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Old and Modern Masters in the Collection of M.C.D. Borden

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Old and Modern Masters in the Collection of M.C.D. Borden /^ NOTICE IN PRESENTING HEREWITH A COPY OF THE PRIVATELY PRINTED DE LUXE CATALOGUE OF THE LATE M. C. D. BORDEN'S PRIVATE GALLERY OF NOTABLE PAINTINGS BY THE GREAT MASTERS OF THE EARLY DUTCH, FLEMISH, ITALIAN, ENGLISH, BARBIZON, CONTEMPORANEOUS FRENCH, GERMAN, AND AMERICAN SCHOOLS THE AMERICAN ART ASSOCIATION TAKES THE OPPORTUNITY OF ANNOUNCING THAT IT HAS BEEN INSTRUCTED BY JOHN W. STERLING, BERTRAM H. BORDEN, AND HOWARD S. BORDEN, EXECUTORS, TO DISPOSE OF THE SAME AT UNRESTRICTED PUBLIC SALE TOGETHER WITH An Exceedingly Choice Collection OF BEAUTIFUL OLD CHINESE PORCELAINS IMPERIAL JADES, CARVED AGATES, CLOISONNE ENAMELS, ANTIQUE GLASS GREEK TERRA COTTAS, ANTIQUE JEWELRY, ANCIENT GREEK COINS, MINIATURES, CABINET GEMS AND OTHER ART PROPERTY AND ALSO THE VERY VALUABLE LIBRARY WHICH IT IS SAFE TO SAY THAT NO SUCH COLLECTION OF BEAUTIFUL MODERN BINDINGS, EDITIONS- DE- LUXE, ILLUSTRATED ART WORKS AND EXTRA-ILLUSTRATED BOOKS HAS EVER BEEN OFFERED FOR SALE IN THIS COUNTRY "CHE WHOLE FORMING A HIGHLY IMPORTANT QATHERING OF JRT AND LITERARY "PROPERTY OF HIGH QUALITY AND DISTINCTIVE CHARACTETi THIS IMPORTANT PUBLIC SALE WILL TAKE PLACE DURING FEBRUARY, 1913 DEFINITE DATES FOR THE PUBLIC EXHIBITION AND THE SALE WILL BE MADE KNOWN IN FUTURE ANNOUNCEMENTS APPLICATIONS FOR CATALOGUES (REGULAR SALES EDITION) AND INQUIRIES FOR FURTHER INFORMATION SHOULD BE ADDRESSED TO THE AMERICAN ART ASSOCIATION AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK, NOVEMBER. 1912 NEW YORK, U.S.A. OLD AND MODERN MASTERS IN THE COLLECTION OF MC-D BORDEN CATALOGUED BY WILHELM RVALENTINER &- AUGUST F • JACCACl VOLUME ONE NEAV YORK PRIVATELY PRINTED MCMXI CopyrigKt, 191 1, by- Frederic FaircKild SKerman CONTENTS VOLUME I Paintings by Old MAsTERs,WilKeltnR. Valentincr ... 9 Early Dutch, Flemish and Italian Masters Cuyp, Aelbert . Man Eating Mussels ... .26 De HoocK, Pieter . The Music Party 37 Guardi, Francesco . The Piazza of San Marco, Venice 74 The Grand Canal near tKe Piazza San Marco, Venice .... 79 Hals, Frans .... The Reverend Caspar Sibelius . 31 Hobbema, Meindert . Ca^le Ko^verloren . 32 Teniers, David (TKe Younger) .... Woman Smoking in an Inn . 73 TerborcK, Gerard . Lady Pouring Wine . 55 Van deVelde,W^illem . Calm Sea 56 Van Dyck, Anton . Portrait of a Gentleman ... 68 Van O^ade, Isack . Peasants before an Inn . .43 Van O^ade, Adriaen , Backgammon Players at an Inn . 3 8 Van Rijn, Rembrandt . Lucretia Stabbing Herself . 44 Van Ruisdael, Jacob . Tbe Cascade 49 AW^aterfall 50 Wouwerman, Philips . Grooms Watering Horses . 61 The Sutler's Booth . 62 V/ynants, Jan . Hilly Landscape ^vith Grove o£ Trees 67 Paintings of the English Masters, August F. Jaccaci . 83 English Masters Chrome, John . The Willo"w 118 Con^able, John . The Sluice 117 Gainsborough, Thomas . Miss Ann Horde 99 Hoppner, John . Mrs. Arbuthnot 112 Lawrence, Sir Thomas . Miss Kent 100 Millais, Sir John Everett The Pet Bird 135 Morland, George . Ru^ic Scene 129 3 English Masters—Continued I Nasmytk, Patrick . Edinburgh from Gogar 30 Reynolds, Sir Joshua . Miss Morris 94 Romney, George . The V/illett Children . 105 Countess of Glencairn (?) . 106 Lady Hamilton as Madonna III Tadema, Sir Alma . Unwelcome Confidence . 136 Turner, M. The ChfFs at Dover 123 J. W. East Cowes Ca^le, the Seat of J Nash, Esq.—The Regatta Bear? ing to Windward .... 124 VOLUME II Paintings of the Modern French, Dutch, German and American Masters, August F. Jaccaci . , Modern French Masters Bonheur, Rosa Highland Cattle and Sheep on a Mountain Pa^ure 112 Breton, Adolphe La Fin de la Recolte J. Corot, B. Camille Bohemienne a la Fontaine J. 52 Le Pont de Mantes 57 Le Bateau au Clair de Lune 58 La Cueillette au Bord du Chemin ^3 Daubigny, C. Francois Mantes*lasJohe 88 The Willows 93 The Banks of the Oise. Summer 94 Daumier, Honore Le V/agon de Troisieme Classe 46 Decamps, A. Gabriel Les Petits Nautonniers . 45 Delacroix, Eugene Combat en Algerie 40 De Neuville, Alphonse Prisonniers de Guerre . 130 Detaille, Edouard Prussian Cuirassiers Attacking a French Convoy .... 129 Diar, Narcisse Virgile La Diseuse de Bonne Aventure 99 Sunset near Fontainebleau 100 Dupre, Jules . Pa^urage near L'Isle*Adam . 76 4 Modern French Masters—Continued Dupre, Jules Landscape 8i Landscape 82 Landscape Sj Fromentin, Eugene . A la Fontaine 117 Gericault, TKeodore Tbe Wbite Horse 3 (^ Gerome, L. Bonaparte en Egypte . J. 124 Greuze, Baptiste Innocence J. 34 Henner, . Magdalen J, Jacques 123 Meissonier, L. Erne^ Cavalier J. A 118 Monticelli, AdolpKe Court dAmour 105 Romantic Scene 106 Millet, Jean Francois Le Gardeur de Moutons . III Rousseau, Theodore Tbe Pool 64 Landscape 69 Sunset 70 Tbe Pool in tbe Fore^ . 75 Troyon, Con^ant Tbe Approaching Storm . 51 Vibert, Georges Theological Quarrel J. A 136 Modern Dutch Masters Mauve, Anton . Winter Landscape 142 NeuKuys, Albert Mother and Children 147 Modern German Masters Defregger, Franz The Adventure 164 DiefFenbacK, H. A. Girl and Child . Knaus, Ludwig . A Bavarian Holiday . 163 Litscbauer, Joseph The Counterfeiters 152 Siegert, Augu^ . Tbe Old Grandmother 157 Modern American Masters Inness, George Sunset 181 Sunset (Montclair) 182 McEntee, Jervis . Autumn Landscape with Figures 176 Wbittredge,Wortbington Scene in a Park 175 Wyant, Alexander . Tbe Approaching Storm , . .170 5 VOLUME I PAINTINGS BY OLD MASTERS PAINTINGS BY OLD MASTERS By \Vilhelm R. Valentiner DUTCH SCHOOL [HE principal pidtures of the old makers in Mr. Borden's collection are works by recognized mas* ters of tKe be^ period of tke DutcK School, the second third of the seventeenth century. The various manners ofexpression of Dutch painting are excellently represented, the portrait, genre, landscape and seascape; even suhjedls ofclassical antiquity, which are hut seldom and with Httle success cultivated in Holland, are represented by a maimerpiece of Rembrandt's, the dying Lucretia. V/e shall begin with Frans Hals and Rembrandt, the great men who dominate the school by their ^rong personaKties, and force into the two distindl channels they individually followed all its lesser makers. Although Frans Hals lived to see the fruits o£ peace begin to ripen in his later years, he represents the people who Hved in a ^ate of war, the long war in \vhich Holland and the whole of Europe were engaged in at the time. Rembrandt, ^vho belongs to a little younger generation, is the representative ofthe same community in a ^ate of peace, and his i^yle fliU of feeHng and thought was devel? oped under the stimulus of the hard and rough experiences of the preceding period. Yet Frans Hals' arti^ic activities extended almo^ to the death of Rembrandt; his reaH^ic conception depending upon momentary expression, and that of Rembrandt, quiet, soulful and absorbed, are therefore contemporaneous. ^Ve may safely say that one was evolved from the other, and also, that the manner of Rem^ brandt dominated Dutch art after the fifties. These two absolutely different conceptions are very well illus* trated by tv/o works in the possession o£ Mr. Borden ; Hals' portrait 9 ofthe ''Reverend Caspar SibeKus," dated 1637, and the ''Lucretia" of Rembrandt, painted in 1664. The Hals is one ofthe works in which, concentrating his broad, free art ^vithin the Hmits of a small canvas, the arti^ accomplishes all the more a^onishing results. As soon as it this -was tsvice engraved Suydenhoef, was completed, painting by J. one ofthe be^ Dutch engravers ofthe time, and has become especially well known for that reason. Since several pidlures by Frains Hals, and ofsimilar size, are available in engravings of the time, it is logical to assume that the arti^ chose a small canvas, to which he v/as unacs customed, out of consideration for the engraver. The work belongs to the be^ period of his career, when w^ith his pecuHar vivacious* ness he combined a comparatively painstaking and finely ^udied technique; when in^ead of the rugged figures of his earlier period he pidtured jovial contentment, and supplanted by a transparent gray tone, his early garish color schemes. It -svas, furthermore, in the latter half of the thirties, the time when this portrait "was painted, that Frans Hals painted some of his be^ works: the ''Portrait of a Painter" and the ''Portrait of an Old Woman" from the Yerkes Colledlion, both of 1635, and both now in the Prick Colledlion, the portrait of Michielde V/ael(i638) in the possession of Mr. Morgan, and the two companion pidlures ofthe same year, in Frankfort. It is rare that we should know the personaKty of Hals' sitters, as in this case of Sibehus, ^vho ^vas born in Germany and enjoyed a reputation as a preacher in England, Switzerland, and finally also in Holland. If the inscription on the back of the canvas is corredt, we also know the name of its fir^ owner, a certain Professor Hoffmann, to whom it is said to have been presented by SibeHus himself. We may wonder how it came about that an arti^ like Frans Hals, vv^hom we pidlure mentally as a manner of Fal^aff, should be particularly successful in portraying minivers ofthe Gospel; yet he painted many of them. It is clear that an under^anding of naive piety such as ^vas imparted by gentle preachers, ^vas not incompat? ible with the rough belligerent natures of that time. In fact, war itself aided in furthering the influence of the prices, for a nation whose chief pre^occupation is the defense of its territory is more apt to give the church its rights than a people Hving in peace and having 10 ; time for refledtion and therefore for scepticism. TKese Dutch mins i^ers also seem to have fo^ered a simple conception of life quite in accordance with the pradtical problems so close at hand, and by- means ofa jovial cordiality to have brought themselves close to their flock.
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