In fact he boasted he had covered 
 more canvas than any preceding artist of three 
 generations, the number of his pictures being 
 estimated at three thousand. 
 
 The subject of this canvas was the wife of 
 Angelo Tremamondo, a riding and fencing master, 
 celebrated in his time. She sat to Reynolds about 
 1760, and his note-book records that he received 
 fifteen guineas for it. It remained in the possess- 
 ion of the family until sold in 1878. 
 
 Canvas. H. 29 in. W. 241^ in. 
 
 138 
 
VENUS AND ADONIS 
 
 JACQUES BLANCHARD 
 
 141 
 
JACQUES BLANCHARD 
 1 600- 1 638 
 
 VENUS AND ADONIS 
 
 In the sixteenth century French painting 
 showed a wavering between the influences of Italy 
 and Flanders, but as more and more of the north- 
 ern artists drifted to Italy and came under the 
 spell of Titian, the Italian influence predominated. 
 Blanchard possessed a marked gift of color, which 
 he had developed through study of the Italian 
 masters, and which won for him the name of the 
 French Titian. He was the first of the French 
 painters who showed any beauty of color. Besides 
 subjects from mythology he painted Holy Fam- 
 ilies and half-length Virgins which were much in 
 demand. When Vouet, the court painter of Louis 
 XIII, was at the height of his popularity he had 
 but one rival, Jacques Blanchard, with whom he 
 decorated the famous Gallery of the Hotel de Bour- 
 bon, but the rivalry was soon ended by the early 
 death of Blanchard. 
 
 Canvas. H. 47 in. W. 68 in. 
 
 142 
 
THE LANDING 
 
 JOHN CROME 
 
 •145 
 
JOHN CROME 
 
 1768-1821 
 
 THE LANDING 
 
 Beginning his career as a house and sign painter 
 John Crome (called old Crome to distinguish him 
 from his son who was also a painter) became a 
 student of Dutch pictures and rose to an eminent 
 position in English art. In 1803 he founded the 
 Norwich Society of Artists, in whose exhibitions 
 most of his works were shown. His pictures 
 show great fidelity in rendering the woodland 
 scenery of his native country, and exhibit a marked 
 and original style. To-day he is accorded a place 
 among the great landscape painters of the world. 
 
 Canvas. H. 23 in. W. 19 in. 
 
 146 
 
MRS. PULHAM 
 
 JOHN CONSTABLE, R. A. 
 
 149 
 
JOHN CONSTABLE, R. A. 
 1 776- 1 837 
 
 MRS. PULHAM 
 
 Finding his landscapes returned unsold from the 
 exhibitions year after year, Constable was urged by 
 his family to follow the example of his neighbor 
 Gainsborough and take up portrait painting. This 
 he was unwilling to do, but that he might have won 
 success as a portrait painter seems certain from this 
 example of his skill in that field. In his painting he 
 used the palette knife freely, finding he could thus 
 secure breadth of effect and retain the purity and 
 freshness of his color. Unpopular in his own day, 
 he remains oneof theenduring namesfor all time in 
 British art. Few of his canvases were ever signed 
 or dated. 
 
 Canvas. H. 29 in. W. 24 in. 
 
 150 
 
LADY ELLENBOROUGH 
 
 SIR THOMAS LAWRENCE, P. R. A. 
 
 153 
 
SIR THOMAS LAWRENCE, P. R. A. 
 1 769- 1 830 
 
 LADY ELLENBOROUGH 
 
 Precocious from childhood, Lawrence, the son 
 of an inn-keeper was recognized as a painter of 
 talent at sixteen, and at twenty-three was ap- 
 pointed portrait painter to King George III, who 
 had taken great interest in the provincial prodigy. 
 His personal attractiveness was as remarkable as his 
 talent, creating enthusiasm wherever he went, and 
 greatly helping his advancement. His appoint- 
 ment as Pamter to the King brought him a long line 
 of distinguished sitters, in which he rivalled all 
 others save Hoppner, who, as Painter to the Prince 
 of Wales, held his own. He excelled in portraits 
 of women and children, in which his style is graceful 
 and pleasing. He was chosen president of the 
 Royal Academy in 1820, and held the position until 
 his death. 
 
 Canvas. H. 29 in. W. 24 in. 
 
 154 
 
ENGLISH LANDSCAPE 
 
 THOMAS R. GAINSBOROUGH, R. A. 
 
 157 
 
THOMAS GAINSBOROUGH R. A. 
 
 1 727- 1 788 
 
 ENGLISH LANDSCAPE 
 
 With Wilson, Gainsborough was one of the 
 founders and great leaders of English landscape 
 art. Crome was not born until forty-two years 
 later, and Constable and Turner fifty years after. 
 But Wilson took up landscape in middle life and 
 devoted himself wholly to Italian themes, while 
 Gainsborough developed his own line, painting the 
 rural scenes about him from the beginning, never 
 caring to leave England to find subjects elsewhere. 
 He loved the hills and valleys and sedgy streams 
 of his native Suffolk, which he rendered with a 
 melancholy charm suggesting the tenderness and 
 grace of his own kindly nature. It was in painting 
 landscapes that he found greatest pleasure, and 
 what time he could gain from his portrait sitters he 
 gave to it. I nnately he had a deep love of color, but 
 was influenced by the Dutch masters and never 
 wholly broke away from the conventions of Hob- 
 bema and Wynants, hence the brown harmonies of 
 his landscapes contrast strangely with the fresh- 
 ness of his portraits. 
 
 Canvas. H.46in. W. 58 in. 
 
 158 
 
GOSSIPS AT THE WELL 
 
 JOHN PHILLIP, R. A. 
 
 i6i 
 
JOHN PHILLIP, R. A. 
 
 i8i 7-1867 
 
 GOSSIPS AT THE WELL 
 
 Born in Aberdeen, Phillip was apprenticed as 
 a boy to a house and sign painter, where he showed 
 his taste for art by making portrait studies of his 
 fellow workmen. At twenty-one he went to Lon- 
 don and entered the Academy school. For a long 
 time he painted Scottish subjects, but his health 
 compelled him to seek a warmer climate in Spain, 
 when he began to paint the Spanish scenes and 
 types with which his name is identified. His 
 pictures show vigorous drawing and rich harmon- 
 ious coloring. In i860 he was commissioned by 
 the Queen to paint the "Marriage of the Princess 
 Royal," which presents a series of portraits glowing 
 with brilliant color. He died from a stroke of 
 paralysis brought on by overwork. 
 
 Canvas. H. 18 in. W. 26 in. 
 
 162 
 
KING CHARLES I 
 
 DANIEL MYTENS 
 
 165 
 
DANIEL MYTENS 
 1 590-1658 
 
 KING CHARLES I 
 
 Born at The Hague, Mytens went to England 
 at twenty-eight, where he was employed by James 
 I, later becoming court painter to Charles I. 
 When the more brilliant Van Dyck arrived, Mytens 
 begged his sovereign for permission to retire from 
 court, but was persuaded to remain. Later he 
 renewed his request and returned to The Hague in 
 1630. He painted numerous portraits of Charles 
 and Henrietta Maria which are to be found in dif- 
 ferent European collections. The inscription on 
 this portrait shows it to have been a presentation 
 piece, painted during the last year of Mytens' stay 
 in England. He was happy in his background ac- 
 cessories, while his fine and careful painting and his 
 silvery coloring gives an air of exactitude to his por- 
 trait. 
 
 Canvas. H. 77 in. W. 53 in. Signed.' Dated 1629. 
 
 166 
 
INDIAN ENCAMPMENT 
 
 RALPH ALBERT BLAKELOCK 
 
 169 
 
RALPH ALBERT BLAKELOCK 
 
 1847- 
 
 INDIAN ENCAMPMENT 
 
 This characteristic work of a talented painter 
 shows his love of nature's mysteries and his gift 
 for deep vibrating color. The son of a physician, 
 Blakelock, when a youth, made a trip to the far 
 west, where he studied the life of the Indians in 
 their primitive surroundings. Although he meant 
 his pictures to express a meaning, his figures are 
 generally used only to give color and variety to the 
 scene. He translates the emotions awakened in 
 him by the silent woods or the glory of the evening 
 sky after rain. His pictures show serious thought, 
 rich color and a profound love for nature's moods. 
 There is never any deficiency in solidity of painting 
 to secure fine sentiment, but his expression is al- 
 ways consistent with excellent technique. After 
 long neglect he has become, now too late, one of the 
 best-known and most highly esteemed of native 
 artists. 
 
 Canvas. H. 37 in. W. 40 in. Signed. 
 
 170 
 
SAND DUNES, LAKE ONTARIO 
 
 HOMER DODGE MARTIN, N. A. 
 
 173 
 
HOMER DODGE MARTIN, N. A. 
 I 836- I 897 
 
 SAND DUNES, LAKE ONTARIO 
 
 There is a structural knowledge in the land- 
 scapes of Homer Martin somewhat akin to that 
 employed by an architect in creating some great 
 building. It is found in the strong lines that run 
 through the work, its skeleton so to speak, which 
 satisfy the eye by giving strength and rhythmical 
 balance to the whole. He was one of the earliest 
 to break away from the methods of his fellow artists 
 of the Hudson River School, realizing that the 
 spirit of a scene could not be set forth by elabora- 
 tion of details. He felt the solemnity of nature 
 which echoed the loneliness of his own heart. This 
 picture of Sand Dunes presents a desolate area, but 
 is fraught with the impression made by it on the 
 imagination of the painter. The deep isolation of 
 the scene is woven with the stability of the earth, 
 the immensity of the sky, all seeming like a great 
 choral marked by sublime harmonies. 
 
 Canvas. H. 36 in. W. 59 in. Signed. Dated 1887. 
 
 174 
 
A GLIMPSE OF THE SEA 
 
 ALEXANDER H. WYANT, N. A. 
 
 177 
 
ALEXANDER H. WYANT, N. A. 
 1 836- 1 892 
 
 A GLIMPSE OF THE SEA 
 
 Born in Ohio,Wyant began his career by painting 
 photographs in Cincinnati, but at twenty-one made 
 his way to New York to visit Inness, whose counsel 
 and influence were very helpful to him. Later he 
 went to Diisseldorf, where he developed his crafts- 
 manship, but it was with his easel set up in the fields 
 and woods that he gained most. He was a poet, 
 in love with nature, and his works live after him, 
 gaining ever wider appreciation because they are 
 not merely photographic transcripts, but inter- 
 pretations of the scenes. There is a subtlety about 
 such a work as this making it a totally different and 
 far finer thing than was dreamed of when Claude 
 or his followers were producing their compositions. 
 
 Canvas. H. 18 in. W. 30 in. Signed. 
 
 178 
 
LANDSCAPE IN THE ADIRONDACKS 
 
 ALEXANDER H. WYANT, N. A. 
 
 l8l 
 
ALEXANDER H. WYANT, N. A. 
 1 836- 1 892 
 
 LANDSCAPE IN THE ADIRONDACKS 
 
 Like the two others in this gallery from the 
 same hand, this picture is an expression of a refined 
 poetic nature. Wyant loved the opal tones of grey 
 skies and the delicate mystery of cloudy weather. 
 His interpretations are always marked by great 
 penetration and subtlety and keen appreciation of 
 nature's moods. While his productivity was 
 great, all his pictures reveal his poetic qualities, and 
 his works, like those of his fellow artist Inness, will 
 continue to reflect lustre on native art for all time. 
 From the beginning his art has only been appre- 
 ciated by fastidious collectors who enjoy the art and 
 poetry of a picture. 
 
 Canvas. H. 20 in. W. 30 in. Signed. 
 
 182 
 
THE BROAD SILENT VALLEY 
 
 ALEXANDER H. WYANT, N. A. 
 
 185 
 
ALEXANDER H. WYANT, N. A. 
 I 836- I 892 
 
 THE BROAD SILENT VALLEY 
 
 While a student at Diisseldorf Wyant laid 
 a firm foundation in accuracy of drawing, which 
 served him well in after years in setting down his 
 poetic interpretations of the spirit of woods and 
 sky. When at work he knew exactly what he 
 sought to do, and through all his pictures is felt the 
 certainty of knowledge that shows no hesitancy. 
 There is much to interest one in such a work as this, 
 aside from the scene portrayed — the vibrating sky, 
 the serenity and gravity that fills the peaceful 
 valley. 
 
 Canvas. H. 6o}4 in. W. 50 in. Signed. 
 
 186 
 
SUPPLEMENTARY LIST 
 
 The following pages comprise the supplementary 
 gift of Twelve American Paintings mentioned on 
 page XII which at present are hung in Gallery 13. 
 
 189 
 
SEARCHLIGHT, SANTIAGO DE CUBA 
 
 WINSLOW HOMER, N. A. 
 
 191 
 
WINSLOW HOMER, N. A. 
 1836- 
 
 SEARCHLIGHT, SANTIAGO DE CUBA 
 
 Born in Boston, Homer began his career as a 
 lithographer's apprentice, but at twenty-three 
 caitie to New York and entered the Academy 
 School. The War of the Rebellion gave him an 
 opportunity to go south as an illustrator for 
 Harper's Weekly; it also served to enlarge his 
 knowledge of our national rustic types which 
 throughout his career he has employed in his 
 paintings. His development from the beginning 
 has gone on mainly through his observation of the 
 world. His first paintings were war scenes. After 
 the war he made his home in New York, but of 
 later years he has foresworn town life, remaining on 
 the Maine Coast near Scarboro'. 
 
 Canvas. H. 30 in. W. 493^ in. Signed. 
 
 192 
 
CANNON ROCK 
 
 WINSLOW HOMER. N. A. 
 
 195 
 
WINSLOW HOMER, N. A. 
 1836- 
 
 CANNON ROCK 
 
 In his sea coast studies Homer, in recent years, 
 has devoted himself to rendering the majesty and 
 power of the tumultuous sea. But the locale of 
 these seascapes matters little, since they carry 
 conviction that the artist has seen and felt the 
 resistless force of the waters. This is but a passage 
 in the great Ocean Symphony which he has given 
 us in a dozen canvases, and a sight of it at once 
 carries the mind to other impressions of the power 
 and infinity of the sea which he has made known 
 to us. 
 
 Canvas. H. 39 in. W. 39 in. Signed 
 
 196 
 
(\ i % /» V ' e '< ^'■^ • ' 
 
SLUMBERING FOG 
 
 ELLIOT DAINGERFIELD, N. A. 
 
 THE SHEEP FOLD 
 
 HORATIO WALKER, N. A. 
 
 199 
 
ELLIOT DAINGERFIELD, N. A. 
 1859- 
 
 SLUMBERING FOG 
 
 Born in Harper's Ferry, Daingerfield came to 
 New York when twenty-one years old and thence- 
 forward appeared regularly in the exhibitions, 
 building up his method by observation and study. 
 For a long time his studio adjoined that of Inness, 
 from whom he received the benefit of criticism and 
 of watching the technical methods of that master. 
 To gifts of imagination he has added a fme sense 
 of color and forcible brush work. 
 
 Canvas. H. 29^ in. W. 36 in. Signed. 
 
 HORATIO WALKER, N. A. 
 1858- 
 
 THE SHEEP FOLD 
 
 Largely self-taught. Walker has found his in- 
 spiration in the homely labors of field and farm. 
 He shows us the beauty to be found in common- 
 place scenes, and has met with great popularity as 
 his reward. His toilers are represented with great 
 sympathy, and carry a message to all contemplative 
 minds. 
 
 Canvas. H.2oin. W. 28 in. Signed. Dated 1890. 
 
 200 
 
iAyi^'^^f'W.Afi'.^") 
 
THE GREEN BODICE 
 
 JULIAN ALDEN WEIR, N. A. 
 
 203 
 
JULIAN ALDEN WEIR, N. A. 
 1852- 
 
 THE GREEN BODICE 
 
 Born at West Point, he received his first in- 
 struction from his father, who was drawing master 
 at the Academy there, then went to Paris, where 
 from 1872 to 1876 he came under the direction of 
 Gerome. Of impressionable temperament he has 
 essayed a variety of subjects, always giving his 
 productions a strong personal note. He was 
 elected an Academician in 1886. His large picture, 
 "Idle Hours," which won one of the prizes at the 
 Competitive Exhibition of the American Art 
 Association in 1888, hangs in another gallery of 
 the Museum, to which it was presented in that year. 
 
 Canvas, H. 33 in. W. 24 in. 
 
 204 
 
YOUNG WOMAN 
 
 ABBOT H. THAYER, N. A. 
 
 207 
 
ABBOT H. THAYER, N. A. 
 1 849- 
 
 YOUNG WOMAN 
 
 Born in Boston, Thayer began his study of art in 
 that city, but in 1867 removed to Brooklyn where 
 he came under the tutelage of Professor Whittaker. 
 Later he came to New York and entered the school 
 of the Academy. In 1875 he went to Paris, where he 
 entered the Ecole des Beaux Arts under Lehman 
 and Gerome, remaining four years. Beginning as a 
 painter of animals, landscapes, and cattle, he has 
 turned his attention latterly wholly to figure paint- 
 ing, his ideal figures, both in conception and color 
 treatment, being among the most individual pro- 
 ductions of native art. His style is vigorous and 
 assured, yet possesses dignity and repose and 
 shows psychological insight. 
 
 Canvas. H. 37 in. W. 29 in. Signed. 
 
 208 
 
I 
 
OCTOBER MOONLIGHT 
 
 GEORGE H. BOGERT, A. N. A. 
 
 CHURCH AT CHALE, ISLE OF WIGHT. 
 
 GEORGE H. BOGERT, A. N. A. 
 
 211 
 
GEORGE H. BOGERT, A. N. A. 
 
 OCTOBER MOONLIGHT 
 
 This work won recognition at the Academy 
 Exhibition in 1898, being awarded First Hallgarten 
 Prize. Both pictures illustrate the artist's style, 
 which is distinguished by personal quality, har- 
 monious color and unity of ensemble. Noble 
 generalization takes the place of precise rendering, 
 resulting in a widening of psychological perception. 
 
 Canvas. H. i8in. W. 30 in. Signed. 
 
 GEORGE H. BOGERT, A. N. A. 
 1864- 
 
 CHURCH AT CHALE, ISLE OF WIGHT 
 
 The landscape work of this artist has long at- 
 tracted attention in our exhibitions. Born in 
 Brooklyn, he began his studies under Thomas 
 Eakins. Then in 1884 he went to France, where he 
 came under the tutelage of Colin and Morot. The 
 present picture, which represents the maturity of 
 his powers, was commissioned by Mr. Hearn in 
 1895, because of certain associations connected 
 with the church. One of his ancestors, who was 
 rector there, was buried within the walls in 1649. 
 From the tower beacon fires announced the coming 
 of the Spanish Armada in 1572. 
 
 Canvas. H.28in. W. 36 in. Signed. 
 
 212 
 
I ~: ^ i <i '< 
 
 'i < <. i'l J ■^ 1 
 
EVENING 
 
 LOUIS PAUL DESSAR, N. A. 
 
 SPRING WOODS 
 
 HENRY W. RANGER, N. A. 
 
 21 
 
LOUIS PAUL DESSAR, N. A. 
 
 1867- 
 
 EVENING 
 
 Coming from Indianapolis, Dessar entered the 
 Academy School in 1883, and after three years 
 went to Paris, coming under Bouguereau and 
 Robert Fleury. Exhibiting at the Salon he re- 
 ceived a third class medal in 1 891, and in 1893 his 
 picture was bought by the French Government. 
 His work is marked by technical force and breadth 
 suffused with poetic feeling. 
 
 Canvas. H. 28 in. W. 36 in. Signed. 
 
 HENRY W. RANGER, N. A. 
 
 1858- 
 
 SPRING WOODS 
 
 Born in Syracuse, Ranger began his studies while 
 engaged in his father's photographic studio. He 
 gained nothing from art schools, his development 
 being wholly through observation and study from 
 nature both at home and abroad. ' Examination 
 of the works of the great masters and their methods 
 of interpretation has been a fruitful study for him, 
 and he has evolved a style of marked individuality 
 and strong decorative effect. 
 
 Canvas. H. 27 in. W. 35 in. Signed 
 
 216 
 
MOONLIGHT 
 
 DWIGHT W. TRYON, N. A. 
 
 THE PASSAIC RIVER 
 
 F. BALLARD WILLIAMS 
 
 219 
 
DWIGHT W. TRYON, N. A. 
 1 849- 
 
 MOONLIGHT 
 
 After his Paris studies, Tryon opened his studio 
 in New York in 1881, and at once took rank as a 
 painter of distinguished talent, receiving a success- 
 ion of prizes and medals at exhibitions for his work. 
 His technique is marked by ease and assurance and 
 his style shows poetic charm and suggestion. 
 
 Canvas. H. i3in. W. 2i>^in. Signed. 
 
 F. BALLARD WILLIAMS 
 
 1871- 
 
 THE PASSAIC RIVER 
 
 One of the newest acquisitions to the ranks 
 of our poetic landscape painters, this artist has 
 taken high place in the esteem of discriminating art 
 lovers. In his sympathetic renderings of nature 
 we see the tendency of modern landscape art to 
 become purely a vehicle for the artist's emotional 
 expression. 
 
 Canvas. H.24in. W. 30 in. Signed. 
 
 220 
 
THE FOLLOWING PAINTINGS WERE 
 ADDED IN 1906:— THE DE FOREST 
 BRUSH WAS PRESENTED BY MR. 
 HEARN, AND THE OTHERS PURCHASED 
 FROM THE HEARN FUND 
 
IN THE GARDEN 
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THE YOUNG PIONEER 
 DOUGLAS VOLK 
 
SEVENTEENTH CENTURY LADY 
 WILLIAM M. CHASE' 
 
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