Art Lib< XI 904 1 11 3 4 4 5 4 THE BUFFALO FINE ARTS ACADEMY ALBRIGHT ART GALLERY BUFFALO, N. Y. C ATAL O G U E of an Exhibition of Paintings and Tapestries Collected by Mr. and Mrs. John J. Albright June 2d -- September 6th 206 - 1921 - 6 NOTES THE Exhibition of Paintings and Tapestries Collected by Mr. and Mrs. John J. Albright is installed in Galleries XIV, XVII and the Sculpture Court. The Albright Art Gallery is open every day from ten o'clock a. m. until five o'clock p. m., excepting on Sundays, Mondays and Holidays, when the hours are from one until five o'clock p. m. Admission is free on Tuesdays, Thurs- days, Saturdays, Sundays and Holidays. On other days, an admission of twenty- five cents is charged. The ^Buffalo Fine Arts Academy Albright Art Gallery CATALOGUE of an Exhibition of Paintings and Tapestries Collected by Mr. and Mrs. John J. Albright June 2d--- September 6th 206-1921-6 STEVENSON MEMORIAL BY ABBOTT H. THAYER PAINTINGS IN OIL Dbrary SRLF AMERICAN SCHOOL GEORGE INNESS, N. A. (1825-1894). 1. SUMMER, MONTCLAIR (29x38). GEORGE DE FOREST BRUSH (1855- ). 2. FAMILY GROUP (50x60). DWIGHT W. TRYON, N. A. (1849- ). 3. MoRNfNG (20X31). ABBOTT H. THAYER, N. A. (1849-1921). 4. STEVENSON MEMORIAL (84x62). EDMUND C. TARBELL, N. A. (1862-' ). 5. FAMILY PORTRAIT (49/^x39^/2 ). HORATIO WALKER, N. A. (1858- ). 6. A SUMMER PASTORAL (18^2x27). FREDERICK BALLARD WILLIAMS, N. A. (1871- ). 7. THREE WOMEN DANCING (24x16). GEORGE HITCHCOCK (1850-1913). 8. HOLLAND WOMEN (38^x73). MRS. ABBOTT H. THAYER. 9. STUDY STILL LIFE (21^2x18). 1904640 FRENCH SCHOOL JEAN BAPTISTS CAM1LLE COROT (1796-1875). 10. VIEW OF DOUAI (20x25). LEON AUGUSTIN L'HERMITTE (1844- ). 11. HAYING (30^x39). CONSTANT TROYON (1810-1865). 12. VALLEE DE LA TOUQUES (16x28). JEAN JACQUES HENNER (1829-1905). 13. RED HAIRED WOMAN (26x18). CHARLES EMILE JACQUE (1813-1894). 14. SUPPER TIME (29x37). 15. SHEEP (8xii). NARCISO VIRGILIO DIAZ DE LA PENA (1809-1860). 16. FOREST OF FONTAINBLEAU (17x25). 17. BOCCACIO (10^x17). JEAN CHARLES CAZIN (1840-1900). 18. LANDSCAPE (14^/2x13). LOUIS-EMILE ADAN. 19. LE SOIR (16x26). 20. LE SOIR D'AUTOMNE (16x26). PAUL SAIN. 21. NENUPHARS WATER LILIES (52x64). J. LE BLANT. 22. YOUNG PEOPLE ON TF.RRACE (32x21^2). RENE GILBERT (NINETEENTH CENTURY). 23. THE ETCHER (24x26/2). ANDRE ANTOINE CROCHEPIERRE (i860- ). 24. LE BENEDICITE (16^2x25). EMILE BRETON (1831-1902). 25. CREPUSCULE D'HIVER (31x185/2). BELGIAN SCHOOL ALFRED STEVENS (1828- ). 26. MOONLIGHT ON THE ENGLISH CHANNEL (20^x16^2). EMILE CLAUS (1849- ). 27. Two PEASANT GIRLS RETURNING FROM HAYING (31^2x37). ENGLISH SCHOOL SIR THOMAS LAWRENCE, P. R. A. (1769-1830). 28. GEORGE THE FOURTH (36x28). (From the collection of the Duke of Cambridge.) SIR JOSHUA REYNOLDS, P. R. A. (1723-1792). 29. PORTRAIT OF LADY CHAMBERS (24x29). GERMAN SCHOOL HEINRICH ZUGEL (1850- ). 30. Cows (16^2x25). LUDWIG V. ZUMBUSCH. 31. HEAD OF A BOY (13x10). WENZEL VON BROZ1K (1851-1901). 32. OFFICER, I7TH CENTURY (285^x20). F. HEILBUTH (1826-1889). 33. REVERIE IN THE GREEN (7^2x18^2). SPANISH SCHOOL MARIANO-JOSE-MARIA-BERNADO FORTUNY y CARBO (1841-1874). 34. A SUMMER DAY IN SEVILLE (7x5). CHECA Y SANZ (ULPIANO) (1860- ). 35. PLACE DE LA REPUBLIQUE, PARIS (33x585/2). DUTCH SCHOOL ANTON MAUVE (1838-1888). 36. SHEEP AT STABLE (22^x32^). JOZEF ISRAELS (1824- ). 37. WOMAN WARMING HER HANDS OVER FIRE (36x25). ITALIAN SCHOOL RUBENS SANTORO (1843- ). 38. VIEW NEAR NAPLES (6x13). 39. SCENE ON THE NILE (17x13). FRANCOIS BRUNER (NINETEENTH CENTURY). 40. COAST (13x22). PASTELS AMERICAN SCHOOL DWIGHT W. TRYON, N. A. (1849- ) 41. SEA (9x15). 42. LANDSCAPE (7x9^). JULES GUERIN (1866- ). 43. PORTA CAMOLLIA-SIENA FRENCH SCHOOL LEON AUGUSTIN L'HERMITTE (1844- ). 44. HARVEST FIELD (12^2x18). WATER COLORS AMERICAN SCHOOL THOMAS W. DEWING, N. A. (1851- ). 45. WHITE AND GOLD (11x7). JULIAN ALDEN WEIR, N. A. (1852-1920). 46. MORNING FRENCH SCHOOL JEAN LOUIS ERNEST MEISSONIER (1815-1891). 47. YOUNG MAN WITH MANUSCRIPT (6x9). (Was included in the Famous "Exposition Meissonier" 1880) JULES WORMS (1832- ). 48. SUNNY ROAD WITH PEASANTS (11^x9^2). JULES LEFEBVRE (1834- ). 49. LA ClGALE (2OXI2). ALPHONSE-MARIE DE NEUVILLE (1836-1885). 50. FRENCH SOLDIER WITH HORSE (175/2x12^) FELIX-FRANCOIS-GEORGES-PHILIBERT ZIEM (1821-1911). 51. COAST (9x13). ETIENNE PROSPER BERNO-BELLECOUR (1838- ). 52. SOLDIER T\JNC. FLOWERS (13x9). A. LE COMTE. 53. DELFT, WINTER EVENING (19x16). J. J. VEYRASSAT (1825-1893). 54. MAN WITH Two HORSES (10^x15). ITALIAN SCHOOL C. DETTI. 55. PROCESSION COMMUNICANTS (21x15). MINIATURES LAURA COOMBS HILLS (1859- ) 56. PORTRAIT OF A LADY. DRAWINGS AND SKETCHES THOMAS W. DEWING, N. A. (1851- ). 57. HEAD, SILVER POINT (11x8). EDMUND C. TARBELL, N. A. (1862- ). 58. PENCIL SKETCH (18x22^). SCULPTURE AMERICAN SCHOOL AUGUSTUS SAINT GAUDENS, N. A. (1848-1907). 59. EIGHT CARYATID FIGURES (S l / 2 feet high). (The last works produced by the artist.) 60. VENUS AND FAUN. (A terra cotta group from Greece. Period IV Century B. C.) 10 TAPESTRIES 61. ELJEZER BEFORE BETHUEL, 12 feet 7 inches by 13 feet 9 inches. 62. ABRAHAM AND ISAAC WELCOMING REBECCA, 12 feet 4 inches by 18 feet 9 inches. Two Flemish tapestries of the Early XVI Century School of Jan Van Eyck, executed at the Brussels Manufactory. Both tapestries are woven in coloured worsteds and silk threads on flax warps, with scenes in the ancient Testament, illustrative of the History of Rebecca and Isaac. The smaller panel represents Eliezer asking Bethuel for the hand of his daughter Rebecca, for Isaac, the son of Abraham, his master; in the centre of the picture is the faithful messenger relating his mission to Bethuel and addressing to him his request to take his daughter back to Abraham and his son Isaac ; in front of him is Rebecca speak- ing to her maids, and on the right is the imposing figure of Bethuel seated in a majestic attitude, while male and female attendants in sumptuous attire stand around. The scene is laid in a palatial hall of rich architectural design. The larger panel illustrates the presentation of Rebecca to Abraham and his son Isaac. Rebecca and Isaac, with the Patriarch in the act of giving them his blessing, form the central group in the picture, and Rebecca's suite of richly-clad attendants with their handsomely caparisoned horses, and servants of Abraham, stand on the right and left, or against the mountainous landscape background. The cartoons are attributed to Jan Mostaert, a painter who was born at Harlem in 1474, and died in 1556; he so success- fully adhered to the traditions of the School of Jan Van Eyck that among other works of his, an Adoration of the Magi, in Brussels, was long ascribed to the latter ; Mostaert, owing to his great respect for the ancient and also to his immense talent, it may be said that he resumed the whole school in himself for his works recalled all at once the bluish mountainous distances of Jan Van Eyck, the richly-embroidered and jewelled fabrics of Memling, the grandiose architectural conceptions of Bernard van Orley and Bouts' correction in details, while for force of colour he yielded to none; with him disappeared the last Flemish Gothic painter. The date of execution of these fine tapestries must be placed between 1520 and 1528, but as the compulsory marking of Brus- sels Tapestries did not come into force until the latter date, it is next to impossible to ascertain the name of the weaver, though in all probability they were the work of Pierre de Pannemaker; however, as far as is at present known, any information which may have existed on this particular point was destroyed when the Brussels archives were burnt down in the seventeenth century. 63. SCENE FROM ANCIENT HISTORY, Flemish, II feet 7 inches by 8 feet 10 inches. Perhaps an event of the Trojan War, cut down from a larger tapestry, with a wide Renaissance border that is especially rich and pleasing. 64. SOLOMON AND QUEEN OF SHEBA, Flemish; a Renaissance tapestry, n feet n inches by 13 feet 2 inches, with typical Renaissance border. It has been cut down some, but the composition still remains interesting, and is interestingly backgrounded by the landscape and buildings. 65. DIANA ENCOURAGING MELEAGER TO PRESENT THE BOAR'S HEAD TO ATALANTA, 12 feet 4 inches by 13 feet 5 inches. Woven in Paris in the first half of the seventeenth century, in the shops established at the Gobelin, in 1601, under the pro- tection of Henry IV, by two Flemish merchant weavers, Comans and Planche; or in the independent works established after his father's death in another part of the city by Raphael de la Planche, whose monogram R appears on other tapestries woven by him. Possibly the R in the right selvage of the tapestry before us is his signature, although it is confused by another letter that cuts into it. The story of ''Diana" designed by Tous- saint and Dubreuil, is one of the most famous sets of tapestries ever woven, and with "Artemisia" series did much to establish the high reputation of the early Gobelin. The set in the National French Collection, rich with gold, and the set in the Imperial Austrian Collection, as well as the set in the Royal Spanish Collections, are admired by all who see them. In the United States there are at least two sets, one of them a set of five, rich with gold, lent to the Hartford Museum by Mr. Morgan. The border of the tapestry before us is characteristic of the period. 66. VERDURE TAPESTRY, XVIII Century (Made in France by Flemish weavers). 12 ILLUSTRATIONS SUMMER, MONTCLAIR By GEORGE INNESS W o 16 < J Q U 'r td o S UJ pQ > a 1 8 < 20 ~ 21 GEORGE THE FOURTH BY SIR THOMAS LAWRENCE PORTRAIT OF LADY CHAMBERS BY SIR JOSHUA REYNOLDS MOONLIGHT ON THE ENGLISH CHANNEL BY ALFRED STEVENS A SUMMER DAY IN SEVILLE BY MARIANO- JOSE-MARIA-BERNADO FORTUNY Y CARBO w co - < co WOMAN WARMING HER HANDS OVER FIRE BY JOZEF ISRAELS 29 EARLY RENAISSANCE FLEMISH TAPESTRY ELIEZER BEFORE BETHUEL SEVENTEENTH CENTURY FRENCH TAPESTRY: (GOBELIN) DIANA ENCOURAGING MELEAGER TO PRESENT THE BOAR'S HEAD TO ATALANTA FLEMISH TAPESTRY: SCENE FROM ANCIENT HISTORY J A 001 134 454 6 THE BUFFALO FINE ARTS ACADEMY was incorpor- ated December 4th, 1862, "to promote and cultivate the fine arts and to that end to establish and maintain in the City of Buffalo a permanent art building or buildings, and collections of paintings, sculpture, engravings, and other works of art, an art library, and art schools adequately equipped and having courses of instruction and practice, and generally to foster art in all its branches." The Albright Art Gallery, the gift of Mr. John J. Albright to the City of Buffalo, first occupied in 1905, is open to the public every day from ten a. m., with the exceptions of Sundays and Mondays, when it is open from one to five p. m. Admission is free to members and their families at all times, and free to the public on Tuesdays, Thurs- days, Saturdays, Sundays and Holidays; other days an admis- sion fee of twenty-five cents is charged. THE ART SCHOOL, in the same building, includes departments of Drawing, Painting, Sculpture, Illustrations, Decorative Design- ing, Metal Work, Jewelry Silversmithing, Weaving, Basketry and Leather Embossing. For further particulars telephone Bid- well 1416. ALL FRIENDS of the Albright Art Gallery are invited to become members. Annual Members "The Friends of the Albright Art Gallery" pay a fee of five dollars a year. Life Members pay one hundred dollars and are thenceforth exempt from dues. The contribution or devise of fifty thousand dollars in cash, securities, or property, to the funds of the Academy shall render the donor eligible to be elected or declared a Benefactor of the Academy by the Board of Directors. The contribution of five thousand dollars in cash, securities, or property, to the funds of the Academy shall render the donor eligible to be elected a Fellow of the Academy in Perpetuity, by the Board of Directors. The contribution of one thousand dollars in cash, securities, or property, shall render the donor eligible to be elected a Fellow for Life of the Academy.