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Catalogue of the Art Collections Loaned by James

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Catalogue of the Art Collections Loaned by James THE ART INSTITUTE OF CHICAGO. Catalogue of Collections I. OANED BY JAMES W . ELLSWORTH . OCTOBER, r8go. r THE ART INSTITUTE OF CHICAGO. CATALOGUE OF THE ART COLLECTIONS I,OANED BY JAMES W. ELLSWORTH. ROOMS XIV AND XV. REMBRANDT'S PORTRAIT OF A MAN, PICTURES BY AMERICAN ARTISTS, GREEK TERRA COTTA GROUPS AND VASES, ANCIENT CHINESE PORCELAINS, ' ORIENTAL CURIOS IN STONE, IVORY, BONE, BRONZE, IRON AND WOOD, SPECIMENS OF BARYE BRONZES. OCTOBER, r89o. Contemplating the erection of a. new home in Chicago and expecting to be absent a portion of the time meanwhile, I have determined to accept the offer of the Trustees of the Art Institute to exhibit and protect my Art collections during the interval. I have had pleasure in selecting my American pictures, and in gathering the Greek, Oriental and European Art Objects that are' herein catalogued. I have lived with these things and shall be unhappy in being temporarily separated from them, but hope that those who may view the collection will enjoy it as I have; I could not wish them greater comfort. }AMES W. ELLSWORTH. Chicago, May 5, I89o. THE ART INSTITUTE OF CHICAGO. The Art Institute maintains a permanent exhibition open every week day frqm 9 to 5 o'clock. It is free to members and their families at all times, and free to all upon Saturdays and Sundays. All friends of the Art Institute are invited to become members. Annual Members pay a fee of ten dollars for the year. Govern- ing Members pay ten dollars a year and an initiation fee of one hundred dollars. All members are entitled, with their families and visiting friends, to admission to all exhibitions, receptions, public lectures and entertainments of the Institute. CATALOGUE OF OIL PAINTINGS. I. PORTRAIT OF: A MAN, (r632.) BY REMBRANDT. BORN, 16o7. DIED, 1669. COLLECTION OF M. TOLOZAN, 1801. COLLECTION OF M. MONTELEAU, 18oz. COLLECTION OF M. COLLOT, 1855. COLLECTION OF BARON SEILLIERE, 1861. COLLECTION O:F PRINCESS DE SAGAN, 1872. While in the possession of M. Collot the title of the · picture was changed to "Dr. Tulp," and it has been known by , this title for more than thirty years. The present owner restores the original title " Portrait of a Man " as given in the authorities of Rembrandt's works. WORKS PAINTED EXCLUSIVELY BY AMERICAN ARTISTS. ARTIST. TITLE. 2. BAKER, W. BLISS (deceased), Solitude. 3· BAKER, W. BLISS (deceased), Edge of the Woods, (Ballston, N.Y.) 4· BAKER, W. Buss (deceased), Wood Interior. 5· BAKER, GEORGE A. (deceased), Resignation. 6. BECKWITH, J. CARROLL, The Unfinisiled Chapter. 7· BIRNEY, W. V., Mending Carelessness. 8. BLAKELOCK, RALPH ALBERT, A California Wood Interior. 9· BLAKELOCK, RALPH ALBERT, The Dawn of Day. 10. BLUM, ROBERT H .. (Pastel), Eyes. II. BRISTOL, J. B., North West Bay,(Lab: George). 12. BROWN, J. APPLETON, June. 8 James W Ellsworth Collection. 9 13. CALIGA, I. H., A Philosopher. 14. CHASE, WILLIAM M., A Brooklyn Cottage. 15. CHURCH, F. E., Twilight in the Woods. 16. COFFIN, W. A., Morning Sunshine. '7· CRANE, R. BRUCE, An Autumn Afternoon. !8. CREIFELDS, RICHARD, In teres ted. '9· CURRAN, CHARLES C., An Alcove in the Art Students' League, N. Y. 20. CURRAN, CHARLES C., Afternoon in the Cluny Gar- dens, Paris. 21. DAVIS, CHARLES H., Nightfall. 22. DAVIS, CHARLES H., Fading Light. 23. DAVIS, CHARLES H., Moonrise. 24. DECKER, jOSEPH, Grapes. 25. DIELMAN, FREDERICK, Girl of the 18th Century. 26. DURAND, E. L., Old Museum at Antwerp. 27. DEWEY, CHARLES MELVILLE, November. to The Art Institute of Chicago. 28. EATON, CHARLES HARRY, Late October. 29. EATON, WYATT, The Favorite Grandchild. 30. FOWLER, FRANK, In Blossom Time. 31. FULLER, GEORGE (deceased), An Ideal Head. 32. GAY, EDWARD, Early Spring. 33· GIFFORD, R. SWAIN, New England Coast Scenery. 34· HABERLE, ]., Realistic. 35· HASBROUCK, DUBOIS F ,, A Winter Morning in the Cat- skills. 36. HUNT, WILLIAM M. (deceased), A Child's Head. 37· HUNTINGTON, DANIEL, Meditation. 38. INNESS, GEORGE, A Valley View in Autumn. 39· INNESS, GEORGE, Saco Valley, New Hampshire. 40. INNESS, GEORGE, Summer Landscape, Leeds, Green Co., N.Y. 41. INNESS, GEORGE, Landscape. 4:Z. INNESS, GEORGE, June. 12 The Art Institute of Chicago. 59· MAGRATH, WILLIAM, The Proposal. 6o. MCCORD, GEORGE HERBERT, On the Maine Coast. 61. McENTEE, JERvrs, Plains of the Humboldt. 62. MARTIN, HOMER D., Coast of Normandy. 6J. MAYNARD, GEORGE W., A Dutch Court Yard. 64. MILLER, CHARLES H., A Gray Day. 65 . MILLER, FRANCIS, The Potter. 66. MILLET, F. D., A Patrician Maiden. 67. MINOR, ROBERT c., Golden Sunset in the North Woods, N.Y. 68. MINOR, ROBERT C., A Misty Day. 6<). MOELLER, LOUIS, Another Investment. 70. MOELLER, LOUIS, Appraisement. 7I. MORAN, LEON, A Cavalier. 72. , MORAN, PERCY, The New Song. 7J. MURPHY, J. FRANCIS, Twilight. ·· 74· MURPHY, J. FRANCIS, An Autumn Sunset. James W. Ellsworth Collection. I3 75· MURPHY, J. FRANCIS, An Autumn Storm. 76. NICHOLS, BURR H., A Bit of Venice. 77· PALMER, WALTER L., November Snow. 78. PARTON, ARTHUR, Silver Birches. 79· PAULI, RICHARD, Sundown. So. PICKNELL, WILLIAM L., Early Morning. 8!. PLATT, CHARLES A., Marine. 82. POORE, H. R., Fox Hou~ds. 8J. REHN, F. K. M., Sun Shower, Atlantic Coast. 84. RYDER, ALBERT P., The Spirit of Spring. 85. SARTAIN, WILLIAM, Landscape near Nonquitt, Mass. 86. SHAW, ANNIE C., (deceased), Autumn. 87. SHIRLA w, WALTER, A Flore ntine Laundry. 88. SMITH, H. P., Old Oaks. 89. TYRON, D. W., Moonrise. 90· TYRON, D. W., Winter Twilight. 14 The Art Institute o.f Chicaf{O. 91. TWACHTMAN, J. H., A Dismal Day. 92. WALKER, HORATIO, A Pastoral. 93· WATROUS, H. W., Memories. 94· WEIR, J. ALDEN, Roses. 95· WIGGINS, CARLETON, Landscape and Cattle; Sand · Plains, N.Y. ()6 . WYANT, A . H., Twilight in the North Woods. WATER COLORS. ARTIST. TITLE, 97· BELLOWS, A. F. (deceased), Scene at Hot Springs, Arkansas. 98. CHAMPNEY, J. WELLS, On the Heights (Hudson River). 99· CHURCH, F. S., A Chilly Day. 100. COLMAN, SAMUEL, Festival day in. Venice. 101. COZZENS, F. M., A Narrow Margin. 102. EDWARDS, GEORGE WHARTON, The Fishermen. · !OJ. HOMER, WINSLOW, Surf at Scarborough, Maine. 104. HOMER, WINSLOW, Natives' Hut at Nassau. ws. HOMER, WINSLOW, Street Scene, Santiago, Cuba. 106. HOMER, WINSLOW, Mussel Gatherers. 107. MCCORD, GEORGE HERBERT, On the Harlem River. 108. McDouGALL, JOHN A., "Ever Thine, Celia." 109. MUHRMAN, H., Milking Time. 15 16 The Art Institute of Chicago. 110. MURPHY, J. FRANCIS, Early Snow. III. PLUMB, H. G., " Comin' Thro' the Rye." II2. WILES, IRVING R., In the Park. PEN AND INK DRAWINGS. ARTIST. TITLE. IIJ. ABBEY, E. A., " Kitty of Coleraine." 114. ABBEY, E. A., " Kitty of Coleraine." liS. ABBEY, E. A., "My Master, he takes me to Church." II6. ABBEY, E. A., Harmless Play. GREEK DEPARTMENT. TERRA COTTA GROUPS AND STATUETTES. Under this heading five objects are shown which have been recently found in tombs in Greece and Asia .Minor. The difficulty of getting rare antiquities from Greece and Turkey to-day makes it impossible to indicate with absolute accuracy the location of the "finds." In Asia Minor the Turkish law forbids research and the exportation of antiquities. The doubts raised about the integrity of the Asia Minor and Greek groups had almost entirely ceased. Recently, howe~er, the fight has been re-opened, -but promises to be of short duration. The learned writer who assails the objects fails to name the forger, and constantly changes his place of operating. An expert in defending the little monu- -ments, says: " Leaving · aside all questi<m of Art or Archreology in relation to the authenticity of those groups, and by using only human common sense, one will easily be convinced how impossi- ble it is for any one to fabricate that relatively immense variety 'shown in these little statuettes. To manufacture these fine groups one must have, first, the whole establishment of a first-class pot- ter; he must be an excllent archreologist in order to produce cor- rect objects and not impossible amalgamations; he must have all the varieties of clay to make the groups according to the mode used by the ancients, which differ according to the localities where they were produced; he has to possess a perfect knowledge of all the varieties of the ancient modes of fabrication; he must be the owner of an extremely valuable collection of real antiques as models for his numerous and varied imita tions, and last but not least, as these groups come out of the mould in the most imperfect and roughest state, and have to be entirely reworked by hand (that is the reason that not two of them are alike), then the forger must 17 The Art Institute of Chicago. be supplemented by being an artist of the highest merit, one who is so master of his art that he can, with the easiest grace, identify himself with the qualities, peculiarities, fancies, etc., of men who lived thousands of years before his birth, and were as different in their style of work as they were remote from the other, living in different countries and at different periods." ; . Some of these little monuments are realistic, some mythological. A. THE YOUTH OF BACCHUS. Asia Minor. IV Century B. C. The infant Bacchus riding on a she-goat is preceded by a Bac· chante and followed by Silenus. The r-emarkable feature of this group is the life and movement of the figures. B. THE VICTOR CARRIED BY THE · VANQUISHED. Greece proper. IV Century B. C. ~ A group of two young girls, one of whom having lost the game is carrying the other who has won it on her sl1oulders. Note the majestic stride of the walking figure.
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