^f^mrmmmmmmmmmmsimtm r^:^ LIBRARY OF THE ;■ ..**J University of California- GIFT OF Gen. Chas. R. Greenleaf- Class ,-» •■■■* i J Descriptive Catalogue OF THE Powers' Art Gallery, ROCHESTER, N. Y., •WITH I3SrTI?.OIDTJOTIOISr, ETC, BY JAMES DELAFIELD TRENOR. ^ OF TKF \ OF J ROCHESTER, K T. .:E. R. ANDREWS, PRINTER AND BOOKBINDER, 1 AQUEDUCT STREET, 1891. ;v v.. THE POWERS' ART GALLERY was established, and has been .maintained, with a view to creating and fostering a love of art, in its higher forms, among the inhabitants of Roch- ester, and as far beyond the city as its influence might eventually reach. The steadily increasing number of visitors to the Gallery favors the assumption that the end proposed has, in a measure, already been attained. Although there are a certain number of original pictures by old masters, still, the greatest of these are necessarily represented by copies only. But these copies are, for the most part, the best that could be procured, and are reproductions of world-renowned paint- ings. A brief history of the painters themselves will be found in the introductory remarks. As to the works of modern artists represented in the Gallery and of whom an alphabetical list will be found appended, the body of the Catalogue will, it is hoped, supply the necessary information. Where none is given, it is for the reason that it was not obtainable. .98 lllSm OP fflODBI^N ^AINTBP^S REPRESENTED IN THE POWERS' ART GALLERY. achenbach, 17 Adam, 48 Adan, 250 Ahmehru, - 969 Alvarez, 433 Anders, 44 Apel, 986 Antonella, 278 Aranda, - - 363 Artz, 932 Arnoux, - . 163 Ascenzi, -- 930 Atalta, 449 AzzoLA, -.- 570 Ballavoine, 261 Ballve, - - 465 Ba^g, 53 Banti, 271 Beatjquesne, ---5, 6, 439 Beard, W. H.,. .98, 265 Becker 9 Benedicter, 233 Benluria, 937 Berlin,... 288 Beyschlag, 85, 94 BiscHOF, 204 Blume, 38 BoGGs, 502 BoMPL'^, 273 BoNHEUR, 308, 309, 503 bontibonne, 150 Boucher, 181 boughton, 245 Boughuereau, 11 bourlard, 343 BowLBT, 466 Breling, 71 Breton, 415 Bridgman, 366 Brown, J. G., 247, 254 Brozik, 867 Brijck-Lajos, 21, 440 Bruneri, .478, 479 Brunts, ..197, 344 Bunner 255 BURGES, 281 Cabanel, 952 Caille .- 69 Cancel, 196 Cap, -. 279 Carboni, ...125-146 Carolius, 227 Cazin, - 499 Ceramano, 477 Chapin, 931 Chenn, 161 Chetwioski, 475 Chierici, 175, 824, 325 Chlwici, - 178 Col, 101 COMTE, 160 Constant, 49 CooMANS, 128, 257 CoRCOS, 427 Corot, .359, 381 corridini, 934 CoRRODi, 981-987 Costa, ....185, 186 COURBET, - 417 CoxE, 429 POWERS ART GALLERY. Creti, ..'..104-125 Crosio, - 240 Dambourgez, 383 Danger, -.. 406 Daubigny, 239, 414 De Eager, 180 DeBergh, -- - 275 DeBonfield, 964 De BuEL, - 20 Defaux, - - 396 De Figlio, 341 Defregger, 46, 224 De Gault, 174 Degrave, 243 DeGrossi, 928 DeHageman, 25, 26 De JoNGHE, O. E., 289 DeJonghe, G., --- 222 Delacroix, 488 Delatjnat, 469 Della Valentina, 170 DeLoose, 490 Deprey, - - 317 De Vos, .- 182 Dewey, 430 Diaz, 236,362,378,379 Dillens ...78, 158 Dittermann, 188 Doll, 194, 970 DoRE, 386 DUBUFE, 19 DUFNER,. 487 DuPRE, L. v., 232 DuPRE, Jules, 253 DuPRE, Julian, 384 Duval, .-- 314 duverger, 446 Elorriaga, 208, 277 Enneking, 154, 262 Erdmann, 55 Eroli, - 13 Escosura, 16 EwiNG, 929 Falat, 926 Falkner, 173 Farrer, 966, 980 Fasce, 927 Ferrare, 37 Ferrari, E., 45 Ferry,- 235 Fink, 50,416 Flier, 165 Freckmann, 511 Frere 500 Fromentin, .- 411 Gabani, 938 Gamla, - . - 945 Garcia y Mencia, 259 Garcia, M., 935 Garrido, ...399, 441, 442 Gatti, .328, 329 Gaul, 166 Gay, Ed., 192, 287 Geibel, ...-221, 226 Gerard, .- 40 Gerome, 361, 380 GiLLON, 83 GiovANNmi, 183, 184 GiRoux, 454 Gonzalez, 42 Greuze, 318, 954 Grob, .--- 464 Grubas, 297-307, 315, 316 Gruppe 492, 972, 993 Grutzner, 31 guaedslieg, 211 GuiSER, 220, 225, 424, 425 GUYOT,.- 459, 471, 474 Gysellncks, 24 MODERN PAINTERS. Hastings, 213 Hagborg, 68, 148, 376, 377 Haquette, 506 Hayon, 79 Henner, .- 393,413,438 ■Hess, 207 HiLDERBRANDT, - 389 HiLLER, 190 HOFF, 30 Holbein, 355 HoTTES, 494, 495 Hough, ..-- 237 HUBNER, 286 HtJERPOEREUS, 167 Huntington, 66 Hyon, 401 Hyou, 470 -Jacobi, 168, 296 Jacomin, 216 Jacquet, 43 JlMINEZ, - - 363 Johnson, Eastmai^, 243 Jordan, 428,461 Kabaloff, 484 KAUFFMAlfN, - 95 Kever, 976 KiNDSDAEL, -- 421 Knaus, 87, 93, 357 XOIEMANS, 198, 199 Koriecs, 419 SOWALSKI, --. 89 Kraemer, 159, 228, 256, 443, 444, 445, 467 Kray, 7 Kronberger, 54 Lachenwitz, 390 XiAFEN, 102 liAJOS, - 372 JjAMPert. 491, 988, 991 Laren, -. 162 Lassalle, - 201, 458 Lebrun, 295, 336 Leloir, 64 Lemaire, 90 Leman, ...100, 335 Leonardi, ....172, 266, 326, 330, 351, 944, 955 Lepinay, ...472, 473 Lepisquiner, 468 Lerolle, 501 Lesrel, 8, 217 LiEP, ---- 482 Linderschmit, 368 Lockhardt, - - 948 Lott, -509, 510 LUEBEN, 15, 34, 229 Madrazo, R., 10 Mahheuch, 310 Makart, 370 Maltza, 36 Mancinelli, . - 231 Marai^goni, . - 331-334 Mauve, 435 Max, .88, 91, 103,374 Maynard, 200 Mazzolini, 339 McCoRD, 75, 189, 407 Meissonier, J. C. , 67 Meissonier, J. L. E. .382 Menzler, 126, 127 Merle, H., .- 52 Meyer von Bremen, 33, 96 Middlebeck, 270 Millet, -.- 412 Miralles, 373,398 MOLINO, 210 MoREAU, A., 29 Morel, 283, 284 MosLER,. 437 powers' art gallery. MuLLER, Ch. Louis, 149 MiJLLHER, 408, 409 MuNiER, 61, 426 . MUNKACSY, 371 MuNSCH,... 268, 269 MuisfZEL, 164 Mtjrphy, 512 Nardi, 939 Nechutrey, 147 Neuhaus, 35 Neuvblle, 400 NiCHOLLS, 493 NicoL, 489, 497 Nicholas, 156, 169 NicoLiA, 404,405 ockmidien, 47 Ommeganck, 436 Orlafp, 345 Ortego, .27, 28 OUTIN, 391 Pagani, ...157, 290 Palizzi, 2 Palmaroli, 1 Pasini, 498 Pecrus, 82 Pecquezado, 956 Pekez, 507 Perkins, 171 Perlbera,..--951, 962, 963, 972 Perrault, 234 Petersen, 420 Pezant, 476 PiLTZ, 14, 218, 219 PlOT, 51 PlOTROWSKI, . 480 PiTTARA, 481 Plaserlt, ...456, 457 POLLAK, 22 Post, 431 Prati, 57' Preuss, 80, 205, 206 Rare, 187 Raqueplan, 483 Ravel, 397 Readell, 337 Ree, 448 Rembrandt, 950 Renatjd, 263 Renshaw, 940, 941 Reyntjens, 23, 73 Rhomberg, 202, 203 Ricci, 77, 452 Rico, 505 RiCHTER, E., 4, 97 RiEDEL, .327, 338, 352 RiGON, 76 ROBERTI, _ 978 Robert, 319, 320 ROMAKO, 191 RONNER, 960 ROSENBOOM, - 282 RossEAU, 358 ROYBET, 99 Russell, 989, 990 Ryk, 354 Saccra, 193 Salmson, 41 Sajiesi, 56 Sarri, 280 Sauvage, 453 Sayer, .965, 967, 975, 977 scalbert, 369 SCHLESINGER, F. , 223, 238 SCHNITZER, 342 SCHONFRY, 455 SCHREYER, 32 SCHUTZE, - 152 SCBTSVARZ, 74 MODERN PAINTERS. scorbisky, - - 321 Seignac, 450, 451 Seitz, a 70, 248 Seitz, O., 155 SiMEONi, -. -.933, 961, 979 SiMLER, -153, 212 SmoNETTi, 474, 949 SoHN, 215, 264, 388 Staneck, 447 Stiepevich, - 72 Story, 84 Streitt, 460 Stuart, 272 Tamburini, 3, 230, 364, 365 Ten Kate, H., 58 Ten Kate, Marie, 947, 959 Tenspeld, 274, 349, 350 Teschendorf, 86 Thompson, 394, 395 TouLMOtrcn:E, 251 Tratjtman, 356 Trater, 249 Troyon, 485, 486, 504 Valentina, 170 VanderHulst, 462, 468 Van Haanen, 244 Van Marcke, 258 Van Muyden, 179, 340 Vely, - 12, 65 Verboeckhoven, 246 Vernet, J.,... 285, 322, 323, 418 Vernet, C. H., 418 Vibert, 62, 252, 260, 360, 375, 434 Vogt, - 348 Voltz, 18 Von Bremen, 33, 9& Von Piloty, 410 Walker, 995 Watt, . 946 Weiser, 422, 423 Willems, .... 385 Williams, 994 Winner, 402, 403 WlNTERHALTER, 387 WiSSENBROCH, ... 943 Wood, T. W., ....81,177 Worms,. 63 Wright, 92 Wynveld, 151 Yeno,. 39. 241 Zama^ois, 432 Zampighi, - . 925 ZiMERMANN, 59, 60 Iiisir OP Old ffiASTBr^s REPRESENTED IN THE POWERS' ART GALLERY, EITHER BY ORIGINALS OR COPIES. Allori, 764 Adam, 877 Barbieri, 774 Battoni, 823 Benfatto 794, 843, 846 BiLiVERTi, 766, 813 Bonifacio, 843, 845 Bosch, 871 BUCHER, 841 Cagliari, C.,-.- --. 831 Oagliari, Paolo, 771 Canaletti, 808, 857 Caracci, 780, 789 Caravaggio, M. a., ...781, 836 Caravaggio, p.,.. 788 DaPonte, 783 De Hogghe, 871 Delacroix, 838, 839 DoLCi, 752, 759, 762, 786 DuPLESsis, 864 OuiDO Reni, 777, 778„812 Holbein, S., 785 HONTHORST, 784, 800 Lange, 855, 856 LiBERi, 837 Maratti, 826 Michael Angelo, 763 MuRiLLO, 751, 755, 767, 802-806, 825, 863 Raphael, 753, 756, 757, 761, 765, 798, 823, 862 Reynolds, 875 RoBUSTi (Tintoretto), ... 774 ROMANELLI, 775 Roos, 840 Rubens, 818, 819 ruysdale, 868 Salyi (Sassoferrato), 760 Tenniers, 867, 876 TiEPOLO, 782, 801, 834, 851, 853 Titian, 754, 772, 776, 779, 827, 830 Vandyck, 822, 860, 874 VanLaer, 847 Vannuchi, 768 Vecchia, 861 Vernet, 873 Wright, 869 zuccarelli, 858, 859 Sgulpitoi^s REPRESENTED IN THE POWERS' ART GALLERY. Ball, VII COUPER, IV, V, VI Gould, .II Jackson, XV Papotti, I, III, VIII, IX, XI, XII, XIII. Wood, -XVI Tadolini, ...XVII INTRODUCTORY, I^AINIPING AS A RiNB fll^T. Brief History of the Art and of the various Schools of Painting. PAINTING, considered as a fine art, has been defined as the depicting, on a flat surface, of objects by means of lines and color, so as to convey through the eye to the mind, ideas, and to awaken emotions. In its ruder form, painting is, perhaps, the oldest of the arts. Remains discovered in Egypt show that the temples of Thebes were adorned with paintings and sculpture. The art would thus date back at least two thousand years before the Christian era. The Babylonians and Chaldeans appear also to have practiced it, as mention is made in the Scriptures of paintings in Jerusalem after the manner of those nations. Greece probably stood at the head of the ancient world in painting, as she undoubtedly did in sculpture. Though no specimens of Greek painting survive to prove the first of these statements, still her pre- eminence in sculpture, an allied art, the prodigious sums paid for paintings by her great artists, and the jealousy with which they were guarded by the cities owning them, warrant the inference. The chief Greek schools of painting were in Athens, Corinth, Rhodes and Sicyon. The great painters of Greece, in the order of time, were : Appolodorus of Athens, Zeuxis, Androcides, Eupompus, Parrhasius, Timanthes, Pamphilus and his immortal pupil Apelles, .and Protogenes, the latter's rival. It is hardly necessary to mention Roman art, inasmuch as such remains of it as have been discovered betray a decidedly Greek origin, and the majority of the best paintings which adorned the Roman temples and palaces, came from Greece. The technical processes employed by the ancients in painting have. given rise to much discussion. It is fairly certain, however, that the POWERS' ART GALLERY. ancients painted chiefly in fresco and in tempora. The former of these methods consists in painting in fresh plaster with colors made of earths or minerals, and able to resist the action of the lime in the plaster; the latter kind of paintings were executed mainly on boards, the vehicle used for the colors being some kind of size, the whole protected by varnish or encaustic. The incursions of the barbarians, in the fifth and succeeding centuries, gave the fine arts a death blow. "What remained was transferred with the seat of empire to Byzantium, and wa^ preserved, in the conventional style known as Byzantine, until the break up of that school on the Conquest of Byzantium by the Latins, at the beginning of the 13th century. It still survives in the church-paint- ing of the Russians. The Greek artists transported to Italy after the conquest were the first masters of those Italians destined to revive painting and whose successors carried the art to such extraordinary perfection. Guido da Siena (1221) and Guido of Pisa (1236) are the first Italians whose names figure as connected with the revival of art in Italy. Then came the founder of the Italian school, Giovanni Cimabue (1240- 1300), who was, however, still largely influenced by the Byzantine style. Giotto, the shepherd boy of Vespignagno, near Florence (1276-1336), was the first to break entirely away from the traditions of the Byzantine school. The most celebrated of his works now extant are his frescoes at Assizi, and some of the same class at Padua, Florence and Naples. Giotto's style impressed itself on Italian painting for upwards of a century. Masaccio (1401-1443) made great advances on his predecessors in correct delineation and closer study of nature. His frescoes are considered second only to those of Raphael. Among the painters who contributed most powerfully to the revival of art in Italy, up to and including the lifetime of Masaccio, may be mentioned Fra Giovanni da Fiesole (1387-1455), called Fra Angelico, Pietro Perugino, Raphael's master, and Francesco Francia of Bologna; Giovanni Bellini (1422-1512), the founder of the early Venetian school, Domenico Corradi, or Ghirlandajo, Andrea Mantegna (1430-1506), Luca Signorelli, of Cortona (1440-1521), and Antonello da Messina. It was, however, during the next hundred years (1440-1540) that Italian art reached its climax. For the purposes of this brief sketch, it is not necessary, nor indeed within its limits would it be possible, to enumerate the minor stars of the great artistic galaxy which shone from Italy on the rest of the world at this period. An enimier- ation of the brightest stars must suflice. The three greatest lights were Leonardo da Vinci (1452-1519). Michael Angelo Buonarotti. IJSTTRODUCTORY. <1474-1563) and RaffaSle Sanzio of Urbino (1483-1520). Scarcely less distinguished were Titian (1477-1576) and Antonio AUegri, surnamed Correggio (1494-1534). The chief characteristics and excellencies of the golden age of Italian art are to be f oimd in the works of these painters. Profound religious feeling and grave dignity mark the works of Leonardo. Michael Angelo surpasses in grandeur of con- ception and design, while in the perfection of his anatomy and drawing he has outstripped all rivals, ancient or modern. Titian and Correggio, while great masters of every other art-resource, each dis- tanced all competitors in one special quality, the fonner in color, the latter in chiaroscuro, or light and shade. But to Raphael, on account of the greater sum of his united excellencies over any other individual painter, is generally conceded the highest place. Dignity of move- ment combined with great breadth of treatment and grandeur of outline disting-uish him. His embodiments of spiritual, almost etherial female beauty, and his wondrous depiction of infantile grace and purity, maternal affection, etc., stand alone. Among the contemporaries of these masters, mention must be made of Fra Bartolomeo (1469-1517), Andrea Vannuchi, named Del Sarto (1488-1530), both of Florence, and Giorgio Barbarelli, called Giorgione. The works of these artists are of great merit. The influence of the five great masters is distinctly traceable in the works of Sebastiano del Piombo (1485-1547), Bernardino Luino (1460-1530) and, of course, in their pupils. Of these the most noted are : Daniele da Volterra (1509-1566), a pupil of Michael Angelo, and Giuho (Romano) Pippi (1492-1546), a pupil of RafEaele. The decline of Italian art which set in towards the middle of the sixteenth century was longest with- stood by the Venetian school, as evidenced by the works of Tinto- retto (1512-1546) and those of Paul Veronese (1528-1588). But in the other schools of Italy, the decline was rapid, most of the pupils of the great masters lacking power and originality. An attempt was made to revive art in Italy at the end of the six- teenth and during the first half of the seventeenth century. The most famed school produced by it was that c:^ Bologna, which was founded by Ludovico Carracci (1555-1619) and his two nephews, Agostino Carracci (1558-1602) and Annibale Carracci (1560-1609). Among the painters produced in this school the most eminent are: Domenico Zampieri (Domenichino) (1581-1641) and Guido Reni (1575-1642). These with their masters formed what was termed the Eclectic school, the main feature of which was the selection and imion in their works of the individual merits and characteristics of all their great predecessors. In this they attempted the impossible. Still POWERS'^ AET' GALLEEY. their paintings rank very high. Salvator Rosa's (1615-1673) historical' and scriptural subjects are painted chiefly in the style of this school. Vigorously opposed to their idea was the Naturalist school, founded by Michael Angelo Amerighi da Caravaggio (1569-1609). The chief seat of this school was at Naples, where it was headed by Guiseppe Ribera (1593-1636), called Spagnoletto from his Spanish birth. It aimed at a bold and independent style, free from the traditions of the earlier masters and largely devoted to the portrayal of scenes from common life. Its influence was for a long time felt in the Spanish school. Of this latter, i. e., the Spanish school, the early specimens show very distinctly the influence of the older German artists. This was probably traceable to the fact that many of the pictures of the Germans found their way into Spain. Thus the beginning of the art revival in Spain had no distinctive national featui-es which would warrant us in speaking of a Spanish school until after the Spaniards of the sixteenth century had impregnated themselves with the concep- tions, style and methods of the Italians, Titian and Raphael being their chief models. It was from this period that Spanish art became national in style and feeling, and, when the works of the Spanish school are referred to, it is always to this period that allusion is made. The greatest painters of this school are Diego Velasquez (1599-1660), Bartholome Esteban Murillo (1618-1682), Ribera (Spagnoletto), previ- ously mentioned, Alonzo Cano (1601-1667), Francisco Zxu-baran (1598- 1663) and Claudio Coello (1630-1693). Spain has had no great master since the close of the seventeenth century. From the opening of the fifteenth century until the close of the sixteenth, Germany produced many great painters. The leading characteristics of the German school of this period are fertility of invention, strong individuality, clearness of coloring and high finish. Jan Van Eyck (1390-1441) stands foremost among the old German painters. He is supposed to have been the first master who used oil instead of size in his colors. This is, however, open to doubt. His paintings are distingvdshed for their brilliant, transparent coloring. Among the most famous painters of this school are : Hans Hemling or Memling (died 1489), Quentin Matsys (1450-1529), Lucas van Leyden (1494-1532), Albert Dlirer (1471-1528), Justus of Ghent (flor. 1451), Roger of Bruges (1390-1470), Jan Van Mabuse (1470-1532), Hans Holbein (1497-1554) and Antonio More (1512-1588). The painters who succeeded the celebrated artists of the Dilrer and Van Leyden period attempted to graft on their own national style the characteristics of the Italian school, and, later, to imitate the Italian IKTEODUCTORT. painters outright. They produced the worst paintings of any school, but, nevertheless, form a link between the old German masters and the strong, fresh and attractive works of the Low Countries' painters in the seventeenth century. Almost simultaneously with the rise of the Eclectic and Naturalist schools of Italy, a revival of art took place in the Low Countries. Two important schools of painting were the result : the Flemish and the Dutch. Both these schools were distinguished by great freedom and originality of treatment, a close study of individual life in its ever varying phases, and exceeding truth and fineness of execution. The number of artists belonging to these two schools is lengthy. Of the Flemish school the greatest masters were: Peter Paul Rubens (1577-1640), Anthony Van Dyck (1599-1641), David Teniers the younger (1610-1690), and F. Snyders (1579-1657). Of the Dutch school the most famous names are: Rembrandt (1608-1669), Vander- helst (1613-1670), Albert Cuyp (1605-1691), Terburgh (1608-1681), A. V. Ostade (1610-1685), J. Ruysdael (1630-1681), Hobbima (1629-1670), Paul Potter (1629-1654), K. du Jardin (1635-1678), Jan Steen (1636- 1689), G. Metza (1615-1658), F. Mieris (1635-1681), W. Van de Velde (1633-1707), A. Van der Neer (1618-1684), P. Wouvermans (1620- 1688). The revival of art in France and the growth of a national school were somewhat retarded by a disposition on the part of the French, kings and nobles to patronize foreign rather than French painters. From the time of Francis I. to that of Louis XIV. , the larger share of this patronage fell to foreigners. The consequence was that the debased Italian style kept a longer hold on the native French artists than would perhaps otherwise have been the case. Still, contempo- raneously with Guido, Domenichino and others, we find Nicholas Poussin, Claude Lorraine and Gaspar Poussin at Rome in the front rank of landscape painters. In the sixteenth century the only French names worthy of special mention are those of Clouet and Cousin. In the seventeenth century the only French painters whose works have a truly national character and feeling, are the brothers Nain. Still there were many eminent painters in France at that period, chief among whom are : Nicholas Poussin, Mignard, Simon Vouet, Claude Lorraine, Le Sneur, J. Courtoise, Coypel and S. Bourdon. Then came Watteau, a really national painter, with his imitator, Lancret, Gillot, Greuze, Chardin and Pater. Greuze nobly upheld the char- acter of French national art, which, chiefly through his influence, regained its hold, after the ephemeral success of the classic school of David. The French masters of the present century whose pupils now POWEES' AKT GALLERY. uphold the glory of French art are : Gericault, Delaroche, Prud'hon, Ingres, Ary Scheffer, Horace Vernct and Leopold Robert. England was the last country in Europe to feel the mfluence of the great Italian art revival. Such painting of excellence as was done there, was, until Sir Godfrey Kneller's death, executed almost exclu- sively by foreigners. As early as the time of Henry VIII. , a disposi- tion was evinced to cultivate and patronize foreign aitists. That monarch competed with Francis I. for the services of the greatest of the Italian artists and secured those of Hans Holbein, who took up his permanent abode in England Rubens and Van Dyck were patronized by Charles I. William fiogarth's (1697-1764) great share in forming an association of English artists in 1734-1735, which sub- sequently became the Royal Academy, and the wonderful excellence with which he developed the English characteristics in his work, entitled him to be called the founder of the English school. Over its beginnings Watteau and his contemporaries exercised considerable influence. Even Hogarth himself studied closely the works of the great French master, which were well known at that time in England through engravings, and were so much admired that "Watteau was induced to spend the year 1720 painting in London. But Hogarth exhibited, besides, an originality and dramatic vigor all his own. These features have ever since characterized the English school, as may be seen in the works of Wilkie, Stuart Newton, Bennington and others, while in portrait painting the works of some English masters rank with those of Velasquez, Van Dyck and Titian. It is but nec- essary to mention, in this regard, the names of Reynolds, Gainsbor- ough and Raeburn. In landscape the English school stands very high, and is acknowledged by the French to have had considerable influence upon their own landscape painters. Constable, Nasmythe, Collins, MuUer, R. Wilson, Turner, Calcott, J. Thomson and the artists of the present day share the glory of this acknowledgment. Nor has America been without her influence on English art, inas- much as some of the ablest members of the Royal Academy have been Americans. Benjamin West (1738-1820) was one of its first members and in 1806 was elected its president. Several of the works of J. S. Copeley (1737-1815), elected R. A. in 1779, are in the National Gallery, London. C. R. Leslie, although born in London, was educated in Philadelphia, and became an Academician in 1832. Washington AUston was elected an associate of the Royal Academy in 1818. There cannot be said at present to exist a distinctively American school of art, although there are signs that one is being gradually evolvea and its full d ^velopment is merely a matter of time. Latalogue, (The First Number Indicates the "Width of Each Picture.) 1 VINCENTE PALMAROLI. (Span.) Paris. Pupil of P. Madrazo. Med. 2nd cl. Universal Expos. Paris, 1867. His originality of conception and vigor of delineation place him in the next rank to Portuny, Meissonier and his master, Madrazo. THE STORM. 35x42. The swift approacli of the threatening storm warns the anxious mother to seek shelter with her child. 2 GUISEPPE PALIZZI. (Ital.) Paris. Pupil of the Academy of Naples. Med. 2nd cl. 1848. Legion of Honor 1859. Oflacer of the order of the Crown of Italy. DRIVING OUT THE FLOCK. 35 X 22. This canvas is an excellent example of the artist in the field in -which he is most at home. His flock is not idealized, but is just such as one might see in the early morning turned out to pasture. Life and movement are strongly marked in this study. 3 ARNOLDO TAMBURINI. (Ital.) Florence. AN OLD MONK. 10 X 12. Well-fed, pious lethargy, allied to good-natured shrewdness, is depicted with the acknowledged ^kill of this artist in limning this species of " type." POWEES' ART GALLEET. 4 :6D0UARD RICHTER. (Fr.) Paris, Pupil of E. Hebert and Leon Bonnat. An artist distinguished for hiff^ Moorish and Oriental scenes. THE JEWEL OF THE HAREM. 23 X 35. From Dousman collection. This is a captivating study of Oriental beauty in its most sensuous form. The manner in which the lights, middle tints and shadows are managed, makes this a remarkable picture. 6 WILFRID CONSTANT BEAUQUESNE. (Fr.) Paris. Pupil of H. Vernet and Emlle Lecomte. A painter of military subjects and battle scenes. BUGLE CALL. 10 - 13. 6 WILFRID CONSTANT BEAUQUESNE. (Fr.) Paris, ON GUARD. 10 X 13. 7 W. KRAY. (Austr.) Vienna, A weU-knowTi painter of classic and mythological subjects. VENUS APHRODITE. 45 X 64. The title Aphrodite given to Venus is derived from the Greek word "Aphros," meaning "foam," and refers to the ancient myth which represented the goddess as springing from the foam of the sea. The painter has speakingly embodied the youth, beauty and grace of the "goddess of love." 8 A. A. LESREL. (Fr.) Paris, Pupil of Gerome. Painter of " genre " pictures. LA DANSE. 28 X 36. Skilful grouping, harmonious coloring and careful finish character- ize this work. It will repay attentive study. MODERN" OIL PAINTIlfGS. 9 CARL BECKER. (Germ.) Berlin. Pupil of the Berlin Academy, of Von Klceber, Heinrich Hess and Cornelius. President of the Academy of Berlin. Member of the Academy of Vienna and of the Royal Society of Letters and Fine Arts of Belgium. Officer of the Order of Leopold. Medals at Vienna, Berlin and Munich, and many other honors and decorations. ITALIAN MOTHER AT PRAYER. 28 X 42. The gentle earnestness of the mother, as she invokes the Madonna> or saint, in front of whose shrine she kneels, and the coy timidity of the child, are exquisitely rendered. It is a good example of the artist at his best. 10 R. DE MADRAZO. (Span. Roman born.) Paria Med. 1st cl. 1878. Legion of Honor 1878. LA BELLE DESCEUVREE. 25 x 26. A broadly treated canvas, the subject of vrhich would probably be called in France by the above title, or, as we should say, "An Unem- ployed Beauty." She is sitting in some public resort with a half- finished glass of lemonade before her, evidently interested in some- thing going on elsewhere. A bold, masterly study of blues, grays and flesh tints. 11 WILLIAM-ADOLPHE BOUGUEREAU. (Fr.) Paris. PupU of Picot. Prix de Rome 1850, med. 2nd cl. 1855 (Paris Exposition>, med. 1st cl. 1857. Legion of Honor 1859, med. 3rd cl. 1867. Member of the Institute 1876, Officer of the Legion of Honor 1876, Medal of Honor 1878. An a^ist distinguished for his thorough knowledge, taste and refinement. His fame dates from his exhibition in 1854 of " The Body of St. Cecelia Borne to the Catacombs." He has since painted a large number of highly prized pictures. PETITES MARAUDEUSES. The Little PUferers. 42 X 78. The painter has caught the subjects of this effective picture on » little foraging expedition which is just being concluded. . It vividly recalls the time of life when the flavor of purloined fruit is resistless to the childish palate. POWERS ART GALLERY. 12 ANATOLE Vi^LY. (Fr. dec'd.) Ronsoy Pupil of Signol. Medal in 1874. One of the first figure painters of France. FRANCESCA DA RIMINI AND PAOLO. 30 X 40. We are here in presence of the luckless pair whom Dante has im- mortalized. Francesca is reading, probably from some romance, to her brother-in-law, whose guilty love for her wns avenged in the blood of both by her husband, Lanciotto da Rimini, a cruel dwarf. 13 fiDOUARD EROLI. (Ital.) Rome. Pupil of Fortuny. Painter of " genre " pictures. LA FILLE DU REGIMENT. 11 X 28. A dapper looking trooper with a very fascinating cantinfere helping him to a slight refresher — probably kirsch-wasser. 14 OTTO PILTZ. (Germ.) Weimar. VESPER IM KINDERGARTEN. Lunch Time in School. 52 X 30. This one picture is sufficient to establish any artist's fame. Whether examined as to grouping, drawing, coloring, incident or life-likeness, it is a most admirable performance. The restraints of rule are relaxed for lunch time, and, forthwith the sixty-odd toddlers of the establish- ment are seen in every attitude of preparation for an attack on their frugal fare. The faces in this composition have evidently been a labor of love with the painter. How varied, how natural, how like the blythe faces of children who are not cowed by that patient, sedate- looking mistress peeling the apple into the expectant palm of the "good boy" near her. What a contrast he is to the two iu:chins in the right background engaged in mutually complimentary grimace and gesticulation. Then, the episode so plainly told by the rugged servant maid, the pail and the whimpering " dot" in the middle of the room I Who ever saw a more likely set of clothes on any school children ? They look as if they had good hard wear, and plenty of it. Then, how admirably the light is managed ! Look into the back room and see how softened and mellowed it is by that window blind. The artist even takes care to hint in his dilapitated wall-paper that MODEEN" OIL PAINTINGS. the mistress ekes out but a scanty living by her trying work. Now count the heads, and ask yourself whether the same nimiber of figures were ever more naturally or artistically grouped in any picture? This is the work of a strong, conscientious artist, the subject and execution of which will prevent it from ever going out of date. 15 A. LUEBEN. (Germ.) Munich: BAVARIAN LOG-RUNNER. 22 X 30. The work of the men, of whom this is a good specimen, is to run " logs on the flood " and to clear the way when, as often happens, logs get athwart the stream and create a block. It is a dangerous calling. One can see in the firm lines of this face that its owner is equal to any danger. Apart from the perfection of detail and the surprising sureness of touch evinced in this canvas, it is, as a study of browns and grays, one of the most remarkable pictures in the collection. 16 LEON ESCOSURA. (Span.) THE VISIT TO THE CHATEAU. 30 X 24. A scene which leaves full scope to the play of the imagination. The costumes would make this fair company belong to the latter end of the seventeenth centiu-y. Refinement and elegance characterize the party to whom the old warden is explaining possibly the meaning of the banner or the episcopal armorial bearings over the doors. The picture is a brilliant memento of bygone days and fashions. 17 OSWALD ACHENBACH. (Germ.) Duesseldorf. Medal 3rd cl. 1859 ; med. 2nd cl. 1861. Legion of Honor, 1863. GARIBALDI'S CAPRERA HOME. 26 X 18. This canvas represents a humble dwelling on the island of Caprera, which lies east of the north point of Sardinia, in the Mediterranean. Here Garibaldi lived from 1854 until his death, with the exception of the time spent in his famous Italian campaigns The lowly house and its stern, rugged surroundings, force us to compare the greatness of the man with the modesty of his desires. The thoroughly southern atmosphere and the dreamy warmth thrown into this picture are very characteristic of this celebrated painter. POWERS' ART GALLERY. 18 PRIEDRICH VOLTZ. (Germ, dec'd 1886.) Munich. Pupil of the Academy of Munich. Member of the Academies of Berlin and Munich. Royal Bavarian Professor. Medals at Berlin and the great Wtirtemberg Art Medal. CATTLE, MEISENGER LAKE, Near Munich. 33 X 18. This is a delicious transcript from real nature. The contrast between that portion of the herd standing in the light of the fore- ground and that under the cool shade of the foliage, is masterly. The trees, too, are admirably drawn and painted. Such examples of this artist's work are difficult to obtain and of great value. 19 fiDOUARD DUBUTE. (Fr. dec'd 1883.) Paris. Med. 3rd cl. 1839 ; 2nd cl. 1840, 1st cl. 1844. Legion of Honor 1853 ; med. 2nd cl. 1855 ; OflScer of Legion of Honor 1869 ; med. 2nd cl. 18~8. THE PACHA'S FAVORITE. 56 X 46. Beauty, luxury, idleness and ease, with a tinge of the apathy engendered by harem life, speak from the features and smroundings of this petted sultana. The picture is worthy of this eminent painter. 20 HENRY DE BTJEL. (Belg.) Brussels. LEADING OUT THE FLOCK. 32 X 24. 21 LOUIS BRUCK-LAJOS. (Hungarian.) Paris. Pupil of M. Munkacsy. Honorable mention, Paris Salon. THE UNWILLING SCHOOLBOY. 40 X 33. A well-painted French domestic interior. The little girls on the right are evidently not averse to the day's work, but the little central figure forcibly reminds one of Shakespeare's lines in the Seven Ages of Man: "And then the schoolboy, with his satchel and shining morning face, creeping like a snail unwillingly to school." MODERN- OIL PAINTIN^GS. 22 A. POLLAK. (Germ.) Eome. COMING ASHORE. 40 X 58. The subject of this painting is an everyday episode, but the hand- Bome boatman carrying the tambourine girl looks as though his fair charge might be weighing more on his mind than on his arms. The composition is a good specimen of the modern Italian school 23 H. E. REYNTJENS. (Belg.) Brussels. THE TOILET. 7x6. 24 J. GYSELINCKS. (Belg.) Brussels, PUSSY LIKE A BATH? 12 X 15. The chances are that pussy, resigned as she looks, will clear the far side of the tub. The lesson of childish mischief is, however, well conveyed. 25 C. DE HAGEMAN. (Ft.) Paris. LOST IN THE DESERT. 13 X 16. 26 C. DE HAGEIVIAN. (Fr.) Paris. CAMP IN THE DESERT. 12 X 16. Two neat studies of Arab life and scenery. 27 ORTEGO. (Ital.) WHOSE HAT IS THAT? 10 X 14. The artist has put a difficult question into the mouth of the enraged husband, who will probably find an answer behind the screen. The religious picture and statuette are in sharp contrast with what is hinted at by the hat in the chair. 28 ORTEGO. atal.) THE FIRST MEETING. 12 X 16. A companion picture to the foregoing. POWEKS' ART GALLERY. 29 ADRIEN MOREAU. (Ft.) Paris. Pupil of Pils. Med. 2nd cl. 1876. Legion of Honor 1878. REHEARSAL OF RICHELIEU'S TRADEGY, "MIRIAM.'* 72 X 48. The great cardinal-minister of Louis XIII. , when a younger man than the painting represents him, had an idea that he could write plays, and succeeded in producing two poor ones, of which one, "Miriam," is being rehearsed in his presence. He is surrounded by some of the ladies and gentlemen of the court. It would be difficult to imagine anything much superior to the grouping, drawing, har- monious coloring and refined tone of this superb painting. As a study of a courtly interior and costumes, as well as of the aristocratic types of the French nobility under Louis XIII. , it commands careful examination. The freedom of the artist's handling is not the least charm of this pictiire. 30 KARL HOFF. (Germ.) Duesseldorf, Pupil of the Art School of Carlsruhe and the Academy of Duesseldorf. Medals at Berlin, Duesseldorf and Vienna. Genre painter. His " Christen" ing Scene " is in the Berlin National GaUery. THE UNWELCOME VISIT. 33 X 46. A t§te-a.-tgte seems to have been interrupted here. The visitor's anxious, appealing face shows that she brings no cheerful news. Even her pug has a doleful look. The expression of irritation and perplexity in the gentleman's face is finely worked out. Viewed simply as an interior, this is a very strong picture. 31 E. GRUTZNER. (Germ.) Munich, A FLYING VISIT. 28 X 32. A stalwart Tyrolese hunter, in the first flush of manhood, finds interest enough in the comely face of the maiden within to bring him to a halt. His sleeping dog shows he has been here some little time. The alpenstock tells us that dangerous crags are no strangers to him. This painting is drawn and worked out with wonderful care and skill. MODEKN" OIL PAINTINGS. 32 ADOLF SCHREYER. (Germ.) Frankfort a. M. Medals, Paris Salon, 1864, 1865, 1867, HUNGARIAN DRAFT HORSES. 56 X 30. This is a marvelous canvas. The artist -who can arrest and fasci- nate the eye with such a sorry set of horses harnessed by old ropes to these rude country wagons must be a genius. The faces of the poor, overworked brutes tell an eloquent tale of ill-treatment, neglect and scant fare. The road over which their load is being dragged, if a fair sample of the means of communication, accounts for the intense straining and wretched condition of the horses. The harmony of tone in the picture is equalled only by the powerful, unconventional drawing and astonishing freedom of the handling. 33 METER VON BREMEN. (Germ, dec'd 1886.) Berlin. Pupil of Sohn. Gold medal of Prussia, 1850. GIRL READING. 14 X 18. A simple, pure, beautiful conception. The consciousness, intelli- gence and artless frankness which look out of this child's eyes are a marvel. The quality and tone of the two lights — the one falling direct from the casement on the tresses and arm of the girl, the other reflected on the face from the pages of the book, are differentiated with consummate skill. 34 A. LUEBEN. (Germ.) Munick UNDER THE HAMMER. 47 X 69. This is an eloquent picture. It conveys its moral with directness and force, and appeals to our best feelings. The old naturalist — professor too, perhaps — has been carried to his last home, and his little stock of books and specimens is being disposed of at auction. The faces in this work deserve each a separate study. They are thoroughly everyday faces, and just such as we should expect to find on the errand which has brought them into this room. Not too keen and eager, but still sharpened as to feature in the daily struggle of life. The country auctioneer's clerk is calling attention to a dilapi- dated coverlet, while the great, little man iimself , hammer in hand, is watching a group engaged in examining the ring of the departed savant. A solitary picture recalls the whilom direction of the latter's youthful fancy. The figure and face of his forlorn housewife, as she POWEKS' AKT GALLEKY. stands receiving the condolences of her prosperous neighbors, is perhaps the most pathetic trait in this masterpiece. Few painters ever worked out every detail more lovingly and conscientiously than Lueben has here done. The performance, judged from whatever point of view, is wholly admirable. 35 FRITZ NEUHAUS. (Germ.) Dusseldorf. THE PRINCE'S FIRST RIDE. 30 X 40. The handsome nurse has just put her princely little charge on the court jester's back, and is following with out tretched hands lest the tiny cavalier should lose his seat. The various expressions of the three countenances are extremely well marked. 36 MALTZA. ( .) Antwerp. THE LATEST NEWS. 20x24. The three votaries of Vulcan have suspended their labors in order to get the latest news, clearly of keen interest to them. 37 CECILE FERRARE. (Ft.) Paris. A HASTY LINE. 18 X 22. An exquisite bit of genre painting. 38 EDMUND BLUME. (Germ.) Vienna. GRANDMA'S STORY. 30x42. The venerable old dame has stopped her spinning to tell a story to her pretty granddaughter. A lifelike transcript of a Swiss or Tyrolese peasant's home. 39 kMI:NDT YENO. (Hungary.) Munich. THE TETE-A-TETE. 24 X 18. The gentleman acts as though telUng his fair companion that her portrait does not do her justice. From the cigar between his fingers he must be on terms of easy familiarity in the house. The subdued, ruddy light produced by the color of the window shade is very effectively managed throughout the picture. MODERK OIL PAINTINGS. 40 THEODORE GERARD. (Belg.) Brussels. STEALING A PEEP. 5x7. The little maiden takes advantage of her father's absence to steal a look at his portfolio of engravings. 41 HUGO SALMSON. (Swedo.) Paris. Pupil of the Stockholm Academy and of Comte. Honorable mention Paris salon of 1878. His picture of the " Feast of St. John in Delecarlia," exhibited in 1874, is in the Corcoran Gallery, A SWEDISH LADY 6x8. 42 JUAN ANTONIO GONZALEZ. (Span.) Med. 3rd cl. 1876. THE SPANISH COQUETTE. 8 X 10. This dainty Spanish beauty is set off by the artist with such a charming toilette that she is downright bewitching. 43 JEAN GUST AVE JACQUET, (Fr.) Paris. Pupil of Bouguereau. Med. 1868, med. 1st. cl. 1875, med. 3rd cl. 1878. Chev. Legion of Honor 1879. A painter of high repute. THE CONQUEROR CONQUERED. 42x54. He tells in a spirited and effective way the old story of Venus con- quering Mars. The roll of the drum has yielded to the lute string. This is a strongly conceived, well drawn and finely colored work. 44 E. ANDERS. (Germ.) Duesseldorf. MOTHER'S LOVE. 24 X 38. To judge by the armorial bearings in the window, the little nursling is of high degree, possibly the inheritor of the title. POWEES' ART GALLEKT. 45 G. FERRARI. (Ital.) Paris. Honorable Mention, Paris Salon. THE HARP RECITAL. 19 X 25. A bevy of high-born beauties listening to a solo played by one of thdr number on a harp. Everything in this picture, from the faces and figures to the smallest accessories, is carefully drawn and exquis- itely finished. This canvas will stand, and repay, a very close examination. 46 FRANZ DEFREGGER. (Austr.) Munich. Member of the Munich Academy. Great Gold Medal at Munich and great and small gold medals at BerUn. SPECHBACHER AND HIS SON. 50 X 38. The boy, who is being brought forward by the veteral rifleman, is Spechbacher's child, who, against his father's wishes, had joined a company of sharpshooters, and having killed an eagle on the wing, has earned the proud title of " Schuetzenkoenig," "King of the Riflemen." The grizzly patriot's face says very distinctly to the father : ' ' This isn't the kind of a boy to scold. " Contending emotions play in the face of the father, who has turned round from the exam- ination of a map, on which he has probably been tracing the move- ments of Napoleon's troops. He was one of the celebrated trium- virate — the other two being Joachim Haspinger and Peter Mayer — whose success against the French in 1809 induced the great Andreas Hofer to issue from his hiding place and lead the Tyrolese to the victory of Iselberg. 47 H. OCHMIDIEN. (Germ.) Duesseldorf. MUSIC NOT MATHEMATICS. 13x16. The young hopeful whom the painter has kept in after school, presumably for idleness, appears not to have made the slightest advance with his task. One book lies unopened on the desk, the other has been thrown on the floor : our hero is meditatively whistling, just for company. His eye shows that his mind is outside with his playfellows. Apart from the solitary actor, the picture, as an interior, is very conscientiously painted and is a little work of great promise. MODEKX OIL PAINTINGS. 48 BENNO ADA^I. (Germ.) Munich. ASS AND COLT. 25 X 18. 49 BENJAMIN CONSTANT. (Fr.) Paris. Pupil of Cabanel. Med. 3rd cl. 1875, med. 2nd el. 1876. Chev. Legion of Honor 1878 ; med. 3rd cl. 1878. A celebrated painter of Moorish scenes. AL FRESCO, TANGIERS. 38 X 50. The painter introduces us to some of the members of a Moorish household who are enjoying the fresh air on the roof, a very prevalent custom in Eastern lands, especially after simdown and before sunrise. Everything in the canvas breathes Oriental life, atmosphere and feeling. The faces and figures, the draperies, the walls, the sky and every accessory are wonderfully painted. The drawing and painting of the recumbent figure on the left, more especially the face, is full of character and strength. This is a fine example of Benj. Constant's work. 50 AUG. FINK. (Germ.) Munich. AUTUMN LANDSCAPE. 50 X 34. This landscape is extraordinarily true to nature. It is full of light and air. The artist rims the whole gamut of color in the browns, ochres and tender gray-gi-eens. The atmosphere of the picture is positively invigorating. It did not even need the deer and their enemy, with his dog and rifle, crouching behing yonder tree, to give it life. It is a canvas of great merit. 51 ETIENNE ADOLPHE PIOT. (Fr.) Paris. > Pupil of L. Cogniet. ITALIAN GIRL SPINNING. 86 X 52. The dark type of rustic Italian beauty has been very skUlfuUy idealized in this brilhant picture. POWERS' AET GALLEEY. 52 HUGUES MEELE. (Fr. dec'd.) Paris. PupU of Cog-niet. Medals 1861, 1863. Legion of Honor 1866. Died 1881. A painter of great note. INTERRUPTED. 38 X 53. The earnest face and manly form, whose imexpected coming has caused the fair object of his visit to drop her embroidery for a while, possibly suggest a prospective and not very distant xmion of hand and heart. The subject is treated with all the delicacy and grace for which the artist is famous. 53 L. BANG. (Germ.) Munich. COMPARING NOTES. 18 X 13. These two wastrels are evidently exchanging views on the import- ant subjects of finance and food. The speaker looks as though detailing to his more seasoned elder some rebuff which he has just encountered roimd the corner, whUe attempting to get a meal without working for it. Communistic principles wotild soon take root in this soU. A clever little picture. 64 C. KRONBERGER. (Germ.) Munich. COULDN'T RESIST IT. 13 X 14. A not impossible incident of real life told with remarkable care and skill. The younger of the two luckless wights about to be locked up cannot resist the chance of annexing the watchman's handkerchief. The artist may mean to say that if he was not so dreadfully bent on his work, as his face and attitude show, his prop- erty might remain in his pocket. 55 OTTO ERD:MANN. (Germ.) Duesseldorf. SECRET HOMAGE. 28 X 36. A noble interior is made the scene of a little gallant episode needing no explanation. MODEKIT OIL PAINTIl^-GS. 56 N. SARESI. (Ital.) Florence. THE RIVALS. 20 X 16. Preparations are clearly being made for settling a title to my lady's favor by the "code." The assistants are very anxious the "affair" shall not be interrupted. 57 EUGENE PRATI. (Ital.) Florence. Grand Gold Medal, Triennial Exhibition, 1868. THE MORNING CALL. 7x10. 58 HER3IANN I. K. TEN KATE. (Dutch.) The Hague. Pupil of Kruseman of Amsterdam. Commissioner of the Netherlands to the Exposition of 1878. A FORCED CONTRIBUTION. 33 X 25. The f ortime of war has placed the property of the master of the mansion at the mercy of the stern commander, to whom he is handing over the key of the strong box, which is being carried in by two attendants. The ' ' law of the stronger " is powerfully empha- sized in this fine picture. The faces of the chief actors as well as their costumes deserve more than a passing glance. 59 R. S. ZIMERMANN. (Germ.) Munich. BOYS' INDUSTRIAL HOME. 50 X 30. Nine young waifs are here at work in the shoemaking department of the home, under the eye of the benevolent brother who is now scanning the work of the youth standing near him. His wards look well-fed, happy, and not overworked. This admirably painted pic- ture conveys a strong, direct lesson in practical charity, 60 RICHARD S. ZBIERMANN. (Germ.) Munich. An artist who has made a great reputation for his pictures of common life in Germany. PREPARING FOR THE REHEARSAL. 40 X 25. A band of musicians, assembled in a cottage in the Black forest, are about to rehearse some music. The gray headed old man and his opposite neighbor at the table are whisthng the bass part, which POWERS' ART GALLERY. the former holds in his hand. The leader, with his violin under his arm, is singing it. The viola player and contrabassist are tuning their instruments, while httle Barelegs is trying his hand at the horn. One girl is at the window looking out for the laggard of the band, while her elder sister is busy at a side table pouring out the inviting looking Rhine wine. In conception, drawing, tone and finish this is an admirable performance. The glasses on the table will give the measure of the care bestowed on every part of this work. 61 EMILE MUNIER. (Fr.) Paris. Pupil of A. Lucas and Bouguereau. Honorable Mention, Paris Salon. FEEDING THE PIGEONS. 13 X 25. 62 GEORGES JEAN VIBERT. (Ft.) Paris. Pupil of Barrias. Medals 1864, 1867, 1868, Legion of Honor 1870, med. 3rd cl. 1878. AN UNEVEN GAME. 18x8. The luckless hostler is in the toils. It is easy to see how the game will end. The friar, in whom he would naturally have implicit con- fidence, has one card in his sleeve and another under the heel of his right sandal. All the accessories are painted with the freshness, skill and care which have made this atrist's fame, while the contrast between the two faces is realistic and striking. 63 JULES WORMS. (Fr.) Paris. PupU of Laf osse. Chev. of Legion of Honor. DEVANT L' ALCALDE. Before the Mayor. 32 X 28. The feature of this picture which first strikes one is the pleading face and gesture of the accused between his two fair accusers. They say as plainly as possible : ' ' Your honor, what in the world is a man to do in such a fix as this?" The answering coimtenance of the magistrate is not favorable. The beauty on the defendant's left has finished her evidence; while, to judge by the striking vigor of her gesticulation, the accuser in the red bodice must be pressing home her charge with a torrent of invective. Haply the unfortunate peas- ant has been too liberal in promises of wedlock, the evidence of MODERN" OIL PAINTINGS. which, in the shape of letters and photographs, is being conned over by the mayor's clerk, the priest, etc., on the right. Everything in this fine picture, — faces, costumes and surroundings, — is thoroughly Spanish. It is one of the many fine works with which his journeyings in Spain inspired this gifted painter. 64 ALEXANDRE LOUIS LELOIR. (Fr. dec'd.) Paris. Medals 1864, 1868, 1870. Legion of Honor 1876, Med. 3rd cl. 1878. THE TEMPTATION OF ST, ANTHONY. 40 X 28. Prom Dousman Collection. The famous recluse, St. Anthony, is here represented as struggling ■with one of the temptations by which, according to his biographer Athanasius, he was assailed when a hermit in the desert of Egypt, whither he is stated to have withdrawn towards the latter part of the third century, after having sold all his possessions and distributed the proceeds to the poor. His historian avers that the devil having tried the saint's constancy in every other way, as a last resource, assumed the shape of lustful beauties, such as the two who in the picture are laying siege to his virtue. Horror, pain and vehement internal struggle are scored in every line of his countenance, in the parted lip, the dilated nostril and the spasmodically contracted brow, long vigils and cruel fasts have made that strong but aristocratic face lean and cadaverous. In his anguish, the saint clutches at the rude cross which all but snaps in his grasp. The scriptures, now lying under the foot of one of the sirens, the death's head, water-jug and piece of dry bread sufficiently indicate, in his case, the daily food supplied both to soul and body. The modeling, as well as the flesh painting of the two female figures is beyond praise. The face of the saint is made to convey his internal agony in a most consummate fashion, while the drawing of the hands is perfect. This is a picture which it is fair to call a poem in color. 65 ANATOLE VELY. (Fr. dec'd.) Paris. Pupil of Sigrnol. Medals in 1874, 1880. LE CCEUR S' EVEILLE. The Heart's Awakening. 58 X 98. From Dousman collection. This eminent painter here introduces to us a beautiful damsel of high degree just as she is passing the threshold of womanhood, and those feehngs, incidental to her age, which can be neither defined nor analyzed, are now assumins: the form of a yearning after some such POWEKS' AET GALLERY. Ideal cavalier as the one about whom the stately beldame above her has just been reading. Her fancy has been fed upon such romances for some time past, but this particular one has perceptibly quickened her pulse. This picture is poetic and classic in conception, and bold, broad and free both in feeling and treatment. It is needless to dwel] upon its great merits in detail. It is impossible, however, not to draw attention to the eloquent manner in which the painter makee each of those two faces tell its own story. The grandmother in her gombre garb, with all the illusions of life behind her, the traces of life's struggle from which there is no escape, even in her high station, plainly written on her -pallid lineaments ; the youthful beauty in her damask and satin looking into the futiu-e with joy and hope, yearning and expectant, boding no unkind treatment from the great world into which she will soon make her entrance, of which, too, her lovely, innocent countenance shows she knows so httle, and the face above hers knows, ah i so much ! 66 DANIEL HUNTINGTON. (Amer.) New York. President of the National Academy. PRINCESS ELIZABETH. 20 X 24. Among the innocent victims of the first of the French Revolutions was the subject of this picture, Princess Elizabeth, sister of Louis XVI. She was guillotined in 1794 and is here represented as reading some illuminated prayer book. 67 JEAN CHARLES MEISSONIER. (Fr.) Paris. Pupil of his father, Jean Louis Ernest Meissonier. Sledal, Paris Salon, 1866. THE ARTISTS' LEAVE-TAKING. 20 X 26. The influence of the father's teaching and style are quite percep- tible in this attractive work. 68 AUGUST HAGBORG. (Swede.) Gothenburg Medal 3rd cl., Paris Salon, 1879. WAITING FOR THE BOATS. 18 X 14. Mother and child are looking seaward for the return of the fishing boats on one of which husband and father is at work. The Jittle one in the mother's arms is pointing them out. Into this picture. MODERN OIL PAINTINGS. painted almost wholly in gray tints, the artist has contrived to throw an extraordinary amount of light and breeze. That long, cold stretch of strand is a perfect piece of perspective painting, and is fully equalled in point of merit by those luminous masses of gray clouds. 69 LfioN Smile caille. Pupil of Cogniet. (Ft.) THE HARPIST. 4x9. Paris. 70 ANTON SEITZ. (Germ.) One of the greatest of German " genre ' THE CARD PLAYERS. Munich. 71 H. BRELING. (Germ.) THE JOLLY FIDDLER. 6x10. Munich. 72 V. G. STIEPIVICH. New York. INDOLENCE. 23 X 25. A pretty Egyptian woman is made to personify the thoroughly Oriental virtue (?) indicated in the title given the picture. This performance has promise in it. 73 H. E. EEYNTJENS. (Belg.) THE TEA-PARTY. 7x6. Brussels. 74 A. SCHWARZ. (Germ.) GIPSY GIRL. 15 X 19. Berlin. 75 GEORGE H. McCORD. (Amer.) AUTUMN IN WESTCHESTER. 8x10. New York. POWEES' ART GALLERY. 76 A. RIGON. (Fr.) Paris. WEDDING AT THE CASTLE. 22 X 26. This is a dashing, freely handled sketch, full of bright coloring; as becomes such a subject. 77 PIO RICCI. (Ital.) Florence. THE TEMPTATION. 8x10. The tempter has opened a jewel case and is offering the anxious looking object of his advances a trinket, in order to overcome her manifest fear and reluctance. This is a repulsive but faithfully outlined episode, the chief feature of which is the uncommonly well drawn and painted face of the woman. 78 A. D. DILLENS. (Belg.) Antwerp. Gold Medal, 1855. THE BROKEN BOWL. 6x7. 79 L:60N HAYON. (Ft.) Paris. Pupil of Benouvllle, Picot and Pils. Medal 3rd cl. 1883. THE OLD CARDINAL. 17 X 22. The old cardinal is taking an airing in one of the vestibules of the palace. His decrepit form and bowed head are sharply marked against the stalwart friar on whose arm he is leaning, and who is taking a passing glance at the marble group of ' ' Diana the Huntress." A Dominican monk and one of the secular clergy are in the back- ground. 80 EMIL PREUSS. (Germ.) Brussels. THE WATCH DOG. 36 X 46. Copy. Original in the Wurtz Museum, Brussels. 81 M. L. WOOD. (Amer.) Munich. OUT FOR THE DAY. 5x6. MODERN- OIL PAINTINGS. 82 C. PECRUS. ( .) FAINTING BY THE WAY. 20 X 24. A mother attempting to revive her boy, who has been overcome by the fatigue of the journey. 83 ADOLPHE GILLOK (Fr.) Paris. Medal, Paris Salon, 1867. THE SHRIMP GATHERER. 8 X 14. During ebb tide, the shrimp is caught in nets such as the one seen in this painting. 84 GEORGE H. STORY. (Amer.) New York. Associate of the National Academy. CAPE ANN FISHERMAN. 13 X 18. A conscientious little study of one of the weather-beaten toilers of the eastern coast. 85 BEYSCHLAG. Copy by Horn, on Porcelam. PSYCHE. 9x16 86 TESCHENDORF. Copy by Meinelt, on Porcelain. GIPSY WOMAN. 10 X 14. 87 KNAUS. Copy by Mueller, on Porcelain. THE LITTLE PILFERER. 7x9. 88 MAX. Copy by Mueller, on Porcelain. THE LAST TOKEN. 7x9. POWERS' AET GALLERY. 89 A. KOWALSKI. (Germ.) Munich. RIDE IN THE PARK. 18 X 12. The costumes indicate that the cavaliers belong to the seventeenth century. The whole scene is very natural and is accurately drawn. The horses will bear close inspection : they are drawn and painted with uncommon skill. 90 CASIMIR LEMAIRE. (Fr.) Paris. A HOLIDAY. Near Fontainebleau, 1789. 52 X 34. A light-hearted, gay company of dandies, middle-aged and young, civil and military, with a sprinkling of more or less attractive damsels have been enjoying a holiday stroll on the outskirts of Fontainebleau. It is the year 1789. That dreadful period of French history, graph- ically termed by the French " The Terror," had not yet blanched the face of France. The gay throng has just come upon a band of strolling showpeople, called in France ' ' saltimbanques. " They have seen the show and are now handing that gauzily clad girl with the plate about ten times as much as they would give one of matm-er charms. The pieces they are handling are gold. The performing dogs have been through their tricks : the brindle bulldog, with stolid sagacity, is snatching a hasty "dozen winks;" the middle poodle is looking at the cards, turning over in his mind the countless thrashings it took to bring him to his present proficiency. The band has struck up in order to attract a fresh crowd, and the clown on the barrel is adding his shrill cry to the blare of the trombone and the squeak of the clarionette. This is a charming and beautifully executed con- ception. 9 1 MAX. Copy by Batjek, on Porcelain. THE CHRISTIAN MARTYR. 13 X 18. 92 GEORGE WRIGHT. (Amer.) Philadelphia, STEAMER'S SMOKING ROOM.— WET DAY. 32 X 16. These who have crossed the Atlantic in what sailors call " dirty " weather, will appreciate this picture. Killing time under such circum- stances is a serious business, in which the present company seems to succeed but indifferently MODEKN" OIL PAINTINGS. 93 LUDWIG KNAUS. (Germ.) BerUn. Pupil of Jacobi and of the Academy of Duesseldorf, under Sohn and Schadow. Member of the Academies of Berlin, Vienna, Mimich, Amster- dam, Antwerp and Christiania. Medals 2nd cl. 1853, 1st cl. 1855 ; Rap. 1857 and 1859. Chev. of the Legion of Honor 1859 ; Grand Medal of Honor 1867 ; Officer of the Legion of Honor 1867. THE BUTCHER BOY. 20 X 24. Knaus shows in this remarkable work what genius can do with even the most commonplace subject. Everything about this curley- headed little rogue bespeaks delight in his business. He is a born butcher, and right good-looking. He has just finished "dressing" one "subject," as the doctors say, has hanged up the "pluck" on the right, and is whetting his knife for a second operation. " I'm the boy can show them how to do it " is written all over his smiling face. The drawing, expression and coloring of this otherwise unattractive subject is perfection. The painting of the face, as well as that of the rude clothing, is done with a dash and ease which none but consum- mate artists command. Nor should the admirable drawing and coloring of the arms and hands pass unnoticed. Few pictures dealing with this class of subject equal this bright, realistic creation. 94 BEYSCHLAG. Copy by Baueb, on Porcelain, SPRING. 6x9. 95 A. KAUFFMANN. Copy by Stabler, on Porcelain VESTAL VIRGIN. 12 X 14. The vestal virgins, originally four, but subsequently six in number, were dedicated to the service of the goddess of Vesta, the tutelary divinity of the whole Latin people. Their term of service was thirty years. They were chosen for this service between the ages of six and ten years. During their term they were bound to chastity, ▼iolation of which was punished by their being interred alive io an imderground vault near the Colline Gate, at Rome. Theu- chief duty was to keep the fire perpetually burning on the altar of Vesta. Hence they are usually painted with a lighted lamp as their ' 'attribute. " POWEES' ART GALLERY. 96 MEYER VON BREMEN. Copy by Stadlee, on Porcelain. THE RETURN. 6x9. 97 feDOUARD RICHTER. (Ft.) Paris, Pupil of Hebert and Bcnnat. Honorable Mention, Paris Salon. SAPPHO. 25 X 47. The subject of this spirited painting was one of the greatest lyric poets of Greece. She was born either at Mytelene or at Eresos in Lesbos. Her poems were the admiration of ancient Greece from the time of Solon downwards. Fragments of the nine books of poems she is said to have written are all that remain. But her matchless ode to Aphrodite is evidence of her great genius. The painter has given us an ideal conception of her in the first blush of womanhood. 98 WM. H. BEARD. (Amer.) New York, Member of the National Academy. VOICES OF THE NIGHT. 30 X 20. A very quaint, original conceit. Anyone who wiU lend ears to his imagination will here get music of which a little will go a long way. 99 F. ROYBET. (Fr.) Paris, Medal, Paris Salon, 1866. 1 VELASQUEZ PAINTING THE INFANTA. 15 X 24. In this superb work Roybet represents the great Spanish artist pauiting Margaret, one of the royal princesses of the House of Spain. The portrait of the child is already "roughed in," and the painter Is studying his subject for the traits and expression which he will pres- ently transfer to the canvas. The richness of the effects produced in this pictiire by the judicious contrast of low tones of color is surprising. MODERN OIL PAINTINGS. 100 JACQUES EDMOND LESIAN. (Ft.) Paris. Honorable Mention, Paris Salon. Chevalier of the Order of Francis Joseph of Austria and of the Order of Leopold of Belgium. HOMAGE TO THE DAUPHIN, 1638. 76x42. This is a worK which deserves long ana minute study. It is from the Paris Salon of 1876. The infant son and heir of Louis XIII and Anne of Aiistria is being presented to the court to receive its homage. This is the royal babe who, in after years, as Louis XIV, walked booted and spurred into the legislative assembly of France and told her representatives to go home, as he intended to govern without them. The servile crowd of gran- dees, who are here bowing before the infant, heard from the lips of the man the historic words: "I am the State" (L' etat, c'est moi!). It is difficult to repress such reflections while viewing this magnifi- cent revival of that first court pageant in which the royal child took, part. To re-create such a scene, even though but of yesterday, is a work of great labor. But to conjure up from the past, after a lapse of two and a half centuries, a court solemnity of this description; t» bring the dead to life, to clothe them with historical accuracy, and make them move, speak and act, as the painter has done in this work, is a much more arduous undertaking. The amount of study required for such a picture is difficult to imagine. Every detail of the archi- tecture and decoration, every face, figure and costume demanded accurate and patient research. And yet in this noble canvas their is not a trace of the stiffness which might to some extent be expected. , Everything is freedom, ease, grace, lightness and beauty. The group- ing and coloring are masterly. The joyous queen mother and the royal father will be at once recognized. The other personages, beginning on the left, are the following : Lady of Honor (in front). Marshal de Bassompierre, Madame de Lausac, Duke de Chevreuse, Princess de Guemene, Duke de Longueville, Princess de Conde (seated), Duke de la Tremouille, Countess de Soissons, Duke de Liancourt, Duchess de la Tremouille, Duke de Chavigny, Duchess de Montpensier (young girl), Bishop of Beauvais, Duchess de Bouillon, ^King's Confessor), FRAN. LAFEN. (Fr.) SOLITUDE. 28 X 36. MAX. Copy by Ltjckhardt, on Porcelain. THE ORPHAN CHILD. 9x13. POWEKS' AET GALLEET. 101 DAVID COL. (Belg.) Antwerp. Pupil of De Keyser. Medal, Vienna Exposition, 1873. Chevalier of the Order of Leopold of Belgium. A REGULAR CUSTOMER. 9x11. This celebrated painter of common life subjects has here introduced us to a regular old customer of the cafe in which he is sitting. The good-natured old gentleman has come across soms funny anecdote in the newspaper; he has repeated it to the hostess, and is now enjoying a hearty laugh over it. Great fidelity to nature characterizes this dainty little picture. 102 FRAN. LAFEN. (Fr.) Paris. 103 104—125 CRfrri. (Ital.) Rome. ITALIAN TYPES. 126—127 W. MENZLER. (Germ.) Munich. TWO CHARACTER STUDIES. 19 X 25. The placid beauty of these two faces and the graceful costuming of the head and bust will at once strike the eye. They are probably portraits, and certainly do no injustice to the beautiful originals. 128 JOSEPH COOMANS. (Belg.) Brussels. PHIDIAS IN HIS ATELIER. 35 X 25. The greatest sculptor of ancient Greece is here represented in his studio, surrounded by graceful maidens and a pair of visitors. Phidias was born between 500 and 490 B. C. and, under the brilliant administration of Pericles, was made general superintendent of all the great works of art undertaken during that period. 129—146 CARBONI. (Ital.) Rome. ITALIAN TYPES. MODEEN" OIL PAINTIN'GS. 147 NECHUTREY. (Germ.) Vienna. Pupil of "Wilhelm von Kaulbach. Chevalier of the Order of Franz Josef; knighted by the Emperor of Austria. THE HUSSITES BEFORE NAUMBURG, 1432. 68 X 50. Procopius, the general of the Hussite army, is here represented listening to the mute appeal of the children of the fortress of Naum-' burg, before which his forces sat down during the long war which followed the burning of J ohn Huss, the Bohemian reformer, on the 6th of July, 1415. It is situated in Prussian Saxony, and is sur- rounded by vine-clad hUls. The victorious general had threatened to give everything in the fortress up to fire and the sword. In order to touch his heart, a deputation of children was sent with the key of the place and a petition to spare the lives of the inhabitants. Night is settling down on the city. The first faint glimmerings of the camp fires are seen in the distance. The troops are ready for the assault. In the foreground, the three foremost little applicants eye the dreadful warrior with wondering fear, but dimly conscious of the terrible fate their innocent appeal is warding off from the beleaguered city. Procopius, clad from head to foot in chain armor, is siu-rounded by his stern body-guard. Sin-prise and pleasure beam from his counte- nance as he remembers his own childhood's days, and for the sake of them and the little innocents who recall them to his memory, is swayed to mercy towards all. 148 AUGUSTE HAGBORG. (Swede.) Gothenburg. Pupil of the Academy of Fine Arts, Stockholm, and of Palmaroli. Med. 3rd cl. 1879. OCTOBER. POTATO-GATHERING. 76 X 100. Hagborg here tells the story of peasant life and toil with great earnestness and force. The three farm hands are out at work in the gray morning. The self -concentrated, patient, resigned look of the woman; her deep thoughtfulness, which has borne her mind far away from her present rude occupation, are strongly brought out. The refinement of her features is well set off against the massive jaw and matter-of-fact face of the man who is emptying the potatoes into the sack. The gray light of the sky is diffused over the field from the foreground away into the distance in a most masterly fashion. POWERS' ART GALLERY. The artist invites us to study his two figures and to ponder on their lot. They deserve it, for from such men and women as these the world recruits its best brains. This is a noble picture, in which the influence of Jean Francois Millet is everywhere apparent. 149 CHARLES LOUIS MULLER. (Fr.) Paris. Pupil of Gros and Cogniet. Medals, 3rd cl. 1838, 3nd cl. 1846, Ist cl. 1848. Chev. of Legion of Honor 1849; med. 1st cl. 1855 (Paris Exposition). Officer of the Legion of Honor 1859 ; member of the Institute, 1864. LE ROND DE MAY. May Dance. 43 X 30. A bevy of beautiful damsels, with attendant swains, are dancing around the Mapyole. The composition and coloring of this work are worthy of the artist's high reputation. 150 E. BONTIBONNE. (Fr.) Paris. SKATING, BOIS DE BOLOGNE. 37 X 25. The elegance which the upper classes in France carry into every, thing, is shown in this skating scene. All is in perfect taste. The joyously surprised face of the lady, to whom an admirer has just brought a superb bouquet, and the occupants of the sled, are samples of very careful work. 151 BAREND WYNVELD. (Dutch.) Amsterdam. Professor in the Academy of Fine Arts, Amsterdam. DEATH OF ANGELUS MERULA, 1557. 62 X 42. Merula was one of the victims of the persecution by which Philip n., of Spain, thought to uproot Calvinism among the Dutch, He is shown in the painting as having just died on the spot where he was to have been burned alive. The ox-cart, in which he has been drawn to the place of execution, is on the right. The executioner is asking the inquisitors what to do with the corpse. They tell him to carry out the sentence on it. This was done on the 26th of July, 1557. The hut-like structure is the narrow enclosure in which he was to have been burned. MODERIT OIL PAINTIifGS. 152 WILHELM SCHUTZE. (Germ.) Munich. BLIND MAN'S BUFF. 52 X 38. The participants in this game are all enjoying themselves, except the little fellow near the balcony, who is chewing the cud of some grievance. 153 FRIEDRICH SIMLER. (Germ.) Frankfurt THE MEET. 13x9. A fox-hunting party rifling to " cover. " 154 J. J. ENNEKING. (Amer.) Hyde Park, Mass. A LANDSCAPE. 14 x 10. 155 OTTO SEITZ. (Germ.) Munich. THE OLD MINER. 8x10. The combinatior of wrinkles, toothlessness, keenness and dirt in this face, is a wonder. 156 MARIE J0SI:PHINE NICHOLAS. (Ft.) Paris. Pupil of M. ChapKn, THE TOILETTE. 21 X 31. An interior study of merit. 157 BARTOLOMEO PAGANI. atal.) Rome. ROMAN CARNIVAL. 29 X 39. The scene of the carnival is the Corso, one of the main streets of ■Rome. The crowd amuses itself by all manner of tricks and antics. Tiny parcels of candies and flour, or of fine gravel and lime are thrown powers' aet gallery. at and by the moving throng. Fantastic dresses are worn. Riderless unbridled horses run races down the Corso. On the last night, every body's chief object is to put out everybody else's light. 158 ALBERT DILLENS. (Belg.) Brussels* THE PROPOSAL. 21 X 37. Judging from the look of the party appealed to, the artist hardly thought the answer was going to be: "yes I" 159 PETER KRAE:MER. (Germ.) Munich. A KNIGHT. 14 X 18. Shrewd benevolence is stamped on this strongly painted countey nance. 160 C. COMTE. Copy by v. Bketon. HENRY III AND THE DUKE OF GUISE. 40 X 28. Original in the Luxembourg Gallery, Paris. The duke of Guise, here shown as meeting the French King, Henry of Navarre, is the celebrated Henry I of Lorraine. He was a distin- guished warrior, but having headed the League, and defeated the King, he was induced to negotiate, instead of relying on the people, who had risen in his favor. He was promised all he demanded, but the King had him assassinated in his palace and is said even to have kicked his lifeless body. His brother, the cardinal of Lorraine, waa also killed, and the bodies of both were burned and the ashes scat tered to the winds. This was done on the 23rd of December, 1588, the day after the meeting which is the subject of this picture. The place of the meeting is the Castle of Blois, about thirty-flve miles Bouth-west of Orleans. 161 F. CHENK (Ft.) Copy by V. Breton. THE STRAGGLERS. 46 X 30. Original in the Luxembourg Gallery. A few soldiers who have fallen out of the ranks of a regiment on the march, and an ambulance wagon, in a snow-covered landscape. MODEEN OIL PAINTINGS. 162 C. LAREN. (Eng.) London. THE GIPSIES' HOME. 45 X 30. An original painting from life. The -artist seems to have come npon some semi-domesticated gipsies, and to have transferred a repulsive sample of them to his canvas. 1 63 MICHAEL ARNOUX. (Ft.) Paris. Pupil of Edouard Pr^re. THE OLD HUNTER. 15 X 18. 164 A. MIJNZEL. (Germ.) Munich. PRESSING HIS SUIT. 17 X 21. The stalwart-looking visitor has found something much more worthy of his attention than the fruit to which he is invited. 165 FRED. FLIER. (Dutch.) Amsterdam. LANDSCAPE AND CATTLE. 15 X 13. The animals in this picture are very well painted, as is the storm effect in the middle-distance. 166 W. GAUL. (Amer.) New York. THE SUMMER FIELDS. 21 X 15. 167 A. HUERPOEREUS. (Dutch.) Amsterdam. WOODLAND SCENE. 24 X 18. 168 OTTOR. JACOBL (Germ.) Rochester. THE GIPSY FORTUNE TELLER. 21 X 15. Two country girls have stolen in to the old hag to get their f ortimes told. A weird composition. POWEES' AKT GALLERY. 169 Mme. :MARIE NICHOLAS. (Ft.) Paria Pupil of Chaplin. WeU-known painter of interiors. WINDING THE YARN. 16x21. The artist has surrounded this every-day scene with the charm attaching to correct drawing and well-balanced coloring. 170 S. DELLA VALENTINA. (Ital.) Venice. VENETIAN WATER GIRL. 13 X 14. This is one of the girls who make a living by selling water in Venice, where the only drinking water is brought from the main- land in boats, or caught from the roof when it rains. This is a very neat bit of figm-e and perspective painting. 171 ALFRED PERKINS. (Amer.) Rochester. COHASSET COVE. MORNING. 48 X 26. The effect of the morning mist is very truthfully rendered in this canvas. 172 ACHILLE LEONARDI. atal.) Rome. BEATRICE CENCI IN PRISON. 68 X 52. Guido Reni is here represented as taking Cenci's portrait, the day before her execution, which occurred September 11th, 1599. She was forced, by horrible tortures, to admit her complicity in the murder of her father, a noble villain who was assassinated at the Instigation of his own wife. She was beheaded and buried in San Pietro-in-Montorio, Rome. 173 J. W. FALKNER. (Amer.) JUST MISSED IT. 14x9. The wily fox has, this time, to be satisfied with a mouthful of feathers. MODERN OIL PAINTINGS. 174(304) A. DEGAULT. (Fr.) Paris, PAGE AND PARROT 5x8. 175 GAETANO CHIERICI. atal.) Milan. A skilful painter of domestic tateriors. MATERNAL HAPPINESS. 35 X 28. 176 UNKNOWN ARTIST. DEAD GAME. 20 X 24. 177 T.W.WOOD. (Amer.) New York. Member of the National Academy. "I RECKON." 14 X 20. The sturdy farmer's face and hands tell the story of his calculation ■with great directness. The fruits of the earth on which he is " reck- oning " are evidently painted from nature, and are very well done. 178 CHIAVICI. atal.) Rome. STORM IN THE MOUNTAINS. 20 X 24. A family and a couple of monks seeking the dangerous shelter of a big tree during a storm. 179 VAN MUYDEN. Copy. MOTHER AND CHILD. 21 X 25. An extremely good copy of the original which is in Mazzolini's Gallery, Rome. POWEKS' AET GALLEET. 180 J. DE EAGER. (Germ.) Frankfurt, WHAT NEXT ? 16 X 20. Having exhausted the preliminary commonplaces, the matron is. looking for something to fill up the blank paper before her, and,, seemingly, does not find it. 181 FRANCIS BOUCHER. (Fr.) Bom 1704. Died at Paris, 1770. PASTORAL SCENE. 45 X 35. Conventional shepherds and shepherdesses, of the Marie Antoinette type at Trianon, are ready for the inevitable love making. This picture is a good example of the style of art ciurent and fashionable in Boucher's time. 182 V. DEVOS. (Belg.) Brussels, THE PETS ALARMED. 45 X 32. An attempt to depict, in animals, the consciousness of mischief done, and consequent fear: a most difficult undertaking. 183 V. GIOVANNINI. atal.) Rome. THE APPIAN WAY. 38 X 18. In ancient times, this was called the queen of roads (regina viarum.) It was commenced in 313 B. C, under Appius Claudius Coecus, and was subsequently carried as far as Brundusium, the modern Brindisi. Its cost must have been prodigous, as the pavement consisted of large, six-sided blocks of stone lotted together with the greatest nicety, so a& to form one smooth mass. The foundation was also laid with the greatest care. The land on either side was a favorite burial place with the ancient Romans. Pius IX. had eleven miles of it uncovered from the accumulated rubbish of ages. This part now forms one of the finest drives out of Rome. MODERN" OIL PAINTINGS. 184 V. GIOVANNINI. (Ital.) Rome. THE ROMAN CAMPAGNA. 35 X 19. The Campagna is the country lying between the Sabine hills and the sea. The lakes, which are numei-ous, are the craters of extinct volcanoes. The ruined arches in the distance are portions of the Claudian aqueduct, built by the Emperor Claudius (A. D. 50), and running to the mountains on the East, a distance of fifty -eight and one-half miles. The pecuhar atmospheric effects of the Campagna are fairly rendered in these pictures. 185-186 O COSTA (Ital) Florence. A deaf and dumb painter. GAME PIECES, 25 X 33. The canvas is painted to imitate wood, and the game is very truth- fully drawn and colored. 187 THEODORE RARE. (Germ.) Berlin, THE DUET. 31 X 45. The music may be a duet, but the artist very clearly hints that the hearts are beating in unison. 188 W. DITTERMAN. (Germ.) Berlin. THE FORAGERS. 33 X 24. Troopers are returning to camp along a snow-covered highway, laden with all kinds of farmyard plunder. A clever composition, thoroughly wintry in character. 189 G. H. McCORD. (Amer.) A STUDIOUS BEAUTY. 28 X 30. Seated near a gigantic sunflower, in a sunlit path, a young lady is poring over some absorbing book. This is a bright, effective study of foliage in light and shade. POWEES'" ART GALLEBY. 190 H. HILLER (Germ.) Berlin. CHANGING HORSESo TYROL. 37 X 43. A mountain hostelry in the Tyrol, where the diligence has stopped for a relay of horses. The rarefaction of the air, which makes distant objects appear surprisingly near, is admirably well shown in the mountain mass behind the inn, as it is made to look but a stone's throw from the roof. The rocks, snow, trees, mist, etc, are ex tremely true to nature, both in textuie and tone. This is a capital Alpine landscape. 191 ROMAKO. atal.) Rome. SENTINEL OF LOUIS XV. 37 X 43. "A picture of remarkable style is the Romako, a life-size, well- grown enslaver, of the time of Louis Quinze, executed with com- manding dash and perfect mastery of technic The cherry lipped beauty looks almost too fresh for her situation. The orgies of the •Pare aux Cerfs' were too punctually begun at midnight, lasting over till midday, ' for the ' Sentenelle ' who parades, in her laced cocked hat and with her jeweled musket, in front of the retreat, to retain this look of keen enjoyment of life and deviltry under the glare of day light. There is a good deal of the ' deuce ' about these high- stepping jades when they are quietest, and the witchcraft on this occasion has got into the brushes that painted so miraculous a study.' — New York Oraphic. 192 EDWARD GAY. (Amer.) New York. Pupil of James Hart, Schirmer and Lessing. THE QUIET RIVER. 50 X 30. A rural scene, with limpid river, snug farm houses among the trees, and cattle, all under a sky dappled with fleecy clouds. Repose and calm breathe from this canvas. The aerial perspective, the drawing and coloring are very good. MODEEN OIL PAINTINGS. 193 GUISEPPA SACCRA. (Ital.) Naples. SHORE VIEW. BAY OF NAPLES. 49 X 23. This picture gives a good idea of the shore line from Naples to Vesuvius. 194 A DOLL. (Germ) Munich. THE OLD MILL. 36 X 20. There is plenty of evidence in this canvas of conscientious study of nature. The subdued, mellow light ot the sky is reflected through- out the picture. This is a good example of this pamstaking artist. 195 UNKNOWN. HEN AND CHICKENS. 14 X 18. 196 J. C. CANCEL. (Belg.) THE LITTLE FLOCK. 29 X 21. Antwerp. 197 LUDOVICO BRUNTS. (Ital.) INNOCENCE AND FIDELTY. 23 X 18. Rome. 198 W KOOIMAN (Belg.) MILKING TIME. 24 X 15. Brussels. 199 W. KOIEMANS. (Belg.) Gold Medai. LANDSCAPE AND CATTLE. 31 X 21. Brussels. powers' art gallery. 200 G. W. MAYNARD. (Amer.) New York Pupil of Edwin White, Florence, and of th© Royal Academy of Antwerp, WAITING FOR THE TRAIN. 8 X 10. A clever study of an old man, pipe in mouth, waiting for a train. 201 A. LASALLE. THE PET RABBITS. 7x9. 202 HANNO RHOMBERG. Copy by Geislee. THEIR FIRST SMOKE, • 29 X 34. The original of this picture is No. 390 in the new Royal Pinakothek of Munich. 203 HANNO RHOMBERG. Copy by Geislek. Munich. THE SLED MAKER. 29 X 34. 204 FRIEDRICH BISCHOF. Copy by Geisler. Munich. THE FIRST SNOW. 29 X 34. The original is No. 148, in the new Royal Pinakothek, Munich. 205—206 EMIL PREUSS. (Germ.) Brussels. TWO FEMALE STUDIES. 32 X 40. 207 EUGEN HESS. Copy by Geislek. Munich THE CONVENT'S GUEST. 20 X 34. In this excellent copy, the creature comforts of the convent are plied upon the guest for a purpose best known to the abbot who is entertaining him. As a study of a monastic interior, the picture has much merit. The original is No. 83 in the new Royal Pinako- thek, Munich. MODERN OIL PAINTINGS. 208 R. DE ELORRIAGA. (Span.) New York. THE OLD BEAUX. 8 X 10. 209 UNKNOWN. Canaletto School. THE PIAZETTA. Little Square of St. Mark, Venice. Moonlight View. 43 X 34. On the left is the west front of the palace of the Doges; across, the Molo; in the distance, the church of St. George. One pillar has the Winged Lion of St. Mark, the Protector of Venice; the other has St. Theodore, the patron of the Republic. 210 MOLINO (Mexican.) Mexico. MEXICAN HORSEMAN 18 X 12. 211 CHO. Or^DEDSLEIG. (Dutch, dec'd.) ROMAN OX. 43 X 31. The noble looking animal here portrayed is of the Campagna breed of herding cattle. The landscape is the valley of Ariccia, somewhat to the south of Rome. 212 FREEDRICH SIMLER. (Germ, dec'd.) Frankfurt. BIRD HUNTING. 18 X 15. 213 E. E. HASTINGS. (Amer.) New York. THE HAPPY FAMILY. 10x14. 214 After CORREGGIO. Artist Unknown. ST. CATHERINE PRAYING. 14 X 10. This is a very excellent copy of a well known picture. POWEES' ART GALLERY. 215 KARL F. SOEN. (Germ, dec'd.) Duesseldorf, Professor at the Dueeseldorf Academy. Pupil of the Berlin Academy and of Schadow. He formed many of the best painters of the modem German school. TRAVELLING LOCKSMITH. 8x13. Thia sketch is made with, a cleanness, care and precision -which remind one of Teniers and Bloemaert. 216 ALFRED LOUIS JACOMIK (Ft.) Paris. Pupil of his father. Medal at Philadelphia 1876. THE DILETTANTE. 21 X 26. A gaily dressed cavalier is inspecting an interior church view by the artist, who is standing near, apparently indifferent to the effect produced on the aristocratic critic by his work. The properties and odds and ends of the artist's studio are very effectively worked up : the picture, as a whole, is a good sample of this careful artist's best method. 217 A. A. LESREL. (Fr.) Paris, PupU of Ger6me. SOLDIER, TIME OF LOUIS XIH. 8x10. From the Harper's Collection, sold in New York, March 13th, 1880, 218 OTTO PILTZ. (Germ.) Weimar, GRANDPA NURSING. 8x10. 219 OTTO PILTZ. (Germ.) Weimar. GRANDMA TEA-DRINKING. 8x10. It is merely necessary to say that these life-like studies are by the same hand which painted "Limch Time in School," No. 14 of thJs ^ Catalogue. MODERiq" OIL PAINTIN"GS. 220 E. T. GUISER. (Germ.) Munich. SOLDIERS CARD PLAYING. 14 X 12. The soldier with the pipe in his mouth has led a card which is a "poser " to his antagonist, who is scratching his head in his perplexity. The latter's righthand neighbor is advising him what to do. This is a graceful composition, good in drawing and color, and of almost microscopic finish. 221 C. GEIBEL. (Germ.) "Weimar. THE CLOCK-MAKER. 7x9. The old fellow has laid aside his work for the purpose of conning over the newspaper and refreshing the inner man. 222 GUSTAVE DE JONGHE. Medal 3rd cl. Paris Salon, 1863. (Belg.) THE FIRST MUSIC LESSON. 18 X 24. A thoroughly well studied and pamted subject. 223 T. SCHLESINGER. (Fr.) THE BUTTERMILK GIRL. 8 X 10. Brussels. Paris. 224 FRANZ DEFREGGER. (Austrian.) Med. 3rd cl., Paris Salon, 1878. Munich. PORTRAIT. 7x9. This is one of the best bits of painting in the whole Gallery. The cleanness, firmness and warmth of the flesh painting, and the trans- parency of the middle tints and shadows, are given with incomparable ease. This little picture deserves attentive study. POWEES' ART GALLERY. 225 MAX. GUISER. (Germ.) Munich. * THE VILLAGE POLITICIANS. 19 X 16. The village oracle is putting to the senior member of the party an argument which the latter finds hard of digestion. The listener in the corner is smiling wickedly at the old man's discomfiture. The treatment of this subject is free, bold and natural. 226 C. GEIBEL. (Germ.) Weunar. THE BRETZEL BOY. 7x9. 227 J. CAROLITJS. (Belg.) Brussels. Gold Medal. THE MORNING TOILET. 20 X 26. 228 PETER KRAEMER. (Germ.) Munich. PORTRAIT OF A MONK. 34x39. The venerable friar here portrayed looks as though reflecting how much mirth-provoking liquid had, one time or another, been poured out of the flagon in his hand. Kraemer is quite at home in this kind of subject, which he treats with geniality, skill and true artistic feeling. This canvas is painted with decision and force. 229 A. LUEBEN. (Germ.) Munich. A famous painter of Bavarian peasant home life. HER OWN BARBER. 23 X 30. This mother is evidently a factotum in her own house. From her method of working she is an adept at the business. There is a quiet suggestion in this picture of the economy in small things which leads to comf ort^ and independence. MODERN OIL PAINTINGS. 230 ARNOLDO TAMBURINI. atal.) Florence. THE CHOICE VINTAGE. 10 X 13. The cellarer of the Convent is carrying a cask of fine wine, jealously- guarded by the abbot's seal, to break which would involve dire pen- alties. He eyes the formidable bit of wax vnth no friendly mien. 231 GUSTAVUS MANCINELLI. atal.) Rome THE CONVALESCENT. 26 X 31. A fair specimen of the modern Italian school of painters. The young lady, just recovering from an illness, is seated at a window taking the air. 232 Lf:ON VICTOR DUPRfi. (Fr.) Paris. Brother and pupil of Jules Dupre. Medals at Paris and Philadelphia. LANDSCAPE. 28 X 17. The influence of the artist's celebrated brother is manifest in this landscape. Indeed it would not be very difficult to mistake it for a "Jules" Dupre. The perspective is faultless, the tone rich and mellow, and the foliage is painted with extraordinary sureness and lightness of touch. The distances, too, are indicated with great skill. 233 J. BEKEDICTER. (Germ.) Munich. DUTCH KITCHEN. 24 X 20. This arched and vaulted kitchen looks like the crjrpt of some old abbey turned to the utilitarian purposes indicated by the cook stand- ing in the ruddy glow of the fire. The light and shade are well managed, the pots and pans and other utensils are painted so as not only to tell exactly of what metal they are made, but even to disclose the repairs they have undergone. The onions strung overhead one can almost smell, such has been the artists' scrupulous fidelity to the originals. The blending of the two kinds of Ught — from the windows and the fire — is skillfully worked out. This is a very imcommon treatment of a very ordinary subject. POWEES' ART GALLERY. 234 Lf:ON PERRAULT. (Ft.) Paris. Pupa of Picot and Bouguereau. Medal 18G4, med. 2nd cL 1876. AZOR'S EDUCATION. 35 X 46. It goes without saying, that Azor is the demure little poodle, with the lump of sugar on his nose. His fair young mistress is ' ' putting him through his facings," while a younger sister and a brother look on with kindly interest at the lesson. The faces of these children are striking specimens of feature painting. The attentive seriousness of the gentle teacher, the pleasure and expectation of the younger children, are rendered with masterly skill. The modelling of the neck and arms of the chief figure, and the drawing both of her own and her sister's hands, are real triumphs of art. The furniture too, even to its lesser details, is drawn and painted with as much skill as conscientious care. A large mass of yellow is a difficult thing to manage in a canvas; but the artist here makes it harmonize admirably with his other colors. It is no wonder that this picture, when exhib- ited at the Paris Salon of 1872, evoked great and general applause. It was looked upon as a chef d' ceuvre. It was purchased at the sale of the Harper's Collection, of which it was considered the gem, March 13th, 1880. 235 J. GEORGES FERRY. (Fr.) Paris. Pupil of Hillemacher and Cabanel. A LITERARY REUNION.— Under the First Empire. 15 X 24. A carefully composed, soberly colored canvas. It will bear a good deal of inspection. Singularly enough, considering the artist's coun- try, he gives the places of honor on the capitals of the two chief pillars to Newton and Milton. This, probably, to intimate that the home of genius is wherever the higher civilization holds sway. The savants to whom he introduces us are grave and decorous, and his ' ' blue stockings " are unusually attractive for the class. The painting ,of this picture, even to the least of its details, is the perfection of nicety and care. 236 NARCISSE VIRGILE DIAZ. (Fr. dec'd 1876.) LANDSCAPE WITH FIGURES. 15x21. This picture speaks for itself. Of the great artist who painted it, Jarves says in Art Thoughts : "He is charming in his genre land- MODERN OIL PAINTINGS. scape motives, in which he introduces little children, lovely women or classical nymphs, amorini or whatever best affords him scope for his rich flesh-tints, in contrast with magnificently colored draperies on the deep greens and browns of vegetation. " Roger Ballu says of him in the Gazette des Beaux Arts: "He has attached his name to one aspect of nature. When October comes, go to the heights of the valley of the Salle, or in the thickets of Bas-Breau, wander in the midst of the superb vegetation, * * * where play all shades, the dark green, the brown, the golden yellow, the bright sca,rlet ; and, seeing this magnificient twinkling of autumn tints, you will sm-prise yourself saying 'Behold a Diaz.'" No better comments on this picture could be made than those embodied in the two extracts above quoted. 237 W. HOUGH. (Eng.) London. RASPBERRIES. 10x7. 238 F. SCHLESINGER. (Germ.) Munich. THE COUNTRY DOCTOR. 26 X 22. The doctor's benignant face and inviting gesture do not prevent the child from shrinking from him. The poor little thing has a face swollen from toothache, and forebodes the forceps lying on the doc- tor's desk, although she does not see it. This is a life-like picture. 239 CHARLES FRANgOIS DAUTBIGNY. (Fr. dec'd 1878). Pupil of Delaroche. Medals 1848, 1858, 1855, 1859, 1867. Le^on of Honor 1859. GflBcer of Legion of Honor, 1874. Diploma to the memory of deceased artist. Exposition Universelle, 1878. SPRINGTIME. 22 X 14. From Dousman coUectioiL "It is the real hospitable and familiar country, without display or disguise, in which one finds himself so well off, and in which one is wrong not to tarry longer when he is there, to which Daubigny trans- ports me without jolting, each time I stop before one of his pictures." Edmond About, Salon of I864.. POWEES' ART GALLERY. 240 L. CROSIO. ( .) Munich. THE LECTURE. 14 X 20. A gentle reproof is being administered by mamma to her little daughter. If the reprimand is conveyed with a tithe of the delicacy and refinement which the artist displays in his picture, it must be worth hearing. 241 Kl:Mf:KDY YENO. (Hungarian.) Munich. THE ARTIST'S STUDIO. 20 X 28. The artist's handsome wife has stolen upon him in his studio and taken the brush from his hand, teUing him that it is now time to give her a little attention. The garments of the two actors in this pretty domestic scene, as well as the accessories of the studio, are very good samples of texture painting. 242 EASTMAN JOHNSON. (Amer.) New York. Member of the National Academy. THE REPRIMAND. 23 X 19. The stem-looking old man in the chair has administered a rebvike to the girl, who seems to have just returned from some forbidden excursion. Hesitating defiance is strongly marked in her face ; but that cold, imyielding eye under the hat will probably bring her to her senses, unless, forsooth, there is a beau in the question. Then, who can tell? This is a very powerful piece of character delineation. 243 J. A. DEGRAVE. (Fr.) Paris. Pupil of Gerome. SCHOOL RECESS. 11 X 13. This infant group has forgotten all about the alphabet they have just been learning, and they are now occupied with the doll. This gem was purchased at the sale of the Harper's collection in New York. March 13th, 1880. MODERN OIL PAINTINGS. 244 CECIL C. VAN HAANEN. (Dutch- Austrian.) Venice. Medal 3rd cl. 1876 ; 2nd cl. 1878, Paris Exposition. A painter of great merit, whose works are exceedingly difficult to get. TAILOR'S WORKSHOP. 21 X 27. Three seamstresses occupy the front of the shop. In the deep shadow behind them the tailor himself sits cross-legged on his bench. It will take a moment to discover him, but he is there, every bit of him. This artist paints with a fearless brush, and the accuracy which comes of close study. The bricks, the faded paint of the woodwork, the faces and garments of the workwomen and the pre- siding genius behind, are given with rare truthfulness, dash and vigor. This is a striking work. 245 G. H. BOUGHTON. (Eng.) New York. Member of the National Academy. KATRINA VAN TASSEL. 16 X 24. "Among the musical disciples who assembled, one evening in each week, to receive instructions in psalmody, was Katrina Van Tassel, the daughter and only child of a substantial Dutch farmer. She was a blooming lass of fresh eighteen, plump as a partridge, ripe and melting as one of her father's peaches, and universally famed, not only for her beauty, but for her vast expectations. She was withal a little of a coquette, as might be perceived even in her dress, which was a mixture of ancient and modern fashions, as most suited to set off her charms. She wore the ornaments of pure yellow gold, which her great-great-grandmother brought over from Saardam ; the tempt- ing stomacher of the olden time; and with a provokingly short petticoat, to display the prettiest foot and ankle in the country round." — Washington Irving, Sketch Book. 246 EUGENE J. VERBCECKHOVEN. (Flemish, dec'd.) Member of the Academies of Belgium, Antwerp and St. Petersburg. Chev. of the Legion of Honor ; of the Orders of Leopold of Belgium, Michael of Bavaria and Christ of Portugal. Decorated with the Iron Cross. THE SHEEP COTE. 21 x 28. This work, painted on panel, is dated 1840, previous to the tim^ when an ever increasing demand for the artist's pictures betrayed POWEES AET GALLEET. him into a hurried and somewhat carelesss manner, which greatly detracted from their real value. It does not need a single word of comment. 247 J. G. BROWN. (Brit. Amer.) Pupil of the Eoyal Scottish Academy, Edinburgh. Member of the National Academy. Medals at Boston and San Francisco. An artist whose pictures have great vogue. "DEAD BROKE." 16 X 24. 248 ANTON SEITZ. (Germ.) Munich. Known as the Meissonier of Germany. DER SCHUETZENKOENIG. 13x20. The King of the Riflemen. The hardy, steel-nerved veteran has borne the prize away from all his competitors, and has returned with the flag of victory. The look and stride of the doughty old crack shot proclaim his envied emi- nence. In the left hand corner are the inevitable fiddle, cornet and double bass, furnishing the regulation amount of noise. Friends sit enjoying themselves at a table. Through the open door is seen a marksman just firing at the target. The execution of this picture speaks for itself. 249 JEAN BAPTISTE TRATER. (Fr.) Paris. Pupil of his father. Medals 1853 and 1855, Paris Exposition. THE LACE CONNOISSEURS. 18 X 22. Two ladies exchanging views on a piece of lace. A clever, deftly handled composition. 250 LOUIS Smile ADAN. (Fr.) Paris. Pupil of Picot and Cabanel. Medal 3rd cl. 1875, med. 2nd cl. 1882. MARGUERITE. 12 X 16. From Harper collection. Kneeling by Michael Angel o's Piet^ (the art name given to the dead Christ in the Virgin's lap), Marguerite gives full vent to her remorse MODERN" OIL PAINTINGS. and grief. Her companions in the distance are calling one another's attention to the fallen girl. Drawing, color, light and shade and perspective are next to faultless in this work. 251 AUGUSTS TOULMOUCHE. (Ft.) Paris. Pupil of Gleyre. Medals 1852, 1859, 1861. Legion of Honor, 1870. Medal 3rd cl. Universal Exposition, 1878. A SWEET REVERIE. 15x24. From Dousman collection. On the tapestry, behind the subject of this finely painted picture, the artist has hinted what is passing through her mind. An example of his best work. 252 J. G. VIBERT. (Fr.) Paris. Pupil of Barrias. Medals 1864, 1867, 1868. Legion of Honor 1870. Med. 3rd cl. Universal Exposition, 1878. An artist with no living superior in his fipecial line. REHEARSING. 7x11. From Harper collection. It is not uncommon in Continental churches, where the Gregorian chant is used, to accompany the voices on the double bass. The subject of this picture is engaged in rehearsing for some forthcoming festival in the church choir. This picture is painted with great fidelity to nature. 253 JULES DUPRI:. (Fr.) Paris. Medal 2nd cl. 1833, Legion of Honor 1849, med. 2nd cl. 1867, Officer of the Legion of Honor 1870. A LANDSCAPE. 13 X 16. TheophUe Gautier, the celebrated critic says of this painter: "The young generation, who did not see the splendid putting forth of art which followed the revolution of July, is astonished before the pictures of Jules Dupre, by this boldness, this zeal and this brilliancy. We are no longer accustomed to these superb extremes, to this excess of strength, to this overflowing of power, to these full-faced struggles with nature. This excessive scale dazzles the eyes habituated to the sober regime of gray. " POWEES' ART GALLERY. 254 J. G. BROWK (Brit.-Amer.) NeTV York. Pupil of the Royal Scottish Academy, Edinburgh. Member of the National Academy. Medals at Boston, 1st Medal, San Francisco, 1877. THE CHALLENGE. 22 X 28. The bold, keen-faced iirchin is ready to pit Ms likely looking dog against the broken-haired terrier, whose youthful owner declines the match. Both owners and dogs are painted with expression, vigor and care. 255 A. F. BUNKER. (Amer.) New York. THE MOLO OR HARBOR OF VENICE. 20 X 22. 256 PETER KRAEMER. (Germ.) Munich. MONK TAKING SNUFF. 24 X 29. Good natured benignity, wrinkled old age and constitutional antip* athy to water speak from this canvass with uncommon force. The face is "ripe" and mellow, the eyes bleared and bibulous, the hands firmly drawn and splendidly painted, even to the dirt under the finger nails. In a purely artistic point of view, this is a most attractive old friar. 257 JOSEPH C00:MANS. (Belg.) Brussels A CLASSIC BEAUTY. 14 X 18. 258 tyn-LE VAN MARCKE. (Fr.) Paris. Pupil of Troyon. Medals, Paris Salon, 1867, 1869, 1870. Legion of Honor 1872. Medal 1st cl. 1878, Universal Exposition. As a cattle painter he ranks next to his master, Troyon. CATTLE. 32 X 22. From Dousman collection. A splendid example of this great artist. The drawing of these animals, the clear atmospheric effect and the broad, bold manage- MODERN OIL PAINTINGS. ment ot light and shade are masterly. Nothing can be finer than the transparency of the shadows in this picture. It deserves prolonged study. 359 GARCIA Y. MENCIA. (Span.) Paris. Pupil of Madrazo. "EL PELEL." The EflBg-y. 37 X 27. The effigy of Judas is being tossed in a blanket, on Easter eve, according to an old Spanish custom. The principal group of actors in this scene are alive to the f im, and are quite Spanish in garb and feature. The passing monk with his load of eatables suggests the end of Lent. There are thirty-five figures in this characteristic, excellent canvas. 260 J. G. VIBERT. Copy by E. Peters. THE BISHOP'S ANTE-ROOM. 19 X 15. An exceedingly good copy of this well-known picture. The peasant woman has brought her offering and is being entertained by the fat friar. Two other ecclesiastics are in the far corner, — the Dominican turning to eye the buxom young dame. The bishop himself is watch- ing the whole from the door on which is printed : "Fermez douce- ment," " Shut softly." An examination of this picture wUl show the extraordinary amoimt of careful work in it. 261 JULES FRI:dI;RIC BALLAYOINE. (Fr.) Paris. PupU of Pils. Medal 3rd cl, 1880. A DREAM. 70 X 104, Out of the horn of Morpheus, typical of sleep, emerges a fair, ethereal form, breaking the chains of slumber from her wrists and apparently about to float away. This picture was painted to order for a Russian Prince for the svun of twenty thousand franca. POWEKS' ART GALLERY. 262 J. J. ENNEKING. (Amer.) Hyde Park, Mass. CATTLE SCENE. 22 X 10. 263 P. RENAUD. (Fr.) Paris. VIEW NEAR BREST. 20 X 24. A very cleverly painted landscape. 264 KARL F. SOHN. (Germ.) Duesseldorf. Pupil of the Berlin Academy and of Schadow, whom he followed to Dues- seldorf. He has formed many of the best painters of the Duesseldorf School. STUDY OF DISAPPOINTED LOVE. 12 X 16. An unusually good study of facial expression, quiet and subdued in character and tone, with a great deal of sadness impressed upon it. 265 WM. H. BEARD. (Amer.) New York. Member of the National Academy. A painter of humorous satires on the brute creation. "GO WHEN I'M MIND' TO." 15 X 12. The monkey ordered out of the house thinks himself fully the equal of the rich parvenu who is showing him the door. A clever little picture in Beard's happiest vein. 266 ACHILLE LEONARDI. atal.) Rome. PETRARCH'S FATHER THROWING THE POET'S BOOKS INTO THE FIRE. 19 X 25. Petrarch's father, angered at the boy's love for the Classics rather than for the study of law, to which he destined him, threw his precious manuscripts of the Classics into the fire. The son's grief and despair, however, mollified the father, who snatched the books from the flames and bade him follow his own bent. MODERN OIL PAINTINGS. 267 UNKNOWN. PORTRAIT. 13 X 29. The original of this strong likeness would seem, from his garb and general appearance, to have been some old German professor or ecclesiastic, perhaps both. It is a well painted piece. 268 MUNSCH. 269 MUNSCH. COUNTRY SCENE. 13 X 16. COUNTRY SCENE. 13 X 16. 270 M. C. inDDLEBECK. (Dutch.) Amsterdam. WINTER SCENE. 22 X 27. 271 T. BANTI. atal.) Florence. GALLILEO BEFORE THE INQUISITORS. 43 X 32. This painting is supposed to represent Gallileo in presence of the secret tribunal of three, called the Inquisition. The great philos- opher, at the date of this episode in his life (June 22nd, 1633), was about seventy years of age. Possibly the motion of the earth, maintained by him, is imder discussion. He was forced to retract his theory on that point. There is some fair painting in this picture, but the subject is clearly a great deal too big for the artist. 272 GILBERT STUART. (Amer. 1756-1828.) Narraganset, R. I. Pupil of Benjamin West, of the Eoyal Academy, London. As a painter of heads, Stuart had few equals in any ag-e or country. He was indifferent about the finish of the accessories of his portraits, subordinating everything to the head and face. Few painters could transfer the natural traits of character to canvas with the vigor and fidelity of this great painter. GEORGE WASHINGTON. 72 X 106. powers' art gallery. 273 T. BOMPIA. (Ital.) Florence. DANTE AND GIOTTO, 44x32. One of Dante's frequent visits to Giotto, the great reviver of paint- ing in Italy. The poet is reciting portions of the "Inferno" to the painter seated at his work. The period would be about the year 1300. The composition lacks dignity and strength, and the coloring is indifferent. 274 J. TENSFELD. (Amer.) Chicago. LONGFELLOW. 21 X 27. This portrait, though cold in tone, is not without merit. 275 A. DE BERGH. (Flem.) Antwerp. THE ZOOLOGICAL GARDEN. 21 X 25. 276 UNKNOWN. ITALIAN FAMILY. 36x44. 277 R. DE ELLORIAGA. (Span.) Paris. THE OLD BEAUX. 12 X 16. 278 J. ANTONELLA. (Ital.) Rome. BIRTH OF THE LILY. 11 X 15. An allusion to the classical myth of the creation of the pond lily by the Lake Nymphs. 279 CONSTANT CAP. (Flem.) ' Antwerp. THE PET BIRD. 9x12. MODEKN OIL PAINTINGS. 280 E. SARRI. (Ital.) AT THE FOUNTAIN. 11 X 15. 281 H. J. SURGES. ( THE FAIR ARTIST. 10 X 12. 282 A. ROSENBOOM. (Belg.) THE CONVERSATION. 21 X 23. 283 J. E. MOREL (Belg.) Florence. Paris. Brussels. Antwerp. EVENING. 11 X 13. 284 J E, MOREL. (Belg ) Antwerp MORNING. 11x13. 285 JOSEPH YERKET. (Fr 1714-1789 ) A renowned painter of marine pictures. CASTLE IN THE LEVANT. 43 X 23. Vernet's pictures are remarkable for their warm, luminous atmo* pliere, strong, careful drawing, accurate perspective and high finish. 286 JLT.IUS HUBNER. (Germ ) BABY'S FIRST TOOTH. 37 X 43. Duesseldorf. 287 EDWARD GAY. (Amer ) THE OLD ESTATE. 56 X 45. A well drawn and very carefully painted picture. New York. POWERS' ART GALLERY. 288 FRED. BERLIN. (Germ.) Brussels. SCENE IN ANTWERP. 18 X 11. 289 O. R DE JONGHE. (Belg.) Amsterdam. SCENE IN AMSTERDAM. 34 X 28. A canal and street scene in the quaint old Dutch city. The artist has infused a good deal of interest into this view. 290 BARTOLOMEO PAGANI. (Ital.) Rome, MEETING OF THE POPE AND KING. Porto d' Anzio (1857). 55 X 37. The place of this meeting between Pius IX. and Ferdinand II, was Antium, about thirty miles south of Rome. 291 ALLEGORICAL PICTURE OF SPRING. 292 ALLEGORICAL PICTURE OF SUMMER. 293 ALLEGORICAL PICTURE OF AUTUMN. 294 ALLEGORICAL PICTURE OF WINTER. 295 ELIZABETH LOUISE LEBRUN. Copy. PORTRAIT OF HERSELF. 36 X 41. This is a good copy of the original in the Ufflzi Gallery, Florence^ which is one of the best of the collection of three himdred and fifty portraits of painters, painted by themselves. 296 OTTO R. JACOBL (Germ.) Rochester. REBECCA AT THE WELL. 18 X 24. MODERN OIL PAINTINGS. 297 GRUBAS. (Ital.) Venice MARINE VIEW. 17x11. 298 GRUBAS. THE HARBOR OF VENICE. 41 X 29. TMs view is from the public garden, the extreme eastern point of the city. In the background are the domes of St. Mark, then the entrance to the grand canal, on the left point of which are the custom house and the Church of the Salute. On the extreme left are the fortifications and the Church of St. George. 299 GRUBAS. MARINE VIEW. 17 X 11. 800 GRUBAS. SHIPWRECK AT SEA. 40 X 28. 301 GRUBAS. FIRE AT SEA. 40 X 28. 302 GRUBAS. THE GIUDECCA, VENICE. 45 X 31. 303 GRUBAS. ' BRIDGE OF THE RIALTO, VENICE. 18 X 12. It was constructed in 1588-91, is 158 feet long, 46 feet wide, with a single marble arch of 74 feet span, and 32 feet in height, resting on 12,000 piles. Until 1854 this was the only bridge over the Grand POWEES ART GALLERY. Canal, and connecting the east and west quarters of the city. There are now two iron bridges. The Rialto was formerly the "Place of the Exchange," and four hundred years ago was the grand focus of the entire commerce of Europe. 304 GRUBAS. CHURCH OF THE SALUTE, VENICE. 18 X 12. This church, called San Maria della Salute, situated at the eastern extremity of the Grand Canal, nearly opposite the Royal Palace, was built in 1632 under the architect Longhena. out of gratitude to the Holy Virgin for deliverance from the plagues which had scourged Venice. It contains a beautiful marble group of the Virgin banishing the demons of the plague. 305 GRUBAS. CHURCH AND ISLAND OF ST. GEORGE, VENICE. 15 X 14. San Giorgio Maggiore, is one of the most conspicuous churches in Venice, immediately opposite, or across the Molo, from the Piazzetta of St. Mark. It was built under the architect PaUadio, in 1565, and belongs to the adjoining Benedictine Monastery. 806 GRUBAS. RIVA DEGLI SCHIAVONI, VENICE. 46 X 32. This is the promenade and quay in front of the Hotel Royal Danieh, and bordering the Molo or harbor for some distance. The Palace of the Doges and the King's Palace are the large buildings further on; and in the distance is the chiirch of the Salute. 307 GRUBAS. PALACE OF THE DOGES, VENICE. 19 X 13. On the left is the Royal Palace. The church of St. Mark is in the back -ground, and the Ducal Palace occupies the right of the painting. The view is that of the south front toward the Molo, which is 234 feet MODEEN OIL PAIIfTINGS. in length. The depth of the building is 245 feet. The first of the palaces which have been built on this site, was erected in A. D. 800. They have been destroyed five times, and as often re-erected. The present structure, in the Venetian-Gothic style, is about 500 years old. 308 ROSA BONHEUR. Copy by L. F. Ou^y. PLOUGHING. 29 X 56. 309 ROSA BONHEUR. Copy by L. F. Olnet. HAYMAKING. 29 X 56. Theee are two good copies of originals by the celebrated Rosa Bonheur, which are in the Luxembourg GaUery. 310 MANHEUCH. HORSE CATCHING. 29 X 21. A well painted picture of Italian drivers catching their horses, which have been turned loose to graze. 311 UNKNOWN. FISHERMAN'S HOME. 21 X 16. 312 UNKNOWN. CAT AND DOGS. 13 X 16. 313 UNKNOWN. GARIBALDI ESCAPING FROM CAPRERA. 25 X 30. He is represented as eluding the French war ships which had I sent in 1860, to watch the island and prevent him from leaving it. powers' art gallery. 314 A. DUVAL. (Ft.) Paris. THRONE ROOM, LUXEMBOURG. 47 X 31. The Palace of the Luxembourg in Paris, from the time of its con- struction in 1615 down to the time of Napoleon I, about 1800, was used as a royal residence. After that time it was mostly used for the ^sittings of the Senate. The throne room was refitted and sumptuously decorated in 1856. Its walls were adorned with large paintings of scenes from the history of the Napoleons. 315 GRUB AS. (Ital.) Venice. SNOW SCENE AT VENICE. 27 X 21. 316 GRUBAS. PIAZETTA, VENICE, MOONLIGHT. 27 X 21. 317 CHARLES DEPREY. (Ft.) Paris. LANDSCAPE. 14 X 16. 318 JEAN BAPTISTE GREUZE. Copy. Greuze was one of the most celebrated French painters of his time (1725- 1805). THE BROKEN PITCHER. 33 X 41. The maiden has been engaged in doing something else than fetching water, as the hole in the pitcher testifies. Probably in stooping to gather the flowers she holds, she has knocked the pitcher against a 319 LOUIS LEOPOLD ROBERT Copy by Lem^e. FESTIVAL OF THE MADONNA DELL' ARCO, NAPLES. 72 X 46. On Whit-Monday, all Naples puts on its holiday clothes and repairs to the church of the Madonna dell' Arco, seven miles to the eastward MODEElJr OIL PAINTINGS. at the foot of Mt. Somma. The whole intervening distance is one continuous scene of dancing and merry-making — men and women crowned with wreaths of flowers or fruits, and carrying garlands or poles surmounted with branches of fruit or flowers. It is a perfect Bacchanalian procession; and it is pointed to as indicating unmis- takably the Greek origin of this festival loving people. 320 LOmS LEOPOLD ROBERT. Copy by Lemee. ARRIVAL OF REAPERS, PONTINE MARSHES. 73 X 46. It is well known that the Pontine Marshes in the vicinity of Rome, which, far from being swampy or wet grotmds, are suitable for tillage and grazing, are nevertheless almost uninhabitable on account of the malaria. So that those who till any parts of them are accustomed tq move temporarily to their work in the seasons requiring it. This is a painting of such a removal in the time of harvest. We notice th^ peculiar Italian work-cattle, near akin to the bison; the tent and family effects in the cart ; the welcomers who have come up on each side; the dancers and the gleaners. 321 SCORBISKY. Copy. AN ODALISQUE. 33 X 41. This fair denizen of the harem is represented as smoking the nargheli, in which the smoke, before being inhaled, passes through water. 322 JOSEPH VERNET. Copy. THE TORRENT. 57 X 43. 323 JOSEPH VERNET. Copy. (See No. 285.) THE RETURN FROM FISHING. 63 X 38. The originals of these two pictures are in the gallery of the Louvre. POWERS' ART GALLERY. 324—325 GAETANO CHERICI. (Ital.) FIRST LOVE AND FIRST GRIEF. 18 X 24 Rome 326 ACHILLE LEONARDI. atal.) HOPE. 37 X 51. Rome 327 RIEDEL. Copied by Leonaedi. THE EVENING STAR. 38x51. 328 CHEV AKNIBALE GATTI (Ital.) JUSTICE. 37 X 51 Florence. 329 CHEV. ANNIBALE GATTI. atal.) PEACE. 37x51 Florence. 330 ACHILLE LEONARDI atal.) Rome CHARITY. 37 x51 331 A MARAXGONI (Ital) DOGE FRANCISCO MOROSINI 22 X 28 One of the last of the great rulers of the Republic of Venice 332 A. MARANGOXI (Ital ) DOGE ENRICO DANDOLO. 22x28. "With the aid of the French this Doge conquered Constantinople and subjected the coasts of the Adriatic and Egyptian seas to the sway of Venice I MODERN OIL PAINTIifGS. 333 A MARANGONI. (Ital ) MARCO POLO. 23 X 28. Moderns have justified the accounts of the wonderful things seen by this great traveler, which his contemporaries scouted as huge fictions. He was the son of a Venetian merchant, and born about 1250. His travels in Asia occupied over twenty years. 334 A. MARANGONI, (Ital ) TITIAN. 22 X 28. This is a copy of the great artist's portrait, painted by himself. He died in Venice in 1576, at the age of ninety nine. 335 LEMAN. Copy. THE SPINNING GIRL. 37x51. 336 Mme LE BRUN (Fr. dec'd 1842.) Copy. PORTRAIT OF HERSELF AND DAUGHTER. 36 X 48. This artist was celebrated chiefly for her own portraits, copies of which, by her own hand, are in many galleries. The original of this picture is No. 82 in the Louvre, Paris. 337 READELL Copy. THE GREEK SLAVE. 29 X 23. 338 AUGUST RIEDEL. Copy by Ulinkr. JUDITH WITH THE HEAD OF HOLOFERNES. 38 X 52 When Bethulia, a fortified city of Judea, was besieged by the Assyrian general, Holof ernes, this beautiful Jewish widow pretended POWEES' AET GALLEET. to yield to his advances, and slew him when in a heavy sleep from the effects of wine- His army became panic stricken, and was easily routed, 339 GUISEPPE MAZZOLINI. atal ) Rome HARVEST SCENE. 20 X 24. In this picture the dog is made to do his familiar work of watching the child, while the mother is at work afield. 340 VAN MUYDEN. Copy. MATERNAL LOVE. 20 X 24. 341 DE FIGLIO (Ital ) ITALIAN MOTHER AND CHILD. 40 X 50. Florence. 342 M. SCHNITZER. (Germ dec'd ) GAME. 30 X 24. Mumch 343 BOURLARD. SHEPHERD WITH GOATS. 20 X 24 344 LUDOVICO BRUNTS. (Ital.) MOTHER AND CHILD IN A STORM. 20x24. 345 ORLAFF SHEPHERDESS. 20 s 24 346 UNKNOWN PEASANT GIRL CROSSING STREAM. 20x24 MODEEK OIL PAII^TIK'GS. 347 CORREGGIO. Copy CUPID SHARPENING HIS ARROWS. 13 X 11. The original of this is a water-color, by Oorreggio, in the Borghese Gallery, Rome. 348 A. VOGT. (Amer. dec'd.) Boston. LANDSCAPE AND CATTLE. 52 X 34. This is an unfinished picture, but the painting of the cattle is well advanced, and shows the artist to have been an able and painstaking worker in this field of art. 349—350 A. TENSFELD. (Amer.) Chicago. TWO-PORTRAITS. 80 X 86. There is a good deal of promise in these canvasses, although the coloring is somewhat hard and cold. 351 ACHILLE LEONARDI. (Ital.) Rome. PURITY WHIPPING CUPID. 88 X 54. This emblem of purity crowned with lilies, looks as much in earnest as if she had good cause of complaint against the little bUnd- fold archer. 352 RIDEL. BATHING GIRL. 51 X 75. Original in a private gallery in Rome. powers' aet galleey. 363 THE RETREAT FROM MOSCOW. 24 X 30. Copy of a celebrated painting in Europe. 354 J. RYK. A COUNTRY SCENE IN HOLLAND. 32 X 42. The Dutch farmer contentedly contemplating his flocks and herds. 355 SIGISMOKD HOLBEIN. (Germ.) Augsburg. THE HEAD OF AN OLD MAN. 14 X 18. A study. 356 KARL F. TRAUTMAN. (Germ.) Born at Breslau, in 1804. AN OLD PORTRAIT. 10 X 14. 357 L. KNAUS. (Germ.) Berlin. PORTRAIT. 11 X 14. Painted thirty years ago, when Knaus was a pupil in the Dussel- dorf Academy. 358 THEODORE ROSSEAU. (Dec'd.) Born at Paris, 1813. Pupil of GuUlon-Lethiere. First Exhibited, Salon, 1834. Medals, 1834, 1840 and 1855. Legion of Honor, 1853. One of the eight Grand Medals of Honor, Exposition Universelle, Paris, 1867. Died, 1867. Diploma to the memory of deceased artists, 1868. LANDSCAPE. 11 X 14. No. 38 from the Seney collection. MODERN OIL PAINTINGS. 359 J. B. C. COROT. (Ft. dec'd.) Medals, Paris, 1838, 1848, 1855, 1867 (Exposition Universetteh Legion of Hon- or, 1846. Officer of the same, 1867. Died, 1875. Diploma to the Memory of Deceased Artists, 1878. THE VILLAGE CHURCH. 13 X 18. No. 312 from the Seney collection. 360 JEAN G. VIBBERT. (Ft.) Bom at Paris, 1840. Pupil of I'Ecole des Beaux Arts, and of Barrias, Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Exposition Universelle). Legion of Honor, 1870. INSPECTING THE FORT. 20 X 30. No. 134 from the Seney collection. 361 JEAN LfiON GflROME. (Fr.) Born at Vesoul, Prance, 1834. Went to Paris in 1841, and entered the studio of Paul Delaroche, at the same time following the course of I'Ecole ,des Beaux Arts. In 1884 he accompanied Delaroche to Italy. He made his debut at the Salon of 1847. In 1853 and 1846 he traveled in Egypt and Turkey, studying closely the history and customs of those countries. Medals, Paris, 1847, 1848, 1855 (Exposition Universelle). Medal of the Institute, 1865. Medal of Honor, Exposition Universelle, 1867. Medals of Honor, 1874. Medal for Sculpture, and one of the eight Grand Medals of Honor, Exposition Univer- selle, 1878. Legion of Honor, 1855. Officer of the same, 1867. Commander, 1878. ChevaUer of the Ordre de I'Aigle Rouge and member of the Institute of Prance (1878) , Professor in I'Ecole des Beaux Arts. " Horace Vernet said of Gerome, that he saw his picture flnished before he touched the canvas. This prevision is a rare gift. * * * Gerome appears to have attained the moment of life in which the artist seems to have nothing to demand of the gods but that they will preserve intact, the gifts they have made him."— C7i. Timbal, Gazette des Beaux Arts. THE SENTINEL AT THE SULTAN'S TOMB- 28 X 22. No. 276 from the Seney collection. POWEBS' ART GALLERY. 362 N.V.DIAZ. (Dec'd.) Born at Bordeaux, 1807. His parents were banished from Spain on ac count of political troubles, and at ten years of age Diaz was left an orphan in a strange country. At fifteen years of age he was apprenticed to a maker of porcelain, where his talent first displayed itself. He quarrelled with and left his master, and subsequently spent several years in bitter poverty. After his ability as a most wonderful colorist was recognized, Diaz painted and sold many pictiures, working even too constantly, as if endeavoring by the accumulation of a vast fortune, to avenge the poverty of his youth. Medals, 18i4, 1846, 1848. Legion of Honor, 1851. Died, 1876. Diploma to the Memory of Deceased Artists, Exposition TJniverselle, 1878. "Versatile, unequal, impetuous Diaz I A brilliant colorist by blood- Charming in his genre landscape motives, in which he introduces little chil- dren, lovely women or classical nymphs, or whatever affords him scope for his rich flesh tints in contrast with magnificently colored draperies on the rich, deep greens and brows of vegetation."— Jaruis, Art TlwughU, FOREST OF FONTAINEBLEAU. 30 X 39. No. 279 from the Seney collection. 363 JIMENEZ Y ARANDA (J) Paris. Pupil of Academy of Seville. A SPANISH PHARMACY. 23 X 36. No. 150 from the Seney collection, 1882. 364—365 ARNOLDO TAMBURINI. (Ital.) Florence. TWO OLD MONKS PLAYING CARDS. Companion pieces, "A Good Hand" and "Hard Luck." Both faces teU their own story. 366 F. A. BRIDGMAN. (Amer.) Paris. Pupil of Gerome. AFTERNOON HOURS. 37 X 26. From Mary J. Morgan collection. MODEElf OIL PAINTINGS. 367 VACSLAV.BROZIK. (Bohemian.) Pupil of Fine Arts at Prague, and of Piloty. Med. Secxsl. at tho Salon of 1878. FALCONER'S RECITAL. 56 X 37. From Mary J. Morgan collection. 368 WILHELM LINDERSCHMIT. (Ger.) Professor at the Royal Academy of Munich and member of the Academy of Berlin. Historical painter. LUTHER AND THE REFORMERS AT MARBURG 1529. 79x55 From Morgan collection. 369 J. SCALBERT. (Fr.) Paris. Salon exhibition 1885, JUST A PEEP. An Unwelcome Guest. 23 X 31. 370 HANS MAKART. (Ger. dec'd 1884) Vienna. Professor at Vienna. Member of the Munich Academy, Studied at the School of Piloty. Medal at Philadelphia. A STUDY. 12 X 16. 371 MIHALY MUNKACSY. (Hungarian) Paris. PupU of Knaus. Medals in 1870 and 1874. FEEDING THE FAVORITE. 41 X 32. From Gov. Morgan collection. 372 BRUCK LAJOS. (Hungarian) Paris. Pupil of M. Munkacsy. Honorable mention Paris Salon. INVESTIGATING THE LUNCH-BASKET. 24 X 30. powers' art galleey. 373 F. MIRALLES. (Ft.) Salon 1885. RECREATION. 20 X 25. Paris. 374 GABRIEL MAX. (Ger.) Munich. SISTER AGNES. Spanish Nun. 8x10. 375 J. G. VIBERT. (Fr.) Paris. Born at Paris 1840. Pupil of I'Echle des Beaux Arts, and of Barrias, Paris. Medals Paris 1864, 1867. 1868, 1878. (Exposition Universelle.) Legion of Honor 1870, TRIAL SERMON. 8x7. 376 AUGrST HAGBORG. (Swede.) Gothenburg. Medal 3rd. cl. THE FISHERMAN'S WIFE. 31 X 47. See No. 148. 377 AUGUST HAGBORG. (Swede.) Gothenburg. Medal 3d. cl. A JACK TAR. 16 X 21. See No. 148. 378 N. V. DIAZ. (Fr.) Born at Bordeaux 1807—1876. Medals 1844, 1846, 1848. Legion of Honor 1851. Diploma to the Memory of Deceased Artists, Exposition TJniveraelle 1878. FOREST. 9x7. 379 N. V. DIAZ. (Ft.) Dec'd. MOTHER AND CHILD. 13 X 16. See No. 236. MODERN" OIL PAINTINGS. 380 JEAN LfiON gSROME. (Fr.) Bora at Vesoul, France, 1824. Medals Paris 1847, 1848, 1855 (Exposition Unl- veraelle). Medal of the Institute 1865. Medal of Honor 1867, 1874, 1878. BAB-EL-ZOUEL. 65 Boulevard de Clichy, Paris, Nov. 16, 1886. Mr. D. W. Powers, Rochester, N. T. : Sir : Excuse me for not writing to you in English, but I only know two words of that language— yes and no. As you see, my vocabulary is very small, and does not permit me to give my thoughts. Your picture was fin- ished to-day. I have given great care to it in the hope of pleasing you, and I hope you will find it altered to its advantage. When you honored me with your visit, only a few of the figures were drawn, and the principal ones were not finished. It is sent to you in a very bad state, like all the work that goes out of an artist's studio ; that is to say, that it is covered with spots and blotches, that will disappear in the varnishing. I took pains not to varnish it because it is freshly painted, and that would have been disastrous in the future. Do not pass judgment on it for the present, wait until it is varnished, for it will be completely changed ; but do not submit it to this operation before two months. By that time it will be completely dry. The scene is laid at the Gate of Bab-el-Zouel, which ends the large bazaars of Cairo. This place is always filled with people of all countries. One sees here. Fellahs, Jews, inhabitants of the borders of the Red Sea, people from Central Africa, and Abysinnia, men from the Soudan, travelling merchants, purchasers, loungers, and Europeans. It is the liveliest sight in the city. The two personages dressed in white are runners, or Sals, who precede a pasha on horseback. Riders have always one or two Sais who clear the way and who hold the horse when they go into a house or shop. Formerly there were only two means of locomotion, asses and horses ; carriages did not exist. Then the number of Sals was large, but to-day, as there are many vehicles, they have singularly diminished, but still a few remain. Contrary to my usual custom, and to accede to your wish, I have signed this picture twice— the first time with my name, and the second time with my portrait ; in the right hand corner, the person dressed in blue. On my head there is a green turban to which I have no right, because only those who have returned from a pUgrimage to Mecca may wear it. It is true that I have been very near that holy city. This work is therefore doubly authen- ticated, and I shall bfe pleased to meet your approval. Please accept, sir, with my cordial salutations, the avowal of my best sen- j. L. ger6me. 381 J. B. C. COROT. (Fr.) Dec'd. Medals Paris 1838, 1848, 1855, 1867. Legion of Honor 1846. Died 1875. Diploma to the Memory of Deceased Artists 1878. See No. 359. POWEES' ART GALLEKT. LANDSCAPE. 16 X 12. See No. 359. 382 JEAN LOUIS ERNEST MEISSONTER Paris. Bom at Lyons 1813. Medals Paris 1840, 1841, 1843, 1848. Grand Medal of Honor 1855 (Exposition Universelle). One of eight Grand Medals of Honor (Exposition Universelle) 1867. Grand Medal of Honor (Exposition Univer- selle) 1878. Legion of Honor 1846. Officer of same. Commander 1867. Grand Officer of the Legion 1878. Member of Institute of France 1861. Honorary Member of the Royal Academy, London. A FRENCH CAVALIER. 7x9. 383 E. J. DAlilBOUEGEZ. (Ft.) LecaiU^re a la cuisine. (Salon 1885.) OYSTER WOMAN IN THE KITCHEN. 50 X 62. 384 JULIAN DUPRf;. (Fr.) Paris. Born at Paris March 17, 1851. Landscape and genre painter. Pupil of PUs, Lehmami and Langee. Medals 3rd cl. 1880, 2d cl. 1882. HARVESTER'S MEAL. 25 X 32. 385 FLORENT WILLEMS. (Belgian.) Paris. Bom at Li^ge 1834. Officer of the Legion of Honor. Officer of the Order of Leopold. Pupil of the Academy of Malines. THE VOW. 23x47. 386 GUST AVE PAUL DORfi. (Fr.) Dec'd. Bom at Strasbourg 1833. Chevalier of the Legion of Honor. He went to Paris in 1845 and finished his studies at the Lycee, Charlemange ; and in 184S was employed with M. Bertall on the "Journal pour rirc." In 1848 he also sent some pen drawings to the Salon, and continued to exhibit each year. In 1857 he received honorable mention. His works are so numerous that it is quite impossible to give any account of them here. Besides his larger works the number of his sketches and fantastic drawings is immense. He has made a multitude of illustrations for journals, etc. Nearly all his pictures are in the " Dore Gallery, London." Died in Paris Jan. 37, 1883. MODEKN OIL PAINTINGS. CHILDREN FEEDING THE FAMILY PET. 40 X 25. 387 F. XAYIER WINTERHALTER. (Munich.) Dec'd. Born at Mengenschwand in the Black Forest. Died in Frankfort, 1873. Pupil of Munich Academy and of Stieler. Medals Paris 1836, 1837, 1856. Legion of Honor 1839, SUSANNAH AND THE ELDERS. From A. T. Stewart Collection. 46 x 64. "Susannah and the Elders" is the title of a well known story which forms one of three apocryphal additions to the Book of Daniel. It relates how Susannah, the wife of Joiachim and daughter of HU- kiah, celebrated alike for her beauty and her virtue, was discovered at her bath in her father's gardens by the prying Elders. Spurning their advances, she was by them falsely accused of adultery. She was condemned to death on their evidence but was saved by the wise Daniel, who tore the mask from her enemies, and caused them to experience the fate they had designed for her. 388 KARL FERDINAND SOHN. Dec'd. Dusseldorf. Born in Berlin 1805. Died in Cologne 1867. Pupil of Berlin Academy under Schadow. With Johom he went to DUsseldorf in 1826. and to Italy in 1830. Became Professor at the DUsseldorf Academy 1838. DIANA AND HER NYMPHS. From A. T. Stewart Collection. 74 x 90. According to the most ancient accounts, Diana was the twin sister of Apollo and like him unmarried ; she is a maiden divinity never conquered by love. She slew Orion with her arrows, because he made an attempt upon her chastity ; and she changed Actseon into a stag, simply because he saw her bathing. With her brother, Apollo, she slew the children of Niobe, who had deemed herself superior to Leto. When Apollo was regarded as identical with the sun nothing was more natural than that his sister should be regarded as the moon, and accordingly Diana is, at least in later times, the goddess of the moon. Hence, Diana is represented in love with the fair youth Endymion, whom she kissed in his sleep. But this legend is foreign to the character of Diana, who, as we are told, was a goddess unmoved by love. POWERS' ART GALLERY. 389 THEODOR HILDEBRANDT. Dec'd. Diisseldorf. Born in Settin July 2d, 1804. Pupil of Berlin Academy and of Schadow, Professor of Diisseldorf Academy. Member of Berlin and Vienna Aca- demies. Died 1874. LEAR AWAKENING FROM INSANITY. From A. T. Stewart Collection. 69 x 70. Cor. How does my royal lord ? How fares your majesty ? Lear. You do me wrong to take me out o' the grave; thou art a soul in bliss ; but I am bound upon a wheel of fire, that mine own tears do scald like molten lead. Cor. Sir, do you know me ? O, look upon me, sir, and hold your hands in benediction o'er me. — No, sir, you must not kneel. Lear. Pray, do not mock me. I am a very foolish fond old man, fourscore and upwards; and to deal plainly, I fear I am not in my perfect mind. Methinks I should know you, and know this man. Yet I am doubtful ; for I am mainly ignorant what place this is ; and all the skill I have remembers not these garments ; nor I know not where I did lodge last night. Do not laugh at me; for as I am a man, I think this lady to be my child, Cordelia. Cor. And so I am; I am. King Lear. Act IV. Scene VII, Shakespenre. 390 F. S. LACHENWITZ. Diisseldorf. ELK PURSUED BY WOLVES. From A. T. Stewart Collection. 68 x 45. 391 PIERRE OUTIN. Paris. Born at Mouhns Cellier. Pupil of Lecomte and Cabanel. Medal 1883. "GOOD-BY, GRANDPA." From A. T. Stewart Collection. 26 x 32. 392 STEWART CLOCK. Grand Hall Clock, made to order for A. T. Stewart, at a cost of $10,000. Has Calendar, Astronomical-Thermometer, Barometer and other attachments. The frame in which the works are encased, was made by Eugene Cornu of Paris, material African Onyx, rare and costly. Base is of Siena Marble, found in Central Italy. Movement by E. Farcot, the celebrated Parisian clockmaker. MODERlSr OIL PAINTINGS. The Silver-Bronze Statue was made by A. Carrier of Paris, whose bronzes are considered perfect in design and worlinianship. Extreme outside measurement, 11^ x 3 feet. 393 JEAN JACQUES HENNER. (Fr.) Paris. Born at Bernwiller, Chevalier of the Legion of Honor. Pupil of Drolling and Picot. Medals 3rd cl. 1863, 1865, 1866 ; 1st cl. 1878. Legion of Honor 1873. Officer 1878. THOUGHTFUL. 22 X 26. 394 H. THOIVIPSON. Paris. LANDSCAPE AND SHEEP. 47 X 32. 395 H. THOMPSON. LANDSCAPE AND CATTLE. 47 X 32. 396 ALEXANDRE DEFAUX. (Fr.) Paris. Born at Bercy. Medals in 1874, 1875. LANDSCAPE. 86 X 26. Salon Exhibition, 1885. No. 722. 397 JULES RAVEL. Paris. RUSTIC HAPPINESS. 33 x 39. 398 F. MIRALLES. Paris. Bom in Meaux. Pupil of MM. Robert Fleury and Carand. COAST AT BADALONE, SPAIN. 28 X 36. Salon Exhibition, 1885. No. 1788. 399 E. L. GARRIDO. Paris. PROMENADING. 18 X 22. powers' aet galleey. 400 B. NEUYELLE. FRUIT. 26 X 32. 401 G. HYOK (Fr.) Pupil of Meissonler. FRENCH CAVALRY. 13x8. 402 B. F. WINNER. MARINE. MOONLIGHT, 30 X 18. Paris. Paris. Munich. 403 B. F. WINNER. MARINE. 30 X 18. 404 J. C. NICOLIA. ANTWERP CATHEDRAL. 11 X 14. 405 J. C. NICOLIA. 406 H. DANGER. NOTRE DAME. 11 X 14. FRENCH GIRL. 11 X 4. Munich. 407 G. H. McCORD. WINTER NIGHT. 6x9. New York. 408 HERR Mt^LLHER. (Ger.) ANCIENT JERUSALEM. (From the Mount of Olives.) As it appeared in the days of our Saviour, with the addition of the third wall. MODERN OIL PAIN-TIN"GS. 409 MODERN JERUSALEM. (From the Hill of Evil CounciL As it appears at the present day. 410 CARL VON PILOTT. (Ger.) Munich. Bom in Munich, Oct. 1st, 1836, died there July 21st, 1886. Son of, and first instructed by the lithographer, Ferdinand Piloty. Then pupil of Munich Academy under Schnarr, and later under his brother-in-law Karl Schorn. In 1847, he visited Venice, painted genre pictures, and at Leipsic (1849) many portraits, then visited Dresden, where Velasquez became his ideal ; went in 1853 to Antwerp and Paris, and thenceforth entered upon the path of Cal- vinistic realism, to which he owed his great renown. In 1856 became Profes- sor of Munich Academy ; from 1874 director of same. ELIZABETH AND FREDERIC OF BOHEMIA RECEIV- ING NEWS OF THE LOSS OF THE BATTLE OF PRAGUE. 65 X 42. Dated 1868. Prague, the capital of Bohemia, in the year 1620, had two kings at war with each other: Frederick V., supported by the Protestant Prince of Germany, and Ferdinand, by the King of Spain and the Catholic League. The Protestants of Bohemia had chosen Frederick for their King because of his supposed influence with his father-in-law, James I. of England. They did not know that James I. was plotting for alliance with Cathx)lic Spain, and could not be depended upon. Frederick was King of Bohemia one year. Sunday morning, No- vember 8, 1620, gives the subject of PUoty's canvas. Frederick had left his army the night before, although an engage- ment was plainly at hand, because he could sleep better in his palace than in the field. Early Sunday morning he was sent for to join his troops. But he went to Church and then returned to his palace, as he wished to entertain two English ambassadors at dinner. While dining, the messenger came in with the news of the battle and its loss, Elizabeth is seen in the picture standing behind Frederick. His mother, a daughter of William of Orange, sits on the right. She had opposed his taking the crown, but the ambition of Elizabeth had pre- vailed. The English ambassadors are in the back ground. The musicians might well throw down their instruments in alarm. Fred- erick and the Royal household barely escaped with their lives. They found a refuge at the Hague. Their personal loss was not to be com- pared with the loss to Protestantism. POWERS AET GALLERY. In the Messenger is seen the style of armor worn by the Princes of "The Thirty Years War. " Armors in the first half of the Seven- teenth Century were becoming things of the past, and were used for display rather than service. 411 FROMENTIN (EUGENE). (Fr.) Paris. Born at La Rochelle, 1830. Pupil of Cabat. Medals 1849-57-59-67. Legion of Honor, 1859. Officer of the Legion of Honor, 1867. Diploma to the memory of deceased Artiata (Exposition UniverseUe) 1878. Died 1876. ARAB FALCONER. 28 X 42i. From Albert Spencer collection. Painted for M. Durand, Ruel. Etched by Milius for the Catalogue of Lepal-Cointet, Paris, and purchased from that collection June, 1881. His works, which are numerous, chiefly comprise African and Arab subjects. The Arab Falconer is considered one of his best ren- dered pictures, it having been in the Luxembourg Museum. Falconry in Algeria is the exclusive privilege of the Emirs or high Arab Chiefs. To be seen bearing a Falcon is a visible patent of nobility. A Bedouin meeting a Falconer in the desert, alights from his horse and pays him humble homage. The Falconer in this example rushes forward at full gallop, maddened by the wild joy of the ride and the chase, and stimulating his birds to follow their quarry, the hare. His figure is full of vigor and motion. Elegance, high finish and har- monious coloring are among the painter's characteristics. His pub- lished accounts of adventures in Africa are also highly interesting and popular. 412 MILLET {jtAE FRANCOIS). (Fr.) Paris. Born at GreviUe, France. 1814. Died 1875. Pupil of Mouchel and Langloia at Cherbourg. His progress there was so remarkable that the Municipality of Cherbourg gave him a small pension, that he might go to study in Paris. In 1837 he became a pupU of Paul Delaroche and the friend of Corot-Rosseau, Dupre and Diaz. Medals, Paris, 1853, 1864, 1867 (Exposition UniverseUe), 1878. In his whole artistic career Millet only finished about eighty oil paintings, many of which he retained in his studio for a long time, returning to them again and again in order to satisfy himself. SCENE NEAR BARBIZON, HIS EARLY HOME. 29 X 26. M0DERI5" OIL PAINTINGS. 413 JEAN JACQUES HENNER. (Fr.) Paris. Bom at ZemwlUer. Chevalier of the Legion of Honor. Pupil of Drolling and Picot. Medals, 3d cL, 1863, 1865, 1866 ; 1st cl., 1878. Legion of Honor, 1873. Officer, 1878. MADALINE. 414 CHARLES FRANCOIS DAUBIGNT. (Fr., dec'd 1878.) Pupil of Delaroche, Medals, 1848-53, 55-59, 67. Legion of Honor, 1859. Officer of Legion of Honor, 1874. Diploma to the memory of deceased Artists (Exposition Universelle), 1878. SUNSET. 23 X 15. 415 BRETON (JULES ADOLPHE.) (Fr.) Paris. Born at Courri^res, France, 1827. Pupil of Drolling and of Devigne. Medals, London, Vienna and Brussels, and at Paris in 1855-57, 59, 61. Legion of Honor. 1861. Medal of the 1st cl., and Officer of the Legion of Honor, at (Exposition TJniverseUe) Leopold, 1881. PORTRAIT OF HIMSELF. PAINTED BY HIMSELF. 11 X 14. 416 AUG FINK. (Ger,) Munich. LANDSCAPE AND CATTLE. 22 X 14. 417 COURBET (GUSTAVE). (Fr.) Bom at Ormans (Doubs), June 10th, 1819. Died at Tour de Peil, near Ve- vay, January 1st, 1878. Genre landscape and portrait painter. Medals in 1849, 1857 and 1861. STONE-BREAKERS. 24 X 20. 418 VERNET (CHARLES HORACE). (Fr.) Born at Bordeaux, Aug. 14, 1758. Died in Paris, Nov. 27, 1836. History and animal painter. Son and pupU of Joseph Vemet, and pupil of Lepicie, Member of Academy, 1789. Member of Institute, 1809. Legion of Honor, 1808 ; Officer, 1831. Order St, Michael, 1827. HORSE TRAINING. 36 X 25. 419 KORIECS. powers' art gallery. SACRED OXEN. 9x7. 420 OLOF PETERSEN. (Ger.) SCENERY IN NORWAY. 53x34. 421 Ta KIKDSDAEL. (Ger.) THE FISHING BOAT. 57 X 84. 422 WEISER. (Ger.) CARDINAL AT LUNCH. 8x12. 423 WEISER. (Ger.) CARDINAL'S LIBRARY. 8 X 10. 424 E. T. GUISSER. (Ger.) A JOLLY PARTY. 13 X 16. 425 E. T. GUISSER. (Ger.) WINNING HAND. 18 X 16. 426 E. MTJNIER. (Fr.) SPRING-TIME. 16 X 20. 427 V. CORCOS. (Fr.) "A VISIT TO THE CONVENT." 24 X 55. Munich. Munich. Paris. MODERN- OIL PAINTINGS. 428 T. E. JORDAN. Parifl. A FAMILY OF SWEDES. 32x36. 429 COXE (REGINALD CLEVELAND). New York. THE NARROWS, N. Y. HARBOR. 14x10. 430 DEWEY (CHARLES MELVILLE). New York. BROWN AND SERE. 24 X 16. 431 POST (W. MERRITT). New York. "WHENCE ALL THE BLOOMING FLUSH OF LIFE HAS FLED." 22 X 14. 432 ZAMAgOlS (I:D0UARD). (Span. Dec'd) Born at Bilboa, Spain, 1843. Pupil of Meissonier, Made his debut at the Salon of 1863. Medal, Paris, 1867. Died, 1871. Diploma to the Memory of Deceased Artists ( Exposition Universelle ), 1878. LEVYING CONTRIBUTIONS. 15x12. Painted in 1866, and exhibited at the Salon in the Spring of 1867, " Contributions Indirectes" attracted to the artist the attention of all Paris. It was the first of the series of satires upon monkish life which the gifted young pupil of Meissonier took up. The wit of the painter flashed in it with the keenness of a steel blade, and within twenty-four hours it had become the topic of the hour. In the court-yard of a superb chateau of the middle of the Seven- teenth Century, a mendicant friar, having halted on his regular round of levying contributions upon the neighborhood, receives entertain- ment for himself at the hands of several roguish hosts. He sits upon a bench, sipping at a cup of chocolate, while his entertainers exchange their badinage with him, and at his expense. An elderly cavalier with a swagger of authority about him, stands at his right, resting one hand upon his long cane. He is richly and gaily dressed. There is a smile of mockery on his face, and that he speaks scoflE- ingly, his attitude and expression alike clearly testify. Seated on a POWEES' ART GALLERY. bench, a young lady, in a sumptuous toilette of blue satin and lace, stirs a posset in a glass, and jests with the friar. Behind him a young cavalier is about to pull the cowl from his head. The monk endures the entire proceeding with stolid philosophy. He is sufficiently satis- fled with receiving his taxes, direct and indirect, to submit to furnish- ing some diversion to those he taxes. The end justifies the means, and humility is practiced for profit. The composition has all the qualities which made Zama9ois famous. The picturesque and the grotesque combine in it, the individualizations of the characters are full of force and humor, and the witty idea is realized with cutting brilliancy. The spirit of Molifere breathes in the brush of his artistic successor, who in our own century repeated with his brush the tri- imaphs won by the creator of Tartiiffe with his pen. 433 ALVAREZ (LUIS). Rome. Born in Spain. Genre painter. PupU of Madrazo the Elder. HIDE AND SEEK. (Cache-Cache.) 23x14 Then in and out and round about We turn and twist and glide And ever in the merry rout We find a loved one's side. Lord Byron. The game of hide and seek possesses a double utility. It is not only an excellent time killer, but an admirable means of protracting- a light flirtation through the broken course of the game. The latter inducement is quite likely to have some weight with M. Alvarez's frolicsome players. They are certainly of the flirtatious, rather than the purely playful age. They make, at any rate, an animated and colorful tableau, in the contemplation of which their sport may be shared without the fatigue of physical exertion its actual perform- ance involves. 434 J. G. VIBERT. (Fr.) Paris. Born at Paris, 1840. Pupil of I'Ecole des Beaux Arts and of Barrias, Paris. Medals, Paris, 1864, 1867, 1868, 1878 (Exposition Universelle), Les-ion of Honor. 1870, THE DISCLOSURE. 13 X 16. MODERN OIL PAINTINGS. 435 MAUVE (ANTON). (Dutch.) HOLLAND LANDSCAPE AND CATTLE. 43 X 30. 436 OMMEGANCK (BALTHAZAR P.) (Ger.) Born in Antwerp, Dec. 26th, 1755. Died Jan. 18th, 1826. Animal and land- scape painter. Pupil of H. J. Antonissen. He received many honors. Was made a Knight of the Order of the Belg-ic Lion, elected a member of several leai-ned societies, and appointed in 1815, by Belgium, one of the Commission- ers to reclaim from France the worlds of art wliich Napoleon had acquii'ed, by force of arms, during the previous wars. LANDSCAPE, CATTLE, SHEEP AND GOATS. 23x19. 437 HENRY MOSLER. Paris. PupU of Piloty. Medals, 1874, 1884. STROLL IN THE PARK. 27 X 36. 438 JEAN JACQUES HENNER. (Fr.) Paris. Bom at ZernwUler. Chevalier of the Legion of Honor. Pupil of Drolling and Picot. Medals, 3d cl., 1863, 1865 ; 1st cl., 1878. Legion of Honor, 1873. Officer, 1878. THE MODEL. 9x13. 439 WILFRED CONSTANT BEAUQUESNE. (Fr.) Paris. Pupil of H. Vernet and Emile Lecomte. A painter of military subjects and battle scenes. THE ALARM. 13x16. 440 LOUIS BRUCK-LAJOS. (Hungarian.) Paris Pupil of M. Munkacsy. Honorable mention, Paris Salon, REHEARSAL. 15 X 18. POWERS' ART GALLERY. 441 GARRIDO (EDOUARD LEON). Born at Madrid, 1854. Pupil of V. Palmaroli. STREETS OF PARIS. . 18x15. Paria 4A2 GARRIDO (EDOUARD LEON). Born at Madrid, 1854. Pupil of V. ParmaroU. PARIS CAFE. 25 X 31. Paris. 443 PETER KRAEMER. THE WINNER. Munich 444 PETER KRAEMER. NEWS BOY. 6x8. Munich. 445 PETER KRAEMER. THE MONK MUSICIAN. 26x31. Munich. Paris. Genre painter. Medals, 3d cl., 1861, 446 DTJYERGER (T. E.) Born at Bordeaux, Sept. 17th, 1863, 1865. PREPARING FOR MARKET. 15x18. 447 E. STANECK. Paris. BON VOYAGE. 44 X 57. 448 REE. Paris. SKETCHING. 18 X 15. MODERN OIL PAINTINGS. 449 E. ATALYA. OUT FOR AN OUTING. 22 X 16. 450 SEIGNAC RESTING. 15x18. 451 SEIGNAC. SHELLING PEAS. 22 X 18. 452 A. RICCL READING. 10x14. Paris. Munich. Munich. 453 P. SAUVAGE. THE YOUNG MECHANIC. 15x12. 454 E. GIROUX. WAITING FOR THE TRAIN. 37 X 24. 455 SCHONFRY. (Ger.) CATTLE. 31 X 21. 456 GONEZ PLASERLT. PARK AND LAKE. 22 X 15. Paris. Paris. Munich. Paris. 457 GONEZ PLASERLT. STROLLING IN THE PARK. 18x22. Paris. POWERS' ART GALLERY. 458 C. CABAILLOT LASSALLE. SHEPHERDESS AND DOG. 11 X 16. Paris. 459 J. L. GUYOT. SHEEP AND LAMBS. 21x26. Paris. 460 FRANZ STREITT. Born at Brody, Galieia, 1839. Medal, 1884, Genre painter. THE STRANDED MUSICIANS. 18x10. Munich, 461 T. E. JORDOX. THE LITTLE SWEDE. 15x21, Paris. 462 T. VANDER-nrLST. (Dutch.) SHIP IN STORM. 35x24. Amsterdam 463 T. VANDER-HULST. (Dutch.) HARBOR. 85 X 24. Amsterdam. 464 KONRAD GROB. PEASANT FAMILY. 36 X 27. Munich. 465 H. BALLVE. GATHERING FAGOTS IN FOREST. 12x15. Paris. MODERN" OIL PAINTINGS. 466 A, S. BOWLBY. FRUIT. 20 X 16. 467 PETER KRAEMER. NUN PRAYING. 17x21. New York. Munich. 468 LEPISQUINER. THE SHEPHERDESS. 29 X 36. 469 JULES ELIE DELAUNAY. (Fr.) BATTLE SCENE. 20 X 24. 470 C. HYOU. (Fr.) A FRENCH CUIRASSIER. 9x13. Munich, Paris. Paris. 471 J. L. GUYOT. (Fr.) THE THREE FRIENDS. 26 X 21, 472 E, GALLARD LEPINAY, COAST SCENE. 28 X 18, Paris. Paris. 473 E. GALLARD LEPINAY. MARINE. 28 X 18. Paris. POWEES' ART GALLERY. 474 J. L. GUYOT. Paris SHEPHERD AND HIS FLOCK. 27 X 20. 475 J. CHETWIOSKI. (Russian.) LUNCH IN CAMP. 36x33. 476 AYN PEZANT. Paris. CATTLE. 34 X 20. 477 CERAMANO. Paris. SHEEP. 25 X 14. 478 F. BRUNERI. Paris, BEFORE THE BALL. 20 X 27. 479 F. BRUNERI. Paris. AFTER THE BALL. 20 X 27. 480 A. PIOTROWSKI. THE WOOD CHOPPER'S STORY. 28 X 20. 481 C. PiTTARA. ON THE BEACH. 16 X 10. 482 LIEP. PORTRAIT. 16x20. Paris, Paris. Paris. MODEEN OIL PAIHTINGS. 483 RAQUEPLAN. Paris. SEA COAST. 26 X 18. 484 KABALOFF. (Russian.) ARTISTS' RETREAT. 28x20. 485 CONSTANT TROYON. Bom at Sevres, Aug'. 28th, 1810. Died in Paris, Feb. 21st, 18«5. Landscape and animal painter. Medals, 3d cl., 1838; 2d cl., 1840; 1st cl., 1846, 1848, 1855. Legion of Honor, 1849. Painted in 1861. CATTLE, SHEEP AND LANDSCAPE. 18x15. One of those paintings you never grow weary in looking at. 486 CONSTANT TROYON. Born at Sevres, Aug. 28th, 1810. Died in Paris, Feb. 2l8t, 1865. Landscape and animal painter. Medals, 3d cl., 1838: 2d cl., 1840; 1st cl., 1846, 1848, 1855. Legion of Honor, 1849. NORMANDY CATTLE. 18 X 15. Normandy cattle, with a quiet pool and cattle drinking, in the fore-ground, and landscape and cattle in the distance. One of Troyon's best examples. 487 EDWARD DUPNER. Buffalo. THE BATTLE OF TRAFALGAR. 81x54. The battle of Trafalgar, in 1805, between the French and English, which resulted in the death of Nelson and victory for the English. "England expects every man to do his duty," were the wordB of Nelson before the battle commenced. POWERS ART GALLERY. 488 EUGENE DELACROIX. Born at Charaton, St. Marice, near Paris, April 26th, 1799. Died in Paris, August 13th. 1863. Legion of Honor, 1831 ; Commander, 1855 ; Member of Institute, 1857. DEATH OF THE STANDARD BEARER. 22 X 20. 489 ERSKINE NICOL. London. Born at Edinburgh, Scotland, 1825. AN ENGLISH FAMILY. 24x24. Taking a stroll in the country. The lord and lady are conversing with the old porter at the lodge, before entering the manor. 490 B. DE LOOSE. PLAYING THE GUITAR. 14x18. 491 LAMPERT (Emma E.) Rochefater, N. Y. MOTHER CLAUDIUS. 30x22. This picture represents the interior of a peasant kitchen in Picardy, France, and is from a sketch taken on the scene during the artist's European sojourn. In the rear of the room is an immense open fire-place, such as might have been seen in the houses of the New England great grandfathers. Before the smouldering embers sits Mother Claudius, an old lady, 75 years old, who walked five miles to pose for the picture. She took childish delight in the fact that she •was to figure in a picture to be painted across the sea. 492 GRUPPE (Chas. P.). Rochester, N. Y. A FAIR DESERTER. 16x24. MOUERJSr OIL PAINTIKGS. 493 BURR H. NICHOLLS. New York. A STREET SCENE BRITTANY. 15x21. 494 M. HOTTES. Rochester, N. Y. NIAGARA FALLS. 231 X 122. This scer>e represents the falls on a bright summer day. The first point to strike the observer's eye is the American Falls to the left in the foreground. The water seems fairly to leap over edge of preci- pice, whirling in spray and foam, till it dashes, rebounds, and is lost among the boulders below. To the right beyond Goat Island the great Horseshoe Falls is seen smoking with spray, which forms into a great column rising high in the air and floating away. As you gaze you can almost hear the dull roar, and feel the damp spray on your forehead. The artist has produced a conception of the im- mensity of the falls that is most remarkable, and would do credit to any artist of the day. 495 M. HOTTES. Rochester, N. Y. TERRAPIN POINT, NIAGARA. 69 X 97. See No. 494. 496 UNKNOWN. NAPOLEON. 10x13. powers' aet gallery. 497 NICOL (Erskine.) London. Bom at Leith, Scotland, July, 1825. Gtenre painter. Medals, 3d cl., Paris. PATIENCE IS A VIRTUE. 19 X 25. From George I. Seney collection. Patience is a virtue, has the characteristics of canny Scotch humor and brilliant coloring. A brawny rural tenant, who has handed in an appeal of some sort to the Squire, waits in the hallway while His Honor, in the parlor beyond, peruses the letter at his leisure. The applicant stands in a half doze, resigned to any fate that may come to him, and patient to await its announcement. The types are Irish. 498 PASINI (Alberto.) Paris. Pupil of Isabey and Rosseau. Bom at Zusseto near Parma. Honorary Professor at Parma and Turin Academy. Medals, Paris, 3d cl., 1859, 2d cl., 1863-1864. Legion of Honor, 1868. Officer, 1878. Paints chiefly subjects taken from Turkey, Arabia and Persia, where he lived several years. THE FALCONERS. 29 X 19. From George I. Seney collection. In a marshy plain, bounded in the distance by a range of hills from right to left. Arab Cavaliers are hawking at the herons and cranes, which rise in clamorous terror from their coverts in the grassy pools. On the right the party advances, while in the middle ground a fal- coner is seen giving his hawk its cast. Fleecy clouds blow in a bright blue sky. 499 CAZIN (Jean Charles.) (Fr.) Paris. Bom at Samer, Pas-de-Calais. Pupil of Lecoq-de-B6ls-baudran. Bec'd 1st cL, Medal in 1880. Legion of Honor, 1882. DEPARTURE OF NIGHT. 19 X 17. From George I. Seney collection. MODEEK OIL PAINTINGS. 500 FRfiRE (Pierre Edouard.) (Fr. dec'd. 1886). Bom at Paris ia 1819. 1st Medal 1850; Chevalier of the Legion of Honor. Pupil of Delaroche. MATERNAL LOVE. 16i X 12f . From George I. Seney collection. In a poor room, a widowed mother works as a seamstress, while she watches her little child, which sleeps in a wicker crib. The surround- ings are those of poverty, mitigated by the natural good taste of honest womanhood, and the impression of the picture is cheerful in spite of its sad subject signed in full at the right. Panel. 501 LEROLLE (Henry.) Paris. Bom in Paris. Pupil of Lamothe. Medal 3d cl., 1879 ; 1st cl., 1880. THE WANDERER. 26 X 33. From George I. Seney collection. At the left a young peasant woman rests herself from the foot-sore tramp of a long day, seated under a tree, she evidently is traveling in quest of employment. Standing before her is a shepherdess who converses with her, while her sheep gather about and her dog watches them. In the fields which form the distance, fires of brush wood are burning. The sun is descending in a cold sky that threatens an in- clement night and warns the wayfarer to seek a shelter. 502 BOGGS (Frank M.) Paris. Born in New York 1855. Pupil of Gerome and of Ecole des Beaux Arts Paris. It was not until 1880, that he appeared in the Salon as an exbubitor. His first Salon picture was talked about, his second in 1881 was purchased by the French Government for the Luxembourg collection. At the Salon of 1883, the French Nation again set the seal of its approval on his art, by the purchase of his picture " Post d' Isigny." Medals of foreign and American exhibitions followed in rapid succession. At the first prize Fund exhibition at the American Gallery in 1885, Mr. Boggs secured one of the $2,500 awards with hia " Bough day at Houfleur," which is now in the museum of fine Arts Boston. VIEW OF DORDRECHT. 26 X 19. From George I. Seney collection. The city is seen from a foreground ot^ water, on which floats boats and luggers moored to the quay. Along the quay is a row of trees. POWERS ART GALLERY. under which figures are seen, behind the trees is a line of houses, and in the center the picturesque cathedral towers up in massive bulk. The windy and clouded sky is full of movement, which is communi- cated to the running rigging and penants of the vessels and to the water of the river. 503 BONHEUR (Marie Rosa.) Paris. Born in Bordeaux, March 22d, 1822, of an artistic family. Rosa Bonheur's entry into art was attended by a bitter poverty that sometimes threatened to end in desperation. Her father a worthy and industrious but unfortunate Artist, brought her to Paris in 1830, after the death of her mother, and put her in school, but the girl born an Artist rebelled against mere book learn- ing. She had acquired some skiU in drawing from imitating her father, and this art she cultivated at school, to the neglect of her studies. Finally the conviction of her vocation forced itself upon her father, and he removed her from the Seminary and set her to copying pictures in the Louvre. Her first origmal pictures were exhibited at Bordeaux in 1841 ; in 1849 she was made director of the Paris Free School of Design for young girls, and in 1853, she crowned her fame with the great painting of the " Horse Fair," now in the MetropoUtan Museum of Art, New York. Every possible honor has been conferred upon her. Medals, 3d cl., 1845 ; 1st cl,, 1848, 1855 ; 2d cl., 1867 ; Legion of Honor, 1865. THE CHOICE OF THE FLOCK. 40 X 33. From George I. Seney collection. This picture shows us a white ewe the fleeciest and fairest of the flock of sheep, which graze about her standing in a field backed by a wide stretch of rich rolling country. Behind her is another sheep, while to the right of the picture a number of lambs are disporting themselves and enjoying the fresh air of the cool pleasant day. The clouds are heavy and the distant hills have put on the blue tints which bid the Shepherd prepare for rain and wind. The setting of the scene, the moist green grass, the weeds and the flowers, the sky and back ground are faithfully and charmingly transcribed from nature, who has ever been Rosa Bonheur's real master. 504 TROYON (Constant.) (Fr. dec'd 1865.) Bom at Sevres, Aug. 28th, 1810. Medals 3d cl., 1838 ; 2d cl., 1840 ; 1st cl., 1840- 1848, 1855 ; Legion of Honor, 1849. He first exhibited pictures in 1836 and grad. MODERN OIL PAINTINGS. ually rose to be one of the greatest, if not the first of modern Freneh land- scape painters. THE SHEPHERD. 18 X 22. From George I. Seney collection. In the foreground, the shepherd is marshalling his flock into the for- est. His dog is beside him on the right. He wears his cloak over his left shoulder, and carries his heavy staff under his right arm. In the back ground the path passes out through the out skirts of the forest. A warm and powerfully harmonious color, its most solid quality, and great vigor of execution, characterizes this work. Panel. 505 RICO (Martin.) Paris. Eico is a Spaniard by birth. Bom in Madrid, and entered the Madrid Acade- my and made his living as he advanced by drawing and engraving on wood during the hours of leisure. He was an industrious and painstaking Artist, and as the result of his industry, in 1863, secured the first Prix de Rome ever given at Madrid for landscape. The four years pension involved by the prize, may be used by the winner either at Rome or Paris. Eico went to Paris. There he found a friend in Meissonier and Daubiny, at the end of that time, he had found fortune as weU as patron in the father of Jules L. Stewart the painter. He has received Medals and been endowed with the cross of the Legion of Honor. SCENE IN VENICE. 19x28. 506 HAQUETTE. (Georges.) Paris. Born in Paris. Pupil of Adolphe Millet and Cabanel. Medals 3d cl., 1880. HAULING IN NETS AT SUNSET. 36 X 30. 507 ALONZO PEREZ. Paris. FLOWER GIRL. 24 X 29. 508 WEEKS (Edwin Lord.) Paris. Born in Boston in 1849. PupU of Bounat and Gerome. SCENE IN CAIRO. 19 X IG. POWERS' ART GALLERY. 509 F. TULLY LOTT. DINAN, BRITTANY. 24 X 16. 510 F. TULLY LOTT. RUE DE LA HAWK VILLE 12 X 16. 511 B. FRECKMANN. OFF DUTY. 14 X 21. 512 MURPHY (J. Francis.) U. A. New York. In 1876, his picture first attracted attention at the National Academy Ex- hibition ; in 1885, he was admitted to an associateship of the Academy from which he was advanced in 1887 to the degree of a full Acadamician ; in 1885 he was awarded the second Hallgarten Prize ( $200), at the National Acade- my of Design. In 1887 received the prize of $300, founded by Dr. W. Seward Webb for the Society of American Artists, of which Mr. Murphy is an active, prominent member. He has been awarded a gold prize Medal by the Ameri- can Art Association of New Yort, and was made a member of the National Academy of Design in 1887. LANDSCAPE. 10x8. NoTE~The remamlng numbers up to seven hvmdred and fifty-one hare been reserved, to allow for the future growth of the gallery. Old Oil Paintings. Origenaxs and Copies. 751 BARTOLOMfi ESTEBAN MURILLO. Pilas. (Span. 1613-1685.) MADONNA AND CHILD. 40 X 60. Original (No. 40) in the Pitti Gallery, Florence. It is called the "Virgin of the Napkin," from the fact that it is said to have been painted by Murillo, on a napkin, tendered to him as a canvas by the eook of the Convent de la Merced, Madrid, who begged for some artistic memento of him. 752 CARLO DOLCI. atal. 1616-1684.) Florence, VIRGIN IN ADORATION. 28 X 38. Original in the gallery of the Corsini Palace, Rome. The Virgin is represented in ecstatic adoration of the divinity of her son. It is one of the best works of this great painter. 753 RAPHAEL SANZIO. (Ita'l. 1488-1520) Urbino. THE SISTINE MADONNA. 42 X 56. Original in the Royal Gallery, Dresden, Copied by Theodore ■Schmidt, director of that gallery, whose leisure time it occupied for five years. As a copy, it is as near perfection as may be. It is the third ever made from the original, which was the last picture wholly finished by Raphael. It was painted to be carried as a banner in processions, for the monks of the Convent of St. Sisto, Piacenza. It Tvas, however, made an altar piece in the church, where it remained more than two hundred years. In 1730 it was bought for the Dresden Gallery, The picture is called the Sistine Madonna, because in it St. Sisto (Sixtus), the patron saint of the convent, is on the Vii'gin's left hand. St Barbara is on the right. POWEES' AKT GALLERY. 754 TITIAN (Tiziano Vecellio, 1497-1576). Cadore (Friuli) MARY MAGDALENE. 27 X 34. Original (ITo. 67) in the Pitti Palace Gallery, Florence. Mary Magdalene is here represented with the alabaster box containing the precious ointment, which (according to Matthew xxvi, 7) she poured on Christ's head as he sat at meat. The disciples complaining that it- " might have been sold for much, and given to the poor," Christ said; "For in that she poured this ointment on my body, she did it for my burial * * . Wheresoever this gospel shall be preached in the whole world, there shall also this, that this woman hath done, b& told for a memorial of her." 755 BARTOLOMI: ESTEBAN MrniLLO. Pilas, (Span. 1613-1685.) THE ANNUNCIATION. 38 X 46. The angel is represented as saluting the virgin with the word? "Hail, thou that art highly favored, the Lord is with thee: blessed art thou among women, etc. (Luke i, 28). Few of Murillo's paintings- surpass this one. The original is in the royal gallery at Madrid, 756 RAPHAEL SANZIO. ST. CECILIA. 44x74. Original in the gallery of the Academy of Fine Arts, Bologna^ The saint is represented with a "regal"' in her hands, wrapt in. ecstacy at the heavenly music she hears. Beginning on the left, are the four patron saints of Bologna: St. Paul, St. John, St. Augustine and Mary Magdalene. St. Cecilia, having embraced Christianity vdth her father, a Romart noble, in the third century, on refusing to sacrifice to the gods, waff thrown into boiling water, from which the legend says she came out unscathed. Being sentenced to be beheaded, the executioner's heart- failed him, and his trembling hand inflicted three wounds in the saint's neck and breast, without killing her. She survived three days. She was buried near her husband, who sufiered martyrdom before her. OLD OIL PAINTINGS 757 RAPHAEL SANZIO. Copy by Uliner. HOLY FAMILY. 43 X 52. Original (No. 534) in the old Royal Pinakothek, Munich. The group comprises the virgin, the child Jesus, the infant John the Bap- tist, and Joseph. This is an uncommonly fine copy. 758 UNKNOWN. Copy. VIRGIN OF THE ROSARY. 40 X 56. 759 CARLO DOLCI. THE ARCHANGEL GABRIEL. 22 X 27. Original in the Feroni Collection, Uffizi Gallery, Florence. The archangel bears in his hand the lily, the emblem of purity. In many pictures of the ' ' Annimciation " by the old masters, the celestial messenger is painted with this emblem, typical of the spotlessness of her to whom he announced the tidings that she was to be the mother of the Messiah. 760 GIOVANNI BATTISTA SALVI. Sassoferrato. (Sassoferrato, 1606-1685.) MATER DOLOROSA. 21 x28. Original (No. 191) in the Uffizi Gallery, Florence. The above title, meaning the "Sorrowing Mother," ia applied to the margin when contemplating the sufferings of her son, and is prob- ably borrowed from the ecclesiastical poem, the first line of which ends with those words, and which is known all over the world through Rossini's incomparable music. This is a good copy, 761 RAPHAEL SANZIO. THE TRANSFIGURATION. 43 X 43. Original in the Vatican, at Rome. This is considered Raphael's masterpiece. At the foot of the mountain is a multitude, among whom are the disciples trying to cast POWEES' ART GALLERY. an evil spirit out of a boy. On the mountain, Christ is transfigured before Peter, James and John, whom he took apart on that occasion. It has been strenuously contended, and even unconditionally affirmed, that Raphael only painted the upper half of this picture. There does not appear to be conclusive ground for such an assumption. Raphael did not, it is true, live to entirely complete it, the few parts remaining unfinished at his death having been painted by his pupil, Giulio Romano, but the weight of evidence is greatly on the side or Raphael having designed the whole picture as it is, and having painted all but a few subordinate parts of it. 762 CARLO DOLCI. MARY MAGDALENE. 21 X 28. See Explanation to No. 754. 763 MICHAEL ANGELO BUONAROTTL Anezzo. (1474-1563.) THE THREE FATEL. 25 X 32. Original (No. 113) in the Pitti Palace Gallery, Florence. These three sinister looking crones are the three sisters supposed by the ancients to control the thread of human existence. The one holding the distaff is Clotho, the presiding Fate of births; the one twisting the thread between her fingers is Lachesis, the controller of the course of human life ; the third, ready to cut the thread with the scissors, is Atropos, the inevitable. They had places consecrated to them all through Greece, at Sparta, Olympia, Thebes, Corinth, etc. 764 CRISTOFANO ALLORL (Bronzino, 1577-1621.) Florence. ST. JULIAN'S HOSPITALITY. 46 X 60. Original (No. 41) in the Pitti Palace Gallery, Florence. This is the finest canvas of a painter whose works, owing to his love of pleasure, are extremely rare. Copies of such paintings as he left are, however, to be found all through Italy, the work of his scholars Certosiui, Bruno, Tanteri and others. The legend which forms the basis of this superb composition is that Julian, the scion of a noble house, OLD OIL PAIXTIXGS. ■while hunting a deer one day, was addressed by the animal and told that he would cause the death of his father and mother. He fled from his coimtry, and married abroad. In their search to find their son, his parents happened upon the very house in which he was living, and, in his absence, were received by his wife. On his return, entering their sleeping apartment which was but dimly lighted, he supposed himself dishonored by his wife, and killed both his father and mother. Discovering the horrible truth, to expiate his crime he built a hospital beside a mountain feiTy, and himself tended way- farers. He one day, according to the legend, received an angel, imder the guise of a leprous youth, who announced his coming death. Shortly after both he and his wife died. 765 RAPHAEL SANZIO. THE MADONNA DELLA SEDIA. The Madonna of the Chair. 28 X 28. Original (No. 79) in the Pitti Palace Gallery, Florence. This copy is the exact size of the original. The frame is also the precise counter- part of that which holds the original picture. This is one of the most universally known of all Raphael's works. A pretty tradition attaches to this picture. It is to the effect that a certain old hermit, whose retreat was in the mountains near Florence, grateful to a certain vine dresser and his daughter for their kindness, and more especially for their having saved him at the time of a flood, during which he was perched starving in a favorite old oak for three days, blessed the daughter and predicted her f utiu'e celebrity. This came to her through Raphael, who in after years, passing one day as she was sitting near some casks made out of the old oak tree, and struck by the beauty of the group she formed with her two boys, sketched them on the head of one of the casks, and, on his return home, painted the group now known as the Madonna della Sedia. 766 GIOVANNI BILIVERTI. (1576-1644.) Florence. ANGEL REFUSING TOBIAS' GIFTS. 41 X 51. Original (No. 203) Pitti Palace Gallery, Florence. The angel Raphael, who, according to the Old Testament, had been the pre- server of Tobias in circumstances of great danger, more especially POWERS' ART GALLERY. in the matter of his marriage, is here shown refusing the gifts which the gratitude of the young man's parents induced them to offer him, they being ignorant of the fact that he was an angel. The latter disabused them of their error and disappeared. 767 BARTOLOMli ESTEBAN iMTRILLO. CHILDREN OF THE SHELL. 35 X 28. Original in the Royal Gallery, Madrid. The angels are depicted as ministering to the little St. John during the time he had to be hidden in the wilderness to escape the murderous decree of Herod. 768 ANDREA VANNUCHI. (Del Sarto, 1488-1530.) Florence. HOLY FAMILY. 41 X 54. Original (No. 81) Pitti Palace Gallery, Florence. This picture was painted for Octaviano De' Medici. The Virgin and St. Ehzabeth hold their respective sons. 769 UNKNOWN. Copy, CHRIST AS THE JUDGE OF THE WORLD. "Judex Mundi." 37 X 47. 770 UNKNOWN. Copy by Azzola. THE THREE GRACES. 62 X 58. Euphrosque, Aglaia and Thalia, the daughters of Jove and Eury- nome, the goddesses of grace, favor and gentleness. They are generally , painted as holding each other by the hand or locked in each others' embrace. 771 PAOLO CAGLIARI (Veronese, 1528-1588.) Verona. THE RAPE OF EUROPA. 146 X 104. Original in the Gallery of the Palace of the Conservator!, at the Capitol, Rome. The myth is that Jupiter, under the form of a bull, OLD OIL PAINTINGS. SO pieasea Eiiropa by his beauty and gentleness, that she mounted on his back, whereupon he made off and swam with her to the Island of ■Crete, where he assumed his own form and made love to her. '772 TITIAN. LA BELLE JARDINIERE. The Beautiful Gardener. 24 X 43. Original (No. 166) in the old Museum Picture Gallery, Berlin, This is said to be the portrait of Titian's only daughter, Lavinia. 773 GIOVANNI FRANCESCO BARBIERI. Ferrara. (Guercmo, 1591-1666.) THE SAMIAN SIBYL. 24 X 43. Origmal in the Ufflzi Gallery, Florence, painted in 1651 for Prince lyiathias, one of the Medicis. The latin verse on a page of the open book means: "Had, chaste maiden, who hath suffered much." The -word sibyl itself means " Will or counsel of God," and was the ancient Doric Greek name (Sios-Boulla), given to several prophetic women whose history has reached our times in the shape of myths, if indeed •they ever existed at all. The Samian sibyl is supposed to have lived in the time of Isaiah, on the island of Samos, and to have prophesied there. 774 GIACOMO ROBUSTI. (Tintoretto, 1512-1594.) Venice. REBECCA AT THE WELL, 33 X 47. Original in the Gallery, Parma. It is needless to tell here the story of Isaac's wooing of Rebecca, which may be found in detail in the 24th chapter of Genesis. This picture is supposed to be by Tintoretto. The copy is tolerable. 775 GIOVANNI FRAN. ROMANELLI. (1618-1662.) Viterbo. THE CUMCEAN SIBYL. 29 X 39. Original in the National Museum, Naples. This is the sibyl (See 2^0. 578), who is said to have foretold the birth of Christ. The myth POTVEKS' ART GALLERY. runs that she lived over thirteen centuries, in fulfilment of a request made by her to Apollo, who had fallen in love with her and who granted it. She conducted ^neas into the infernal regions and dis- appeared after having sold Tarquin the Proud, King of Rome, three books of prophecy for the same price demanded by her for the original nine, and which he had refused. She destroyed them in threes until the King at last looked at the remaining ones and recognized their value. 776 TITIAN (supposed to be by). RUTH GLEANING. 33 X 47. The story of the manner in which this lovely yoimg widow captured her uncle is told in the book which bears her name. It need not be- repeated here. 777 GUIDO RENI. (1575-1642.) Bologna. LUCRETIA, THE ROMAN. 28 X 38. Original in the Capitoline Gallery, Rome. This Roman matron^ having been violated by Sextus, eldest son of Tarquin, King of Rome^ stabbed herself. This episode led to the downfall of the monarchy. 778 GUIDO RENI. CLEOPATRA. 38 X 48. Original (No. 173) in the Pitti Palace Gallery, Florence. The queen,' of Egypt is represented as ending her existence by the bite of an asp,, to avoid falling into the hands of the conquerer of her Roman lover,. Marc Antony. This is supposed to be one of the finest paintings in. Italy. 779 TITIAN. LA FLORA. 25 X 31. Original (No. 626) in the Uffizi Gallery, Florence. This is a good copy of an exquisitely beautiftd composition. OLD OIL PAINTINGS. 780 ANNIBALE CARACCI. (1560-1609.) Bologna. THE BANDIT AT LIBERTY. 32 X 40. Original in the Gallery of the Colonna Palace, Rome. 781 MICH. AMERIGHI ANGELO. Caravaggia. (Da Caravaggio, 1569-1609.) THE BANDIT IN PRISON. 33 X 40. Original in the Gallery of the Colonna Palace, Rome. Both these copies are by Chevalier A. Chatelaine. 782 GIOVANNI BATTISTA TIEPOLO. (1697-1770.) Venice PORTRAIT OF A VENETIAN LADY. 31 X 39. It is not surprising that this picture is attributed to Tiepolo, for it is a splendid specimen of portrait painting. 783 JACOPO DA PONTE. (II Bassano, 1570-1592.) Venice. THE FAMILY CONCERT. 42 X 28. Original in the Uffizi Gallery, Florence. A group of portraits of the painter's family. He himself is in the middle. Francis and Leander, his sons, both celebrated as painters, are on either side of him with their wives and children. Titian and his wife are looking on. 784 GERARD HONTHORST. Utrecht. (DaUe Notti, 1592-1666 or '80.) THE SUPPER. 41 X 29. Original (No. 148) in the Uffizi Gallery, Florence. A fair copy of a very good painting of the Dutch school. POWEKS' ART GALLERY. 785 SIGMAND HOLBEIN. (Germ.) Augsburg THE WINE DRINKER. 11 X 14. A good specimen on panel of the old German school. This is a ■very old original painting. 786 CARLO DOLCL POESY. 16 X 22. Original in the Gallery of the Corsini Palace, Florence. An alle- gorical painting. 787 UNKNOWN. SUBJECT UNCERTAIN. 44x39. 788 POLIDORO CALDARA DA CARAVAGGIO. Caravaggio. (1495-1534.) THE PRODIGAL SON. 59 X 41. This is a we^ preserved and undeniably able piece of work. It is Ijold and firm in treatment, strong and free in drawing and brilliant in coloring. 789 ANNIBALE CARACCI. TRIUMPH OF BACCHUS AND ARIADNE. 84x44. Original fresco in the ceiling of the great haU of the Farnese Palace, Kome. Copy by Mazzolini. The painting represents the bridal pro- cession of Ariadne, who, in lieu of her faithless lover Theseus, mar- ried Bacchus, through the good oflaces of Venus. 790 UNKNOWN. SCULPTURE.— ALLEGORICAL. 47 X 81. OLD OIL PAINTINGS. 791 UNKNOWN. PAINTING.— ALLEGORICAL. 47 X 31. 792 UNKNOWN. MUSIC— ALLEGORICAL. 47 X 31. 793 UNKNOWN. LITERATURE.— ALLEGORICAL. 47 X 31. The above four allegorical pictures would seem to have been pre- paratory studies, for larger and more important works, by the same artist. There is some good painting in them. 794 LUIGI BENFATTO. (Andrea dal Friso.) Verona. (1551-1611.) Nephew and pupil of Paul Veronese. BATHSHEBA AT HER TOILETTE. 42 X 40. This is the comely wife of Uriah the Hittite, unlawful passion for whom betrayed King David into the constructive murder of her hus- band. 795 UNKNOWN. PASTORAL SCENE. 24 X 32. 796 UNKNOWN. FAUNS AND NYMPHS DANCING 38 X 28. 797 UNKNOWN. Copy. MADONNA. 39 X 37. POWERS' AET GALLERY. 798 RAPHAEL SANZIO. Copy. MADONNA DELLA SEDIA. 28 X 28. 799 UNKNOWN. FAUNS AND NYMPHS PLAYING. 800 GHERARDO DALLE NOTTL CHILDREN PLAYING WITH FIRE. 38 X 29. 801 GIOV. BATT. TIEPOLO. FAMILY PORTRAIT. 33 X 39. 802 BART0L0M1& ESTEBAN MURILLO. BEGGAR BOYS PLAYING DICE. 82 X 52. This and the succeding copies of Murillo's pictures convey a very good notion of tiie class of subjects in which he at first delighted, as well as of the general characteristics of his drawing and painting at the outset of his career. 803 BARTOLOMf: ESTEBAN MURILLO. STREET BOYS EATING MELON. 32 X 52. 804 BART0L0M:& ESTEBAN MURILLO. BEGGAR GIRLS COUNTING MONEY. 805 BARTOLOMi: ESTEBAN MURILLO. QUEST FOR PARASITES. 32 X 52. OLD OIL PAINTINGS. 806 bartolomI: esteban murillo. beggar boys eating fruit. 33 X 52. All the originals of the above pictures by Murillo are in the old Royal Pinakothek, Munich. 807 UNKNOWN. RESCUE OF ULYSSES. 37 X 26. Neptune, the declared enemy of Ulysses, once found him in the course of his long wanderings, on a raft in mid-ocean. He made Ulysses swim for his life two whole days and nights, by raising a storm which destroyed his raft. The luckless hero was rescued by Minerva and the sea nymphs, while Neptune looked on in disgust. 808 ANTONIO CANAL. (Canaletti, 1697-1768.) Venice. CHURCH OF S. MARIA DELL' ASSOLUTA, Venice. 40 X 36. 809 UNKNOWN. OLD CASTLE NEAR ROME. 31 X 25. 810 UNKNOWN. THE BAPTIST'S HEAD HANDED TO HERODIAS. 44 X 40. Said to be from a study of Leonardo da Vinci by some old paintei tinknown. This is bold, strong painting. 811 UNKNOWN. FATHER INSTRUCTING HIS SON. 44x39. POWERS' ART GALLERY. 812 GUIDO KENI. AURORA. 65 X 35. Original fresco in main hall of Casino, in the gardens of the Kospigliosi Palace, Rome. The goddess of Dawn is strewing flowers before the god of the Sun, whose car is surrounded by dancing nymphs. 813 GIOVANNI BILIVERTI. JOSEPH AND POTIPHAR'S WIFE. 54x42. The episode here depicted is universally known, and needs no comment. 814 UNKNOWN. CHRIST HEALING THE SICK. 28 X 20. Probably a preparatory study for a larger picture. An indifferent piece of work. 815 UNKNOWN. COUNTRY SCENE.— MILKING. 17 X 23. 816 UNKNOWN. COUNTRY SCENE.— MILKING. 17 X 23. There is some good painting in these two studies. 817 UNKNOWN. VENUS BLINDFOLDING CUPID. 32 X 38. OLD OIL PAINTIXGS. 818 PETER PAUL EUBEXS. (1577-1640.) Antwerp. PORTRAIT OF HIS WIFE. 39 X 69. This is as good a copy as could well be wished of this celebrated portrait, of which the original is now in the Belvidere Gallery, of Vienna. It was painted by August Fink, of Mimich, and does the highest credit to the powers of that artist. For a copy, it possesses extraordinary freedom of drawing and handling, superb flesh paint- ing and great transparency. The number of such copies painted in our day, is not great. 819 PETER PAUL RUBENS. (1577-1640.) Antwerp, CHILDREN CARRYING FRUIT. 52 X 32. Original (No. 263) in the old Royal Pinakothek, of Munich. Copied by Uliner, of Munich. A good copy of one of those pictures iu which the exuberant talents of Rubens shine in every detail. 820 UNKNOWN. " RESPICE FINEM." "Look to the End." 28x34. Female figure, nearly nude, warning against the pleasures of the senses by pointing to a skull on the table near her, under which is the above legend, "Respice Finem." 821 UNKNOWN. On Panel. THE RECLUSE. 13 x 16. This is a little picture the merit of which will appear greater the more it is examined. Joined to great accuracy of drawing and i>er- spective, the finish is astonishing and the harmony of the tones, »» well as the management of light and shade, perfect. 822 ANTHONY VANDTCK. (1599-1641.) Antwerp, PORTRAIT. 24x30. A well painted copy by Otto Jacobi, of Rochester, N. Y. POWERS ART GALLERY. 823 RAPHAEL SANZIO. THE TRANSFIGURATION. 34 X 50. 824 POMPEO BATTONI. (1708-1788.) Lucca. THE PENITENT MAGDALENE. 24x44. Original (No. 129) in the Royal Gallery, Dresden. Mary Magdalen is here represented in the cave between Toulon and Marseilles, where legend says that she spent many years in expiation of the faults of her early life. 825 bartolomI; esteban murillo. the conception. 51 X 73. Original in the Royal Gallery of Madrid. Copy by A. Leonard!, of Rome. This is a very fine copy of Murillo's most celebrated paint- ing. The belief in the Immaculate Conception of the Virgin — which means that she never incurred the stain of original sin — was pretty nearly universal in the Catholic Church previous to the solemn pro- mulgation of the doctrine by Pius IX in 1854. It is the idea of her sinless purity which Murillo so exquisitely embodied in this painting. 826 CARLO MARATTI. (1625-1718.) Ancona HOLY FAMILY. 51 X 63. Original in the Corsini Palace, Rome. Copy by Romanelli. This particular Holy Family is called "La Vierge aux Cerises," "the Virgin of the Cherries;" Zacharias and Elizabeth are present and the angel offering the fruits. It is a good copy. 827 TITIAN. MARTYRDOM OF ST. PETER THE DOMINICAN. 21 X 32. Original destroyed by fire in 1867 in the Church of St. John and Paul, at Venice. The Saint was assassinated by the hired bravos of two Venetian noblemen, whom he had accused of heresy and whose property had been confiscated. This is a very small copy by Rodolfi, OLD OIL PAINTINGS. 828 FERRARI. LINDA OF CHAMOUNI. 33 X 40. The heroine of the story is seen bereft of reason, but returning home •with her mountaineer lover who has reached her heart through the gongs of Savoy. She had left her home eager to taste the pleasures (pf the French capital and had become the mistress of a nobleman tliere. To her father's entreaties she was deaf, but her lover was more successful. The original of this picture is in a private collection in England. 829 After the Canaletto School. (1750.) THE REGATTA, GRAND CANAL, VENICE. 43 X 30. 830 After TITIAN. MAGDALENE IN THE CAVE. 23 X 18. Compare observations on No. 824. 831 CARLETTO CAGLIARI. (1570-1596.) Verona. luder son of Paola Caghari, known as Paul Veronese. He died at the early sige of 26 years. CHARITY. 64 X 46. This is an exceedingly fine old painting, as even a superficial ex- amination will show. The face of the female figure nursing the child is of rare beauty, sweetness and gi-ace; the children are painted with surprising truthfulness, freedom and power. Considering the age of this picture, the flesh tints must have been as near perfection as possi- ble when it was first painted. It is one of the best canvases in the whole collection. 832 UNKNOWN. FAMILY PORTRAIT. 24 X 28. POWEKS' AKT GALLERY. 833 UNKNOWN. THE FLIGHT INTO EGYPT. 25 s 35. Joseph and Mary are represented as flying into Egypt to save the child Jesus from the bloody edict of Herod, which ordered all the male childi-en in Bethlehem of two years and under to be put to death, 834 GIOV. BATT. TIEPOLO. CLEOPATRA DRINKING THE DISSOLVED PEARL. 60 X 49. The Egyptian queen is credited with having dissolved and drunk a costly pearl given her by her Roman lover, Marc Antony. The artist has portrayed her perpetrating this absurd folly. This is a very good example of Tiepolo, the last of the great Venetian painters, 835 UNKNOWN. CHRIST ARPEARING TO MARY. 22 X 27. The Saviour is saying to Magdalene, to whom he first appeared after the resurrection, according to the Evangelist, "Touch me not, for I am not yet ascended to the Father." 836 MICHAEL ANGELO AMERIGHI DA CARAVAGGTO. ST. se'bastian. 53 X 40. This is a strong example of this master's style. The Saint has just been taken from the tree to which he was bound, and the arrows with which he was transfixed for his constancy to the Christian faith are being withdrawn from his body by Irene, the widow of one of his martyred friends, and her daughters. St. Sebastian was an officer in the army of the Emperor Diocletian, in the fourth century. 837 PIETRO LIBERI. (1605-1687.) Padua. THE SHOWER OF GOLD. 66 X 47. DanSe, the daughter of Acrisius, King of Argos, was secluded by the latter, to forestall the fulfillment of a prediction by the oracle OLD OIL PAINTINaS. that she would bear a son who would kill and succeed him. A son was, nevertheless born to her. She imputed the boy to Jupiter, who, she alleged, descended on her in a shower of gold. The father had mother and son boxed up and committed to the mercy of the sea. After many adventures, the son, Perseus, accidentally killed his grandfather, Accrisius, with a quoit thrown by him in the publio 838 DELACROIX, the Elder. (Ft. dec'd.) French Envoys to the Pope, at Civita Vecchia. THE LANDING. 73 X 34. 839 DELACROIX, the Elder. (Fr. dec'd. French Envoys to the Pope, at Civita Vecchia. THE ILLUMINATION. 73 X 34. There is a great deal of careful drawing and painting in these two pictures, as well as an abundance of incident which will repay attentive examination. 840 PHILIP ROOS. (Rosa da TivoU, 1655-1705.) Frankfurt. A celebrated animal painter of the latter half of the seventeenth century. GROUP OF DOGS. 47 x 33. 841 PRANQOIS BUCHER. (Fr. 1764^1768.) Paris. CUPIDS PLAYING. 53 x 39. 842 ANDREA DAL FRISO. (1551-1611.) Verona. SAUL'S DAUGHTERS. 53 X 40. ' 'And it came to pass as they came, when David was returned from the slaughter of the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet King Saul, with tabrets, powers' art gallery. with joy and with instruments of music. And the women answered one another as they played, and said, Saul hath slain his thousands, and David his ten thousand." — I Samuel, xviii : 6, 7. 843 VENEZIANO BONIFACIO. (1474-1563.) Venice. CORIOLANUS BEFORE ROME. 110 X 54. Caius or Cnaeus Marcius, surnamed Coriolanus, from his capture of the town of Corioh, made the people of Rome his enemies by arguing in the Senate against the gratuitous distribution of corn, and by his generally determined opposition to the extension of the popular liberties. He had to fly. Out of revenge, he headed the Volscian army, and by his victories placed Rome in the greatest perU. Deaf to the entreaties of all others, he was moved by the prayers of his aged mother and his wife, Volumnia, who, accompanied by the noblest matrons of Rome, and his two children, sought him in his tent. He lead the Volscian army back to their own territory, where he lived to an advanced age. Shakespeare has made his name im mortal. 844 UNKNOWN. JOSEPH AND HIS BRETHREN. 140 X 60. Joseph, when ruler of Egypt, had pretended not to recognize his brethren who had gone thither for corn during the famine. He treated them as spies, held their brother Simeon, and sent them back with the assurance that only by bringing down their youngest brother, Benjamin, could they clear themselves of suspicion. This fine paint- ing represents the second meeting of Joseph and his brethren. Ben- jamin is being put forward to propitiate Joseph, with a portion of the presents — a little balm and a little honey, spices and myrrh, nuts and almouds — which their father, Israel, bade them offer him. 845 VENEZIANO BONIFACIO. (1494^1568.) Venice. THE QUEEN OF SHEBA AND HER TRAIN. 114 X 60. This is the Arabian princess who was attracted by Solomon's fame, and came to judge herself of his much extolled wisdom. Curiously enough, she professed herself more than satisfied. OLD OIL PAINTINGS. 846 ANDREA DAL FRISO. PROPHECY OF THE SIBYL. 54x40. On the proposal of the Roman Senate to accord divine honors to Augustus, the Tiburtine sibyl at Tivoli, in answer to his question as to his acceptance of them, told him that a Hebrew child would soon be born who would reign supreme. She pointed to the heaven?, where the emperor saw the virgin with her son, seated on a throne. He returned to Rome, and erected an altar to the " First Born of God," " Primogenito Dei." Thus rims the fable which is the subject of this picture. 847 PETER VAN LAER. (Bamboccio, 1613-1673.) Laaren. THE GLUTTON. 52 X 38. This repulsive subject is very strongly painted, and the brutal, animal instincts of the chief actor are vividly portrayed in his face. The subordinate figures of the servant and jester are also well limned. The eager cat is put on the side of the bowl probably to indicate the level of her master. 848 UNKNOWN. CERES AND JASON. 33 X 40. Ceres had a lover, Jason, whom she was accustomed to meet in a "thrice-plowed " field in Crete. Of these Plutus, the god of "Wealth, was born. A very happy, pointed way of putting the argument that careful agriculture is the basis of national wealth — an undeniable proposition. The picture is strong with the exception of Ceres' left arm, which looks as though it had been repainted, and from the elbow down, drawn out of all proportion. 849 UNKNOWN. TWO CUPIDS WITH FLOWERS. 22 X 28. POWEKS' ART GALLERY. 850 UNKNOWN. On Panel. MADONNA. 23 X 18. This Madonna is painted somewhat in the style of Angelico da Fiesole, but is greatly inferior to the works of that artist. 851 GIOV. BATT. TIEPOLO. FRUIT WOMAN. 29 X 36. 852 UNKNOWN. THE FALCONER. 120 X 63. A reminiscence of the days when hawking was a fashionable sport. This is a very fine, well preserved oU painting, probably by one of the minor Italian masters, of the middle of the seventeenth century 853 GIOV. BATT. TIEPOLO. BRENNUS IN ROME. 52 X 36. Brennus, suspected of sharp dealing by the Romans, at the weigh- ing of the ransom of the city, to be paid to him (one thousand pounds of gold), threw his sword into the scale, bidding them balance that too. Camillus, the Roman dictator, who is said to have subsequently annihilated the army of Brennus in two bloody battles, is seen heading the attack. 854 After CANALETTO. GRAND CANAL, VENICE. 36 X 24. 855 JOHANNES RElVnOIUS LANGE. (Flemish. 1555. PREPARING FOR THE CARNIVAL. 51 X 37. • OLD OIL PAINTINGS. 856 JOHANNES REMIGIUS LANGE. A DUTCH KITCHEN. 51 X 37. 857 CANALETTI. THE ARSENAL, VENICE. Seaward View. 58 X 26. 858-859 FRANCISCO ZUCCARELLI (1703-1788). Tuscany. TWO LANDSCAPES. 56 X 34. 860 ANTHONY VAN DYCK. (Flemish.) This great painter was born at Antwerp, in 1599, and died in London in 1664, (See Introduction.) CHILDREN OF CHARLES I. 17 X 17. The royal children, whose portraits are here given, are Charles, William, and Henrietta Maria Stuart. 86 1 VECCHIA. Born in Pietro-Della, : 05 ; died there, in 1678. Venitian schooL Painted in 1665. FAMILY GROUP. 35 X 30. 862 RAPHAEL. THE VISION. 13x18. 863 MURILLO. MADONNA. 10 x 13. POWERS' ART GALLERY. 864 M. H. DUPLESSIS. Painted in 1771. MILITARY ENCAMPMENT. 36x23. The regiment has just received orders to move to the front, and all is in commotion. 865 UNKNOWN. RUINS OF KENILWORTH CASTLE. 30x35. With landscape and cattle. 866 UNKNOWN. "STILL LIFE." 25x30. Oysters, wine and fruit. A very old, but finely painted, pictore, 867 DAVID TENNIERS (The Younger). Born in Antwerp, Dec. 15th, 1610. Died April 35th, 1690. Flemish scbo<^ THE TWO RIVALS. 11x13. 868 SALOMAN RUT SD ALE. Born at Harlem, 1610. Died, 1670. Painted in 1665. LANDSCAPE AND CATTLE. 28x33. An important painting with a strong effect. 869 WRIGHT (Joseph). English, An eminent EngUsh painter, born at Derby in 1734, hence called Wright of Derby. Associate of Royal Academy in 1782. Died in 1797. DEAD SOLDIER. 25 X 30. This painting represents a soldier mortally wounded, who has beeo carried to the rear and placed in a tent occupied by his wife and child. The wife, stricken with grief, is holding his hand, while la» life is fast ebbing away. OLD OIL PAINTINGS. 870 PIETER DE HOGGHE. Born in Rotterdam, Dec. 12, 1632. Died la Harlem, 1681. Dutch school. A DUTCH MARKET PLACE IN THE EVENING. 31i X 26i. The moon is just rising in the distance and is shining through the tower of the church. The artificial light in the market place and the real light of the moon, give this painting a wonderful eflfect. No artist ever understood the play of light so well as Pieter De Hooghe. This admirable painting is known as one of this artist's master-pieces. A small painting, by this artist, 26i x 22f inches, sold in Paris, July Ist, 1889, in the Secretan collection, for fifty-five thousand dollars. 871 HIERONYMIES BOSCH. Born at Bois le Due, between 1460 and 1464 ; died there, in 1516. Flemish schooh THE ARTIST IN HIS STUDY. 36 X 28. Surrounded with his models and pupils. A wonderful painting ; nearly four hundred years old. 872 HIERONYMIES BOSCH. Born at Bois le Due, between 1460 and 1464 ; died there, in 1516. Flemish schooL THE OLD PHYSICIAN. 36 X 28. . The old physician at home in his study, and the interior of an old pharmacy. This painting is nearly four hundred years old. 873 CLAUDE JOSEPH VERNET. Born at Avignon, Aug. 14th, 1713. Died in Paris, Dec. 83d, 1789. French school. Marine painter. PORT AND HARBOR OF MARSIELLES. 30 X 25. powers' art gallery. 874 ANTON VANDYCK. Born in Antwerp, March 23d, 1599. Died in London, Dec. 9th, 1641. At ten years of age, he was apprenticed by his father, Francis Van Dyck, linen- draper, to Henry Van Balen, and at sixteen he entered the studio of Rubens, as his pupil and assistant. PORTRAIT. 22x30. 875 SIR JOSHUA REYNOLDS. Born at Plympla, Devonshire, England, July 16th, 1733. Died in London, Feb. 23d, 1793. Painted 1761. PORTRAIT OF EARL WALDENGRAVE. 25x30. 876 DAVID TENNIERS (Elder). Born at Antwerp, 1583 ; died there, July 39th, 1649. DIANA AND HER NYMPHS. 18x12. Diana is seated on a rock, surrounded by lier dogs and nymphs. The coloring is very fine for a painting of its age. This is a panel, painted two hundred and fifty years ago. 877 ADAM. SAINT ALOISUS. 9x12. 888 UNKNOWN. SLIGHT DISTURBANCE. 27x21. Note.— The remainlngr numbers up to nine hundred and twenty-flTe have been reserved to allow for the future errowth of the gaUery. Modern Water Colors, 925 ZAMPIGHI. (Ital.) Tangiers. THE GUN MAKER OF TANGIERS. 20 X 29. 926 FALAT. (Germ.) Munich. PORTRAIT. 13x17. 927 F. FASCE. (Span.) Valencia. A BIRD THAT CAN SING, &c. 30x21. The admirers of this kitchen beauty are trying to coax a song from her. This is a spirited, well colored composition, in which the story is effectively told. 928 A. DE GROSSI. (Ital.) Genoa. Gold Medals at Milan, 1879 ; Naples, 1880. THE JOLLY CAVALIERS. 30x22. A very fine example of this celebrated artist's best work. 929 G. EWING. (Amer.) Rome. A BIT OF CONFIDENCE. 21 X 29. 930 E. ASCENZl. (Ital.) Rome. CAVALIER AND PEASANT. 20 X 29. MODERN WATER COLORS. 931 C. H. CHAPIN. (Amer.) New York. MOOSE LAKE, ADIRONDACKS. 29 s 17 932 ARTZ. (Dutch.) The Hague. GATHERING WILD FLOWERS. 9x14. 933 SIMEONI. (Ital.) CAVALIER AND JESTER. 15x21. 934 C. CORRIDINI. (Ital.) THE CARDINAL'S ANTE-ROOM. 25 X 19. 935 M. GARCIA. (Span.) THE MOORISH DOCTOR. 21x29. 936 LOTIS APEL. RIVER SCENE. 17x11. Florence. Rome. Tangiers. 937 JOS. BENLURIA. (Span.) THE PICADOR'S REWARD. 14x31. Tangiers. 938 L. GABANI. (Ital.) MOORISH PRISONERS. 19x25. Tangiers. 939 E. NARDI. (Ital.) THE FAVORITE AIR. 18x24. Rome. POWEKS' AKT GALLERY. 940 A. RENSHAW. (Eng.) FEMALE PORTRAIT. 16 X 20. London. 941 A. RENSHAW. (Eng.) FEMALE PORTRAIT. 16x20. London. 942 WISSENBROCH. SUMMER DAY ON NORTH COAST. 21 X 14. 943 UNKNOWN. CUPID SHARPENING HIS ARROWS. 13x11. Imitation of Corregio's water-color in the Borghese Gallery, Rome. 944 A. LEONARDI. (Ital.) THE LITTLE ST. JOHN. 9x12. 945 GAMLA. (Ital.) GATHERING WILD FLOWERS. 8x19. 946 WATT. CHILDREN IN MEADOW. 8x11. Rome. Rome. 947 MARIE TEN KATE. (Dutch.) THE LITTLE BOATMEN. 20 X 13. The Hague. MODERN" WATER COLORS. 948 LOCKHARDT. BOY WITH REEDS AND FLOWERS. 10x14. 949 E. SIMONETTI. (Ital.) Rome. LOVE'S INTRIGUES. 14 X 20. 950 REMBRANDT. (A Sketch.) THE HOLY FAMILY. 7x9. 951 F. PERLBERA. Munich. VIEW OF VESUVIUS. 11x17. 952 A. CABANEL. (Fr.) Paris. LA REINE D'AMOUR. The Queen of Love, 7x9. From this sketch was painted the picture now in possession of the Emperor of Russia. 953 UNKNOWN. GIRL SKETCHING. 14 X 20. 954 J. B. GREUZE. (Fr. Dec'd.) THE MILKMAID. 7x9. The above perfectly authenticated sketch is by one of the greatest French painters of the last century. 955 A. LEONARDI. (Ital.) Rome. TEMPLE OF VESTA, ROME. 12x8. POWERS' ART GALLERY. 956 A. PECQUEZADO. STREET STUDY. 20 X 28. 957 UNKNOWN. FETE CHAMPETRE. 13x10. 958 UNKNOWN. A COUNTRY PARTY. 13x10. 959 MARIE TEN KATE. (Dutch.) The Hague. Member of the Hague Academy. Gold Medals at Antwerp, Amsterdam and Ghent. THE RUSTIC CRITICS. 18x12. 960 HENRIETTA RONNER. (Eng.) PUSSY HUNTING. 18 x 22. London. >1 G. SIMEON! (Ital.) WAITING FOR THE BEY. Florence. 962 F. PERLBERA. CASTLE IN NUREMBERG. 17x23. 963 F. PERLBERA. PORTAL IN ROTHENBURG. 17 X 23. Munich. Munich. 964 V. DEBONFIELD. WINTER SCENE. 17x11. MODERN "^ATER COLORS. 965 R. SAYER. GIRL WATERING PLANTS. 966 H. FARRER. (Amer.) LANDSCAPE. 7x9. 967 R. SAYER. BOYS BIRD CATCHING. 6x9. 068 UNKNOWN. COUNTRY SCENE. 16x10. 969 AHMEHRU. New York. LADIES SURPRISED BY SNAKE. 13x10. 970 A. DOLL. (Germ.) COURT YARD. 10x11. Munich. 971 UNKNOWN. CAVALIER AND LADY. 12x10. 972 R. PERLBERA. CLOISTER IN MAALBRONN. 17 x 23. Munich. 973 UNKNOWN. LADIES IN GARDEN, 10x13. POWEKS' ART gallery: 974 UNKNOWN. ODD PAPERS. 17x12 975 R. SAYER. RIVER SCENE. 6x9. 976 J. KEVER. Pupil of Josef Israels. THE EVENING MEAL. 21x14. An extraordinarily good acquarelle. The Hague. 977 R. SAYER. BOY FISHING. 6x9. 978 ROBERTI. (Ital.) THE YOUNG VIOLINIST. 11x7. Florence. 979 S. SIMEONI. (Ital.) HAREM INTERIOR. 7x10. Florence. 980 H. FARRER. (Amer.) BLOSSOMS. 6x10. New York. 981 CORRODI. (Ital.) 1874. APPIAN WAY. 25 X 17. From Mary J. Morgan collection. Rome. MODERN" WATER COLORS. 982 CORRODI. Rome. 1874, VICO. 27 X 18. From Mary J. Morgan collection. 983 CORRODI. Rome. 1874. CAPRI, 25x17. From Mary J. Morgan collection. 984 CORRODI. Rome. 1874. AMALFI. 25x17. From Mary J. Morgan collection. 985 CORRODI. Rome. 1874. LAKE THUN. 25 X 17. From Mary J. Morgan collection. 986 CORRODI. Rome. 1874. BAY OF BAIEA. 37x18. From Mary J. Morgan collection. 987 CORRODI. Rome. 1874. ROMAN AQUEDUCT. 26 x 17. From Mary J. Morgan collection. 988 LAMPERT (EMMA E.) Rochester, N. Y. FAGOT WOMAN. 13 X 18. POWEES' ART GALLERY. 989 MARION RUSSELL. Rochester, N. Y. ROUEN. 7x9. 990 MARION RUSSELL. Rochester, N. Y. VENICE. 27x19. 991 LAMPERT (Emma E.). Rochester, N. Y. ELK LAKE, Michigan. loxii. 992 GRUPPE (Chas. P.). Rochester, N. Y. STREET SWEEPER. 20x27. 993 GRUPPE (Chas. P.) Rochester, N. Y. CLAM GATHERERS. 22 X 15. 994 A. H. WILLIAMS. Rochester, N. Y. ANN. 9x12. 995 HORATIO WALKER. New York. HORSE FARRIER. 24x21. Statuary. I. Chev. N. C. POPOTTI. Rome. LOVE'S MIRROR. Cupid is holding the mirror to a beautiful ^irl engaged in adorning her hair with flowers, one of which she holds in her right hand. Whatever the lesson the sculptor may have intended to convey — and there are many possible — he has given us an attractive gToup, well conceived and proportioned, and executed with a good deal of daring. II. THOMAS GOULD. Florence. THE WEST WIND. The West Wind is personified by a life-size female figure, advanc- ing through the air with speed enough to throw her drapery behind her in graceful lines and curves. This is a difficult subject treated with more than common skill. III. Chev. K E. POPOTTI. Rome. THE GENIUS OF ART. The Genius of Art is typified by a beautiful youth, holding in his right hand chisel, pencil and compass — the emblems of art. He is seated on the inverted capital of a broken column; his inspired, eager face and outstretched wings indicating the spirit within, which impels him to dare the lofty, perilous flight, to which the wings of genius are alone equal. This is a finely conceived and splendidly executed work. IV. WM. COUPER. Florence. MORNING. An allegorical medallion in which Morning is represented as a charming cherub standing on a tiny cloud, its gauzy vesture floating STATUARY. gracefully iu the breeze, while the resplendant rising sun illumines the sky. This is a beautifully modelled work, refined in conception and dainty to a degree in execution. Y. WM. COUPER. Florence. EVENING. A companion medallion to the foregoing, in which our little cherub friend is represented as clasping the upper end of the moon's crescent with the left hand, while the right is engaged in securing the slender covering which partly veUs the body. It is quite equal in composition and execution to its companion piece. VI. WM. COUPER. Florence. FORGET ME NOT. A bust of a beautiful child looking upwards with a sweet look of entreaty on its face. The title of the work is well chosen and the execution is admirable. VII. THOMAS BALL. Florence. JOY. A child with half hesitating, but smiling countenance, as though surprised and dehghted at some imexpected gift. A graceful com- position. VIII. Chev. N. C. POPOTTI. Rome. CONFIDENCE BETRAYED. Two cupids, one of whom has fallen asleep. The other, mean- while, steals the arrows from the quiver of his confiding companion. An original, felicitous conception. IX. Chet. N. C. POPOTTI. Rome. THE FLOWER GIRL. PO"WEES' ART GALLERY. X. UNKNOWN. VENUS AT THE BATH. The goddess of Love is represented as just entering the water, which her foot barely touches, while she is on the point of discarding the slender, solitary piece of raiment which partly enshrouds her charms. The conception of the work is good. :i. Chev. N. C. POPOTTI. Rome. THE YOUNG HUNTER, A boy with a bird in his right hand, holding his eager dog in a XII. N. C. POPOTTI. Rome. SUNSHINE. A female figure represented as gleaning, with the newly gathered ears in her hand, her face radiant, and her whole figure bouyant and elastic under the influence of the god of Day. A spirited and sug- gestive composition. XIII. N. C. POPOTTI. Rome. STORM. A companion piece to the foregoing. The face and attitude of the figure bespeak discomfort, if not absolute pain, in her struggle with the chill blast which drives so pitilessly against her. This piece forms an excellent contrast to its companion subject. XIV. N. C. POPOTTI. Rome. BUST OF D. W. POWERS. XV. J. A. JACKSON, (dec'd.) Florence. BUST. STATUARY. XVI. PERCY WOOD. (Amer.) PSYCHE. XVII. TADOLINI (ADAM SCIPIONE). (Dec'd.) Born at Bologna, 1789. Pupil of Canova, Professor of the Academy of Bologna. Among the works of this sculptor are "Venus and Love;" the "Rape of Ganymede," for Prince Esterhazy ; the Tomb of Cardinal Laute, for the City of Bologna ; statue of " St. Francis de Sales," for St. Peter's, at Rome, and a colossal " St. Michael," for the late Mr. Gardner Brewer, of Boston. Died, 1870. CUPID AND PSYCHE. (Canova's Group.) Executed by Chevalier Scipione Tadolini, from the original model which he inherited from Canova. Canova won his first success as a sculptor by his devotion to his severe style of the antique. He was at his best, however, in works like his "Cupid and Psyche," in which he mitigated the gravity of his ideal with a certain softness and grace of his own. This beauti- ful group was produced soon after he had completed his monument to Pope Clement XIV., and holds its place to this day at the head of his lighter imaginative works, showing as it does his delicate and masterly treatment of the marble and his poetry of sentiment at their best. Canova, who died in 1823, left, among other distinguished pupils, Professor Adam Scipione Tadolini, who became himself a sculptor of the highest merit. Professor Tadolini executed in the dimensions of the original a reproduction of his master's "Cupid and Psyche." The amorous god is shown swooping down upon the lovelorn maiden with a graceful sinuousness of motion to his winged figure, while she greets him throwing herself backward into his arms with the motion of one just aroused from sleep. The figures are in the dimensions of the life and perfect in their repetition of the original. The character of the female figure is refined and tender, as befits the bride of the love god in whom the Greeks embodied the soul or spirit of mortality, while the Cupid has the refinement and youthful beauty belonging to the son of Jupiter and Venus, who, " Uncontrolled through heaven extends his sway. And gods and goddesses by turns obey," ^« book is due on the iJa ' * fTCC \ »-t.%-Sp" Berkeley U.C, BERKELEY LIBRARIES CDME1517afl A3^ •8898