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.