SCHWARZ

E U R O P E A N S

&A M E R I C A N S A B R O A D

SCHWARZP H I L A D E L P H I A

1806 Chestnut Street Philadelphia PA 19103

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Art Dealers Association of America; Art and Antique Dealers League of America; CINOA

F I N E P A I N T I N G S F O U N D E D 1 9 3 0

Please direct inquiries to Robert Schwarz, Jr.

Philadelphia Collection LXXIII

September 2004

Copyright ©2004 The Schwarz Gallery

All rights reserved

Library of Congress Control Number: 2004094118

Editing: David Cassedy

Copyediting: Alison Rooney

Design: Matthew North

Photography: Rick Echelmeyer

Color separations and printing: Piccari Press, Warminster, Pennsylvania

Paintings are offered subject to prior sale.

cover: William Bruce Ellis Ranken (Scottish, 1881–1941); Water Lilies, 1910; see plate 30

www.schwarzgal lery.comWe are pleased to announce our presence on the world wideweb at http://www.schwarzgallery.com/. Visitors to the sitecan browse our paintings database by artist or conduct subject-and keyword-based searches that focus on their own personalinterests. Patrons of the Art and Antiques shows in which ourgallery participates can revisit our booth offerings. There arealso online versions of previous catalogs and we plan to offerdownloadable facsimiles of all our publications.

ACKNOWLEDGEMENTS

Historically this introduction was written by my father, Robert D. Schwarz. Sr., thanking the various contributorsto the catalogue and giving an overview of the works inside. His passing on March 18th 2004 marked the end ofan almost two-year battle with pancreatic cancer. In our last publication my father was proud to discuss my newinvolvement in a catalogue. It is with some regret that I am now writing the introduction to the first cataloguethat was completed without his guidance and expertise.

My father began what would become an illustrious program of Schwarz Gallery publications with a small black-and-white pamphlet containing six illustrations and a small section of text. This modest pamphlet was thefoundation for seventy-one more catalogues over the years. These quickly evolved into scholarly references inwhich selling the paintings was secondary to the in-depth research they contained. This catalogue focuses onEuropean paintings as did my father’s some thirty years ago. Here I attempt to maintain the same high qualitythat people have come to expect from the Schwarz Gallery during his long and much respected tenure.

It seem that fate was playing a role when I expressed my interest in joining the family business only two weeksbefore my father was diagnosed. While it was something I considered for a long time in secret, I never imaginedthat the reigns would be handed over so quickly. As we move forward I plan to adhere to all of the SchwarzGallery’s traditions of excellence and to uphold my fathers commitment to better the art world that was so dear tohim. Eventually I will add my own twist to the Schwarz Gallery like my father did when assuming the reigns frommy grandfather Frank Schwarz, but one clear priority is to maintain the gallery’s focus on Philadelphia artists.

Many times since I began work at the gallery my father referred to our current staff as the “best set of employeeswe have ever had.” More than ever this catalogue could not have been produced without their help andcommitment. Their strengths made it possible to complete the catalogue without the guidance of my father andwith a result that we all are proud of. Matthew North, as always, has done a superb job designing the catalogueas well as managing the printing and photographic quality. David Cassedy’s research and writings give thecatalogs their scholarly interest but also manage to appeal to those who appreciate the paintings on a purely visualbasis. Nathan Rutkowski and Christine Poole have both done so much work on the catalogue that I would be hard-pressed to list them all. Simply put their work on the catalogue might not be labeled as “designer” or “researcher”but their contribution is no less important or necessary. Without Betty Mondros I am convinced the entire gallerywould grind to a halt.

There are many others whom I thank for their assistance: Jeffrey Boys, Gary and Janet Calderwood, Wendy andGordon Hawksley, Mariko Iida, Cheryl Leibold, Audrey Lewis, Mark Murray, Linda Martin Schaaf, AlasdairNichol, Tommy Richardson, Peter Rudolph, Judith O’Toole, Jeffrey Ray, Robert Torchia, and Ruth Weidner. MerriFerrell, who was Carriage Curator at the Museums at Stony Brook (now the Long Island Museum) for more thantwenty years, has contributed a fascinating essay on Giuseppe Gabani’s Coaching on the Appian Way, Rome (plate27); she also writes regularly for the Carriage Journal, 19th Century, and other historical publications, and is theauthor (with others) of The Carriage Collection (The Museums at Stony Brook, 1986) and Nineteenth-CenturyAmerican Carriages: Their Manufacture, Decoration, and Use (The Museums at Stony Brook, 1987).

Finally, I express my deepest gratitude to the members of my family who have been through an indescribablydifficult time as we suffered the loss of such a large and irreplaceable part of our lives and our futures. Withouttheir unquestioning support I would not be able to continue the business. My thanks and love to Pamela, Marie,Elizabeth and Jonathan Schwarz.

1

Jan van Gool (Dutch, 1685–1763/65)

Pastoral Scene

Oil on panel, 15 × 21 3/4 inchesSigned and dated at lower left: “J V Gool [JVG conjoined]/ 1719” Label (dealer, typewritten) on panel verso: “Tavola Fiamminga finisimarappresentante ‘Scena campestra’/ firmate Jean Van Gool 1690–1765. Allievodi S Vander Does/ Maestro rarissime. Alla vendita v. Nort [?] Wick (1859)un sue quadre fu pagate 16380 franchi. Condizione tavola perfetta./Proveniente dalla Collezione del Duca of York” [“Very fine Flemish (sic)painting representing a ‘Pastoral Scene’/signed Jean Van Gool 1690–1765.Student of the very rare master S. Vander Does. A painting by this artistsold at the Northwick Sale (1859) for 16,380 franchi/ Condition of thepainting perfect./ Provenance: Collection of the Duke of York”]Label (handwritten in ink) on frame verso: “nevert/ Dutch pastoral/ scene”

Jan van Gool was a pupil of Simon van der Does (1653/54–1718) and was influenced by the work of the well-known painter Paulus Potter (1625–1654). Born in the Hague, van Gool was active there in the Academy and inthe artists’ organization known as Pictura.

2

Unknown (European, nineteenth century)

Still Life: Fruit and Wine

Oil on panel; 8 3/4 × 7 7/16 inchesInscribed in pencil on panel verso: “Clark/13 #142 gold fil[illegible]”Label (handwritten in ink) on panel verso: “Sh[missing]/Margaret St.”

3

Jan Michael Ruyten(Belgian, 1813–1881)

Harbor View

Oil on panel, 9 3/4 × 11 3/4 inchesSigned and dated at lower left: “Jn. Ruyten./1855”

Note: This painting retains what appears to be its original frame.

Jan Michael Ruyten was born in Anvers, where he spent most of his life. He studied with Petrus Johann vanRegemorter (1755–1830). Working in watercolors as well as oils, he painted landscapes, marines, architecturalviews, interiors, and historical works. He exhibited in his native Belgium, Vienna, and London, winning numerousprizes. His works are in museums in Anvers, Courtrai, Königsberg, Stuttgart, Toulouse, and Trieste.

4

Jacob Jan Coenraad Spohler(Dutch, 1827–1923)

River Scene

Oil on canvas, 26 × 36 1/2 inchesSigned at lower left: “J J C Spohler”

The second generation of a family of Amsterdam artists, Jacob Jan Coenraad Spohler and his brother JohannesFranciscus Spohler (1853–1894) were trained by their father, Jan Jacob Spohler (1811–1866). Like most Dutchlandscapes, their town and country views, including this painting, usually feature bodies of water and peopleengaged in everyday activities.

5

Anton Doll(German, 1826–1887)

City View

Oil on prepared board, 12 1/4 × 9 1/4 inchesSigned at lower right: “A. Doll”Inscribed in pencil on board verso: “N. Marlin im Koln” [Cologne]Label fragment (printed) on board verso: “[missing] Majesty [missing]/ [missing]ND [missing]/ [PRINCE A] ND PRINCESS OFWALES,/ [missing]NE PLACE, W./ AND/ KENTISH TOWN, N.W.”

Anton Doll, a Munich artist, was a painter of architectural views and a lithographer. Heinrich Bürkel (1802–1869),another Munich artist, influenced Doll’s style and choice of subjects, including the Alpine scenery of southernGermany, Austria, and Switzerland, which both artists found inspiring.

Doll found romantic views in the rugged terrain surrounding the Bodensee (Lake Constance) and the BrennerPass, but is best known for his paintings of old Munich, many of which are winter scenes by moonlight. Inaddition to their artistic merit, these architectural paintings have historical value because many of the buildingsdepicted have since disappeared. Doll made lithographs from some of his paintings. In his time, his delicatelyrendered drawings were especially popular with collectors. The Altenburg Museum in Germany and the museumin Nantes, France, own his paintings.

6

Unknown(French, nineteenth century)

Floral Still Life

Oil on canvas, 24 × 19 5/8 inches

7

Frans Moormans(Dutch, 1831–1893)

The Goldfish Bowl

Oil on canvas, 8 1/2 × 6 1/4 inchesSigned at lower right: “Frans. Moormans”

Born in Rotterdam, Frans Moormans studied at the Academy in Anvers and later taught at the Academy inAmsterdam. He exhibited widely in Europe and won a medal at the Exposition Universelle in Paris in 1889. Hisgenre paintings, examples of which are in museums in Montreal and Rouen, include multi-figural works andsingle figures in decorative interiors, like the painting illustrated here.

The Chinese were probably the first to keep goldfish in garden pools and containers, and the French are known tohave adopted the practice by the eighteenth century. By the nineteenth century, goldfish bowls were popular inmiddle-class interiors in Europe and the United States, and a subject for genre painters.

8

Unknown(English, nineteenth century)

Sir Thomas Hammond

Oil on canvas, 30 × 25 inchesLabel (typewritten) on stretcher verso: “SIR THOMAS HAMMOND/Portrait of Sir Thomas/ [Ha]mmond, K.G., A.D.C. to/ [George?] IV, in blackdress, wearing [missing] [ri]band and Order of the Garter/ [missing]”Labels (2, framer, printed) on frame verso: “This frame is the work of/Maurice F. Finken/ Aldan/ Delaware County/ Pennsylvania [ . . . ]”

It has not been possible to verify the identification of the subject of this painting—Sir Thomas Hammond,according to the label attached to the stretcher—although various sources have been consulted, including theNational Portrait Gallery in London. There is no Thomas Hammond listed in the Dictionary of NationalBiography [to 1900] (Oxford, 1921–22). There are several families named Hammond (and one named Hamond)in Burke’s Landed Gentry (but none in Burke’s Peerage), which lists Thomas Hammond of St. Alban’s Court,Nonington, near Dover, Kent, who was a Knight of the Garter (arms granted in 1548 by Barker, Garter King ofArms, during the reign of Edward VI). His descendant, also named Thomas (died before 1652; see Lives of theRegicides), was one of the judges who condemned Charles I. The subject of this portrait could be anotherHammond descendant of the time of George IV (1762–1830). Several lists of the Knights of the Garter, England’smost prestigious order, have been lost or destroyed. The most comprehensive list extant is probably a list of allknights from 1348 to 1939, adapted from Edmund H. Fellowes, The Knights of the Garter, 1348–1939 (London:Society for Promoting Christian Knowledge, 1939), which is a catalogue of the stall-plates in St. George’s Chapel,Windsor. There is no Hammond in the 1939 list.

9

Julio Da Costa (Portuguese, born 1855)

A Gentleman Shaving

Oil on canvas, 20 3/4 × 13 1/2 inchesSigned at lower right: “J. Da Costa”

Note: This painting retains its original frame, which imitates the design of atraditional red and white barber’s pole. It is believed that that device mayderive from blood running down a pole or stick held by a patient being bledby a barber, who provided that service—in addition to cutting beards andhair—when it was considered therapeutic.

Born in Porto, Portugal, Julio Da Costa studied with his uncle Antonio Da Costa (born 1840) and Joao Correa(1822–1896). In addition to his genre paintings of rural and village life, Da Costa painted religious subjects andportraits, including one of King Don Carlos I of Portugal.

10

Charles-Bertrand D’Entrayques(French, born 1851)

Children with a Parrot

Oil on canvas, 16 × 13 inchesSigned and dated at lower right: “Ch D’Entrayques/84”

The landscape and genre painter Charles D’Entraygues was born at Brive, France. After studying at the École desBeaux-Arts in Toulouse and in Paris under Isadore-Alexandre-Augustin Pils (1813–1875), he began exhibiting atthe Paris Salon in 1876 and received an honorable mention there in 1899. He became an associate of the Sociétédes Artistes Français in 1904. His genre subjects are often appealingly humorous depictions of children, like thisexample. Engravings made after his paintings enhanced his popularity with American collectors.

11

Désiré-François Laugée (French, 1823–1896)

Land of the Golden Fruit

Oil on canvas, 29 × 24 inchesSigned at lower left: “D. Laugee” Inscribed at upper left: “Connais tu le pays ou fleurit l’oranger/ Le pays desfruits d’or . . .” [The same inscription is on the stretcher verso.]Stencil (supplier) on canvas verso: “Mon. DEFORGE CARPENTIER Sr./COULEURS FINES/ et TOILES a PIENDRE./ 6 Rue Halevy 6/ PARIS/ AtelierRue Legendre, 62. Batignolles”

Désiré-François Laugée was a versatile artist who exhibited at the Paris Salon annually for a fifty-year period(1845–95). Born at Maromme near Rouen, he began his artistic training at Saint-Quentin with Louis-NicolasLemasle (1788–1870), a student of Jacques-Louis David (1748–1825). He then studied at the École des Beaux-Artsin Paris under the well-known teacher François Edouard Picot (1786–1868), another student of David. In hispaintings of historical and religious subjects Laugée achieves emotional intensity though the powerful renderingof his figures, and the figures in his portraits and genre pictures—like the one illustrated here—have the samesolidity and presence. Several of Laugée’s Salon entries were purchased by the French government, includingSaint Louis Washing the Feet of the Poor (Ministry of State) and The Death of Zurbaran (Ministry of theInterior). Works in museum collections include Peasant Women of Picardy (Museum of Fine Arts, Bordeaux) andA Picardy Woman Spinning Wool (Museum of Fine Arts, Amiens).

The inscription at the upper left of the painting shown here, which may be translated “Do you know the countrywhere the orange trees bloom, the land of the golden fruit . . . ,” no doubt refers to the orange in the young woman’shand, suggesting that Laugée intends her to be a personification of a Mediterranean area, like Sicily, where orangesgrow. The lines are in fact taken from a poem that appears at the beginning of the first chapter of book I of WilhelmMeisters Lehrjahre (1795–96) by Johann Wolfgang von Goethe, in which he expresses the northern European’slonging for the warmth and color of Italy. Called “Mignon’s Song,” the poem was set to music by the Germancomposers Schubert, Schumann, and Wolff and inspired the opera Mignon by the French composer Thomas.

12

William Bromley III(English, c. 1835–1888)

May Day in the Park

Oil on canvas, 42 1/8 × 72 5/8 inches Signed at lower right: “W Bromley”

May Day in the Park is impressive not only for its size, but also for the complexity of its composition and thenumber of figures participating in a scene that typifies nineteenth-century English country life, just the sort ofsubject for which the artist is best known. Trained by his grandfather, an engraver, Bromley exhibited extensivelyin his native London, including at the Royal Academy from 1844 to 1870, at the British Institute from 1835 to1870, and at the Suffolk Street Galleries, where he showed 187 paintings. He was a member of the Royal Societyof British Artists and the New Watercolour Society.

On one large canvas the artist captures the Victorian ideal of rural English life—a paternalistic system based on thetraditions of land held in established families for generations represented by a once-fortified house (here anElizabethan manor house, c. 1558–1603, that has not yet been identified) with an adjoining parish church surroundedby barns, farmlands, and small houses and cottages for the farmers and villagers. The clothing in the paintingsuggests that the artist intended to depict life in the late eighteenth century. The composition is symmetrical: on oneside presides the squire with his family, balanced by two maidens who jump a rope supported by their swains. Thesquire’s young wife holds an infant on her lap, while her eldest son, the heir to the manor, leans nonchalantly againsther, dressed as a perfect miniature of his father. The squire’s mother, the dowager, is seated to his right; she wearsblack, probably in mourning for her husband, the old squire. The man seated between the squire and his mother, whois also dressed in black, is probably the vicar of the church at the left side of the painting, beyond which a broadexpanse of water, dotted with white sails, can be seen. If this man is indeed a clergyman of the Church of England,he could be the younger brother of the old squire, who has the “living” of the parish. These three generations of onefamily—the squire, his mother, and his son—represent the three ages of man. The villagers, a few courting couplesamong them, and many children still too young to read, accept benevolence in the form of cakes, ale, cider, andTestaments or prayer books. A Maypole (banned during the Puritan interregnum, 1642–60) in the middle distancelinks the foreground mating ritual to England’s pre-Christian past. Bromley has cast the timeless values of Englishcountry life as an allegory of spring, fertility, and burgeoning life.

14

Olaf August Andreas Jernberg(German, 1855–1935)

Checking the Catch along the Beach

Oil on panel, 12 1/2 × 18 1/8 inchesSigned at lower right: “Olaf Jernberg”

Olaf August Andreas Jernberg was born in Düsseldorf, a son of the Swedish genre painter August Jernberg(1826–1896). Like his father, Olaf Jernberg studied at the Düsseldorf Academy (1872–79), specializing inlandscape painting under Eugène Gustav Dücker (born 1841).

In 1880 Jernberg went to Paris, where he was influenced by the French painters of the Barbizon School, especiallyJean François Millet (1814–1875) and Théodore Rousseau (1812–1867). Like them, he used warm, muted colors todepict simple, unidealized views of nature, often including peasants going about their everyday activities. Afterleaving Paris in 1882, Jernberg settled in Düsseldorf and painted rural landscapes and scenes of peasant life set incoastal regions of Holland, Belgium, and Germany.

Jernberg taught at the Academy in Königsberg from 1901 to 1918 and in Berlin from 1918 until his death in 1935. Heexhibited widely, winning medals in London, Berlin, and Munich. His paintings are in museums in France and Germany.

15

Bernardus Johannes Blommers(Dutch, 1845–1914)

Girl Knitting

Oil on panel, 12 × 8 7/8 inchesSigned at lower left: “Blommers” Inscribed in ink on panel verso: “B.V.C. 12[2?] N.Y./ 22455”Inscribed in pencil on panel verso: “22455”Label fragment (dealer, printed) on frame verso: “[missing] & Co./ [missing]PAINTINGS/ 303 Fifth [Avenue,] New York./ COR[NER] [missing]”

Although trained in his father’s profession of lithography, Bernardus Johannes Blommers turned to painting andstudied at the Drawing Academy in the Hague. His first major success was a painting exhibited prominently atthe Triennial Exhibition in Amsterdam in 1865. Blommers is considered a member of the Hague School, whichwas led by his friends Willem Maris (1844–1910) and Josef Israels (1824–1911), older artists whose styles andchoice of subjects—everyday scenes in the lives of peasants, fishermen, and their families—greatly influenced hisart. Blommers often painted children, most appealingly in his later works, which were more broadly painted thanhis earlier, cabinet-sized pictures. Blommers’s work sold well and was especially popular in England, Scotland, andthe United States, where he visited the Philadelphia artist Edward Taylor Snow (1844–1913) and sat for ThomasEakins (1844–1916), who executed a bust-length portrait in 1904 (Toledo Museum of Art, Ohio).

16

Pierre-Edouard Frère(French, 1819–1886)

The Young Knitter, 1883

Oil on panel, 17 × 13 1/2 inchesSigned and dated at lower left: “Edouard Frère 1883”Stencil on panel verso: “994BJ”Label (dealer, handwritten in ink) on panel verso: “No. 19783/ 11. YoungKnitter/ Ed. Frere/ [ . . . ]” Label (handwritten in ink) on panel verso: “Moss/ ‘A’”

One of the most popular genre painters of the nineteenth century, Pierre-Edouard Frère skillfully depictedcomfortable domestic scenes in small paintings that were highly regarded in England and the United States, as wellas in France. He entered the École des Beaux-Arts in his native Paris in 1836 and studied with the well-known painterand teacher Paul Delaroche (1797–1856). Frère exhibited widely, especially at the Salons in Paris (1842–86) and theRoyal Academy in London (1868–85). He received many awards and was made a chevalier of the Legion of Honor in1855. His works can be found in French private and public collections, including the museum at Chartres.

17

William Redmore Bigg(English, 1755–1828)

The Reprimand

Oil on panel, 18 1/2 × 24 inches

This rural interior is typical of the anecdotal scenes of village life that William Redmore Bigg produced prolificallyfor an enthusiastic middle-class audience. Of the dozens of paintings he exhibited at the Royal Academy inLondon between 1780 and his death in 1828, approximately two thirds, like this work, depict the lives of“cottagers.” Many of his paintings were engraved, making them available to an even wider audience. Bigg studiedat the Royal Academy in 1778; he became an Associate of the Academy in 1787 and an Academician in 1814. Hispaintings are in the Tate Gallery and the Victoria and Albert Museum in London.

18

Joseph Munsch(German, 1832–1896)

Asking the Way

Oil on canvas, 24 × 30 inchesSigned at lower left: “J. Munsch”Stencil (dealer, obscured by lining, copied onto new canvas) on canvas verso:“HENRY WIMMER/ GALLERY OF FINE ART/ MUNICH”

Joseph Munsch, who received his training at the Royal Academy in Munich under Philipp von Foltz (1805–1877),belongs to the school of Munich artists whose style evolved from that of the Biedermier painters of the earlierpart of the century, including Friedrich Schwörer (1833–1891), Eduard Schwoiser (1826–1902), and WilhelmHauschild (1827–1887). A specialist in genre and historical subjects, Munsch painted frescoes in the BavarianNational Museum in Munich. His paintings were also acquired for the royal palaces of Herrenchiemsee andNeuschwanstein. This painting bears the label of the well-respected Munich dealer Henry Wimmer, who had alarge American clientele during the nineteenth century.

19

Carl Bertling (German, born 1835)

Girl in an Interior, 1872

Oil on canvas, 18 3/4 × 15 1/2 inchesSigned and dated at lower right: “C. Bertling/1872”

In 1852 the history, religious, and genre painter Carl Bertling produced his first major work, a religious paintingentitled Hagar and Ishmael (present location unknown), at the Düsseldorf Academy under the tutelage ofWilhelm Schadow (1788–1862). He spent the next several years executing decorative projects in Düsseldorf,including Cain and Abel for the Palace of Justice and a series of frescoes for the Royal Secondary School. He alsopainted murals for numerous churches, including the Church of Saint Joseph in Dresden, where he settled in 1879.

20

Julius Adam II(German, 1852–1913)

Kitten

Oil on prepared board, 5 3/4 × 7 1/2 inchesSigned at upper right: “Jul. Adam”

Note: This painting retains what appears to be its original frame.

The best-known member of a family of Bavarian artists, including his father, the painter and lithographer JuliusAdam (1826–1874), and his uncle, the painter Albrecht Adam (1786–1862), Julius Adam II was so well known forhis feline subjects that he was called “the Raphael of Cats.” His popular paintings were widely reproduced inlithographs and photographs. Following early training from his father, Adam spent six years in Rio de Janeiro.Upon his return to Germany, he studied in Munich with Michael Echter (1812–1879) and Wilhelm von Diez(1839–1907). Adam’s work can be found in the Milwaukee Art Museum and in the Alte Pinakothek in Munich.

21

Carl Wilhelm Hubner(German, 1814–1879)

Grace before a Meal: A Swabian Post Office in the Black Forest, 1863

Oil on canvas, mounted on Masonite; 47 1/2 × 61 3/4 inchesSigned and dated at lower left: “Carl Hubner 1863”Provenance (possible): J. G. Fell, Philadelphia; G. A. Conover, New York Exhibited (possibly): Pennsylvania Academy of the Fine Arts, Philadelphia(1864), no. 41, as Grace before Meal—Scene—A Swabian Post-House NearThuringen (lent by J. G. Fell); Great Central Fair, Philadelphia (1864), no.470, as Family Devotion (lent by G. A. Conover, New York)

The genre painter Carl Wilhelm Hubner studied first in his native Königsberg, Germany, with Johann EdwardWolff (1786–1868), and then at the Düsseldorf Academy under Wilhelm Schadow (1788–1862) and Carl Sohn(1805–1867). In 1864 he became a professor at the Academy. Hubner established his reputation with paintingsrelating to contemporary social problems; his works met with great success, particularly in Holland and America(he visited the U.S. in 1874–75), which led to honorary memberships in the Amsterdam Academy and thePennsylvania Academy of the Fine Arts in Philadelphia.

Grace before a Meal was painted when Germany was immersed in the issue of political unification, and Hubneruses two portraits on the far wall to address this concern. The oval portrait is inscribed “Garibaldi,” a reference toGiuseppe Garibaldi, who fought for the unity and independence of Italy; the other bears the name of KingWilhelm I of Wurtemberg, who was opposed to Prussian hegemony and in favor of German unification underHabsburg-Austrian rule.

Hubner identifies the setting of this narrative painting through the masthead of the newspaper in the foreground:Schwarzwalder Bote (Black Forest Courier). The inscription “Post Expedition” on the door leading from thefamily dining area to the next room and the sign “Post Bureau” above the opening through which an attendantspeaks to a customer at the far right identify this as the post office and home of the postmaster. The postmaster’sfamily has been distracted from their meal by the elegantly dressed couple waiting at the office, perhaps for theircoach. The gentleman is presumably Hubner himself; to his left is a painting easel with a tag that reads “CarlHubner Duplingen post [illegible],” and the tag on the suitcase is inscribed “CH 75 Duplingen” (Duplingen maybe the village that the gentleman has left or his destination). The subject may be autobiographical—the travelingcouple may be the artist and his new wife on their honeymoon.

It is very likely that this painting was shown at the Pennsylvania Academy in 1864 as Grace before Meal—Scene—A Swabian Post-House Near Thuringen; it may also have been exhibited the same year at the Great Central Fairin Philadelphia, under the title Family Devotion. Hubner also exhibited at the Berlin Academy. In addition to theNational Gallery in Berlin, today his work is in museums in Königsberg, Düsseldorf, Hanover, and Oslo.

22

Robert Wilhelm Emil Heck (German, 1831–1889)

A Swabian Family in Church, 1867

Oil on canvas, 44 1/4 × 58 3/4 inchesSigned and dated at lower right: “R. Heck. 1867.”

Born in Stuttgart, Robert Wilhelm Emil Heck was primarily a painter of genre scenes, portraits, and religioussubjects. In 1849 he traveled with an itinerant preacher throughout Swabia, in southwestern Germany, laterreturning to Stuttgart, where he studied with Heinrich Rustige (1810–1900) at the Academy of Fine Arts. Heckwon first prize for a genre painting at an exhibition in 1855. He visited France and Italy and in 1863 was in Rome,painting architectural ruins and other classical subjects. He exhibited in Berlin and Vienna in 1866 and 1873.

The kings of Würtemberg and Prussia owned paintings by Heck. His paintings are in private collections inGermany, England, and the United States; in the German National Museum in Stuttgart and the SydneyMuseum, which owns a painting of a subject similar to A Swabian Family in Church.

23

Edward Frederick Ertz(American, 1862–1954)

Carriage and People on an Icy Road

Oil on canvas, 28 3/4 × 39 inchesSigned at left center: “E. Ertz”

Edward Frederick Ertz was born in Canfield, Illinois. After working in Chicago as an engraver, designer, andillustrator, he went to New Orleans, where he was involved in founding the New Orleans Artists’ Association andthe New Orleans Etching Club. In 1885 he moved to New York to work for the Century magazine. Three years laterErtz went to Paris to study with Jules-Joseph Lefebvre (1836–1912), Jean-Joseph-Benjamin Constant (1845–1902),and Paul-Louis Delance (1848–1924). In 1889 he exhibited at the Paris Salon, and from 1892 until 1899 he wasprofessor of drawing and painting at the Académie Delecluse in Paris. Ertz then settled in England, where heexhibited frequently and received numerous awards. He also showed his works in Paris, Munich, and the UnitedStates and belonged to various art organizations in England, France, and the U.S., including the Royal Society ofBritish Artists, the British Water-colour Society, and the Royal Society of Arts. His wife, Ethel Horsfall Ertz, was apainter of miniatures. Edward Ertz’s works are in private and public collections, including the Library of Congressin Washington, D.C., the Museum of Fine Arts in Boston, and the Public Art Gallery in Liverpool.

24

Herman Herzog(American, born Germany, 1832–1932)

Seascape

Oil on canvas, 22 × 29 inchesSigned at lower left: “H. Herzog”

For most of his very long—eighty-five years—and productive career, travel was Herman Herzog’s greatestinspiration. Born in Bremen, Germany, Herzog entered the Düsseldorf Academy at the age of seventeen; AndreasAchenbach (1815–1910) was the teacher who had the most lasting impact on his painting style. Another teacherwas the Norwegian artist Hans Frederick Gude (1825–1903), who encouraged his young student to visit Norway.Herzog’s 1855 visit to that country awakened him to the sublime and wild aspects of nature. He exhibited widelyon the continent, winning awards in Paris, Liège, and Brussels. Herzog painted seascapes of the North Sea off thecoasts of Holland, Belgium, and Germany early in his career and later, after his move to the United States, inpaintings that are probably based on earlier sketches.

Disturbed by the political situation in Germany, Herzog immigrated to the United States sometime in the late1860s or early 1870s, settling in West Philadelphia, where he and his wife raised two sons. Even before his arrival,his paintings had been shown in several of the annual exhibitions of the Pennsylvania Academy of the Fine Artsin Philadelphia (beginning in 1863 with Norwegian Landscape).

Herzog’s work was well received, and his profitable investment of the income from the sale of his paintings allowedhim to stop selling his art, which remained largely in his family’s possession. The Schwarz Gallery has beencollecting paintings by Herzog for years, and in December 1979 published a catalogue devoted to his work: HermanHerzog (1832–1932). The Brandywine River Museum in Chadds Ford, Pennsylvania, held a major Herzog exhibitionin 1992; the exhibition catalogue, American Paintings of Herman Herzog, includes an essay by Donald S. Lewis, Jr.

25

Herman Herzog(American, born Germany, 1832–1932)

Norwegian Waterfall in Hemsdalen

Oil on canvas, 22 × 29 inchesSigned at lower left: “H. Herzog”Label (handwritten in ink) on stretcher verso: “86.”Recorded: Hand List of 1,000 Paintings: Private Collection of Paintings byH. Herzog, no. 86

26

Victor Émile Prouvé(French, 1858–1943)

Jacques Majorelle (1886–1962), 1890

Oil on canvas, 18 1/8 × 15 inchesSigned, dated, and inscribed at lower right: “Vr. Prouve/ a l’ami L.Majorelle/ 1890”Inscribed in pencil on stretcher verso: “710”Stencil on canvas verso: “8” Stamped (probably supplier) on stretcher verso: “RENE WIENER”Illustrated: Félix Marcilhac, La vie et l’oeuvre de Jacques Majorelle(1886–1962) (Paris: ACR Édition/Les Éditions de l’Amateur, 1995), p. 11(repro. in color)

Born in Nancy, France, Victor Émile Prouvé studied in Paris with the painter Alexandre Cabanel (1823–1889). Forthe next ten years he concentrated on painting, but an early interest in the decorative arts can be traced to hisfather’s association with the ceramicist Gallé-Reinemer, the father of the celebrated Nancy glassmaker EmileGallé (1846–1904), Prouvé’s friend from childhood. Prize money from the Salon des Artistes Français in Parisallowed him to visit North Africa in 1888 and 1890. Although he lived in Paris until 1902, he did not lose touchwith the artistic life of Nancy, an important center of French Art Nouveau. When he returned to Nancy, he waspart of a group of artists and craftsmen known as the École de Nancy, who were interested in the integration ofthe fine and decorative arts. Another member was the furniture designer and maker Louis Majorelle (1859–1926),the “L. Majorelle” to whom this painting is inscribed. Louis Majorelle had one child, Jacques Majorelle(1886–1952), who became a painter; the painting illustrated here is a portrait of Jacques at the age of four. Prouvécollaborated with Majorelle as he did with many of the craftsmen of the École de Nancy, frequently designingmarquetry for his friend’s furniture.

Prouvé himself exemplified the integration of the arts that these artists sought, for he was a painter, sculptor,engraver, lithographer, and decorator. Collaborative projects involved him in leatherwork, jewelry, textiles,wrought iron, ceramics, embroidery, and furniture design. Although the Impressionistic painting illustrated hereexhibits none of the Symbolist overtones, decorative patterning, and sinuous line usually associated with ArtNouveau, other examples of Prouvé’s work display elements of this style. For example, A Bather, which is in theMuseum of the École de Nancy, manifests the decorative line and boldly massed color typical of Art Nouveau. TheMuseum of the École de Nancy also owns Prouvé’s 1892 portrait of Emil Gallé, and additional works, includingcolor-soaked views of North Africa, can be seen in the Museum of Fine Arts in Nancy. Prouvé’s many awardsinclude an honorable mention (1885) and a third-class medal (1886) from the Salon des Artistes Français in Paris,and a bronze medal (1889) and silver medals (1900 and 1910) from the Expositions Universelles in Paris. Hebecame director of the École des Beaux-Arts in Nancy, a chevalier of the French Legion of Honor in 1891, and anofficer of the Legion of Honor in 1925.

27

Giuseppe Gabani(Italian, 1846–1900)

Coaching on the Appian Way, Rome

Oil on canvas, 33 × 59 3/4 inchesSigned and inscribed at lower right: “G. Gabani/Roma” Illustrated: The Carriage Journal, vol. 41, no. 4 (August 2003), cover (repro. in color)

Born in Senigallia, Italy, in 1846, Giuseppe Gabani studied at the Accademia in Rome and with Cesare Maccari(1840–1919). He served in the Italian army, seeing action in 1866 and 1870. His experience with horses in thearmy was helpful when he subsequently specialized in painting military and sporting subjects. He also undertookreligious subjects and decorative projects, which included the ceiling of the Teatro Costanzi in Rome. In spite ofthese projects and commissions from prominent patrons, Gabani died in poverty in Rome, October 1900.

Gabani’s charming painting Coaching on the Appian Way, Rome, is a highly animated depiction of well-appointedriders gathered as a coach and four arrives. The presence of other coaches in the background implies that asignificant equestrian event such as a race is about to occur. Coaching was one of the most fashionable sports ofthe nineteenth century. Unlike formal coaches driven by servants, the Road Coach and its variations derived fromthe Royal Mail Coaches John Palmer put in service in the late eighteenth century.

Driving four horses was a difficult skill to master and required dexterity, coordination, and an ability to be patient,alert, and responsive. Accidents could happen at any moment, and a “whip” (coachman, professional or amateur) hadto be an excellent horseman and had to know and control his team (of horses) while on the box seat. Driving fourhorses, with all of the “lines” (reins) in one hand and a whip in the other, required the ability to control all of thehorses simultaneously. Because of this level of difficulty, young aristocrats learned to “handle the ribbons” or reins(i.e., drive four horses) from skilled coachmen on mail or stage coaches. By 1838, public mail coaches were replacedby the railroad for long-distance travel. In England, the demise of the public coach led to nostalgia for horse-drawntransportation, and a mania for coaching as a sport began. Numerous driving clubs were formed, including theBensington Driving Club (1807), the Richmond Driving Club (1838), and the Four-in-Hand Club (1856). Theromance of the road developed something of a cult and became the subject of numerous prints and paintings.

One of the key figures in the coaching revival was the Duke of Beaufort. William Jay and Delancey Astor Kane,New York gentlemen who had visited him in England, imported his influence to America. They formed the NewYork Coaching Club with James Gordon Bennett, Frederick Bronson, William P. Douglas, Leonard Jerome, ThomasNewbold, and S. Nicholson Kane in 1875.

Coaching gained popularity in America and abroad. It combined a general Anglophilia that was characteristic ofthe second half of the nineteenth century with a daring and dynamic activity for the upper echelons of society. Itwas an outdoor activity that required discernable skill. For the arriviste or the titled aristocrat, it reaffirmed anancient image of the power and passion of a horse, harnessed and controlled by the capable horseman. And thepotential for danger gave rise to a new category of driver, or Nimrod.1 In addition to these qualities, coaching wasa public spectacle. The whip, as well as his passengers, could be seen and admired, and the totality of the turn-out,which combined horses, harness, coach, livery and other appointments, passengers, and color, was not unlike amobile symphony, a veritable collision of disparate parts combined to create a harmonious whole. As described inReginald Rives’s Reminiscences of the New York Coaching Club, it was

magnificent as to varnish, perfect as to appointment, and drawn by sprightly steeds, groomed to a point ofshininess almost painful, the drags [style of coach] of the Coaching Club made a beautiful and imposing

29

William Pratt(Scottish, born 1855)

School Days

Oil on canvas, 16 × 12 inchesSigned at lower right: “W Pratt” Label (possibly exhibition, handwritten in ink) on frame verso: “No 20/School Days/William Pratt”

Note: This painting retains what appears to be its original frame.

William Pratt is one of a group of Scottish artists who specialized in painting scenes of country life. Born inGlasgow, he exhibited in Britain and in France, where he was awarded an honorable mention at the Paris Salon in1902. Pratt placed his country people in both indoor and outdoor settings and painted them with directness andsimplicity. The Scottish critic James L. Caw wrote that Pratt was “an accomplished craftsman in his own way,painting with vigour, drawing soundly and well, putting complex material together with commendable skill andnot deficient in ideas or sympathy.”1

Note

1. James L. Caw, Scottish Painting Past and Present, 1620–1908 (1908; reprint, Bath: Kingsmead Reprints, 1975), pp. 285–86.

30

William Bruce Ellis Ranken(Scottish, 1881–1941)

Water Lilies, 1910

Oil on canvas, 34 × 46 1/4 inchesSigned and dated at lower right (impressed in wet paint): “W B E Ranken/ 1910”Exhibited (probably): Royal Institute of Oil Painters, London (August 1910), no. 363

William Bruce Ellis Ranken was born in Edinburgh and studied in London at the Slade School of Art with HenryTonks (1862–1934). His London studio was in Chelsea, near that of his friend John Singer Sargent (1856–1925), andhis first one-man show was held in 1904 at the Carfax Gallery in London, where Sargent also exhibited. ThroughSargent, Ranken received numerous portrait commissions from prominent sitters in the United States, where he spentconsiderable time.1 He had solo exhibitions at Doll and Richards Gallery in Boston (1916), M. Knoedler and Companyin New York (1916 and 1933), the Arts Club of Chicago (1929), and Wildenstein and Company in New York (1931);a memorial exhibition was mounted at Ferargil Galleries in New York in 1943. Isabella Stewart Gardner, the legendarycollector and Sargent’s good friend and patron, purchased a watercolor, In a Turkish Garden (location unknown), fromRanken’s 1916 Boston exhibition.

Ranken’s paintings were included in major exhibitions in Britain and the United States; he was a member ofnumerous British arts organizations, including the Modern Portrait Society, the National Portrait Society, the PastelSociety, the Royal Institute of Oil Painters (of which he was vice president beginning in 1919), the Royal Institute ofPainters in Water Colours, and the Royal Portrait Society. Rankens’s English sitters included members of the Royalfamily. Interiors, especially those of English and European historic houses and palaces, were a specialty for the artist:he painted rooms in Blenheim Palace and Windsor Castle for the Duke of Marlborough and interiors and garden viewsof Lynnewood Hall for the Philadelphian Joseph Widener. Ranken was a prolific artist, and the income from hisportrait commissions and other paintings allowed him to travel extensively and to purchase Warbrook House inHampshire. His heirs distributed about one hundred of his works to British museums in 1946.2

Like Sargent, Ranken was equally adept at painting oils and watercolors. Both artists had profitable careers as portraitpainters but also painted dazzling landscapes for their own pleasure. In this informal rendering of water lilies, Rankintakes pleasure in manipulating paint to capture the scintillating effects of bright sunlight on moving water and wind-blown foliage, much as Sargent did in such contemporaneous works as Alpine Pool (1909; Metropolitan Museum ofArt, New York) and Val d’Aosta: A Man Fishing (c. 1910; Addison Gallery of American Art, Andover, Mass.).

The English authorities on Ranken’s work, Wendy and Gordon Hawksley, believe that this painting is almost certainlyWater-lilies, shown in the 1910 exhibition of the Royal Institute of Oil Painters in London, where it received enthusiasticattention in the press. One reviewer went so far as to compare it to the water lilies by Claude Monet (1840–1926).3 Thereare other paintings of water lilies by the artist, the inspiration for which, the Hawksleys believe, “probably comes fromthe water lilies in Dalswinton Loch, in Dumfriesshire, Scotland,” near the “Ranken family home in the early part of thetwentieth century.” The Hawksleys observe that Ranken “exhibited, in order of importance: interiors, portraits, and stilllife in both oil and watercolour (and occasionally pastel).”4

Notes

1. Ranken’s American clients included members of the Havermeyer, Vanderbilt, and Whitney families, and the popular songwriter ColePorter. 2. Much of the exhibition history and other biographical information given here is from the artist’s scrapbook. Private collection,courtesy of Wendy and Gordon Hawksley. 3. The Observer, London, October 16, 1910. 4. E-mail, Wendy and Gordon Hawksley toDavid Cassedy, March 3, 2004.

31

Warren W. Sheppard(American, 1859–1937)

Venice

Oil on canvas, 20 × 30 inchesSigned at lower left: “WARREN SHEPPARD”

Warren W. Sheppard was born in Greenwich, New Jersey, and studied painting under Mauritz Frederik de Haas(1832–1895) in New York. A navigator of racing yachts that he also designed, he wrote and illustrated two books,Practical Navigation and A Tale of the Sea. Sheppard lived in Brooklyn and summered in Lincoln Park, NewJersey, and on the Isles of Shoals, off New Hampshire. His numerous paintings of Venice suggest that he musthave traveled to Italy in the 1890s. Sheppard exhibited at the Brooklyn Art Association from 1874 to 1881, theNational Academy of Design in New York from 1880 to 1899, the Louisiana Purchase Exposition in St. Louis in1904, and the Denver Exposition in 1884, where he won a gold medal. His works are in the Albright-Knox ArtGallery in Buffalo, the Toledo Art Museum, the Public Library in Springfield, Massachusetts, the India House inNew York, Mystic Seaport Museum in Connecticut, and the Peabody Essex Museum in Salem, Massachusetts.

32

Burr H. Nicholls(American, 1848–1915)

The Travelling Tinker, A Street Scene in Brittany, 1880

Oil on canvas, 18 × 22 inchesSigned, dated, and inscribed at lower left: “Burr H. Nicholls/ Pont Aven/ 1880”Provenance: Mr. and Mrs. Cornelius Weygandt, PhiladelphiaExhibited (possibly): Pennsylvania Academy of the Fine Arts, Philadelphia,Fifty-Third Annual Exhibition (1882), as An Old House at Pont Aven (no. 237)or The Travelling Tinker, A Street Scene in Brittany (title from label onstretcher verso, which also gives price of frame—$13.00, and “Where to be sentif not sold”/ [missing]“Arts Academy, Buffalo, NY” [Note: Nicholls also showedLa Marchande de Choux (no. 161) at the Pennsylvania Academy in Paintings byAmerican Artists at Home and in Europe (Nov. 1–Dec. 26, 1881)])

Burr H. Nicholls was born in 1848 in Lockport, New York. He studied with Lars Gustaf Sellstedt (1819–1911) inBuffalo, and then with Émile-Auguste Carolus-Duran (1837–1917) in Paris. Nicholls and the artist Frank Penfold(1849–1921), who was also from Lockport and had attended the Buffalo Academy, were both at Pont-Aven in Brittany,in 1880–82. Many of the American artists working there at that time, such as Thomas Hovenden (1840–1895) andWilliam Lamb Picknell (1853–1897), were concerned with figure painting in broad sunlight. In 1883 Nicholls workedin Venice. He returned to New York City in 1884 and eventually settled in Stamford, Connecticut. Nicholls’s workincludes landscapes, portraits, and genre paintings. He exhibited at the National Academy of Design in New York from1873 to 1895, at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1882 to 1895 (including paintingsof Brittany in 1882 and again in 1890), and at The Art Institute of Chicago in 1888, 1889, and 1894. His paintings arein the Peabody Institute in Baltimore, the Buffalo Fine Arts Academy (the label on this painting suggests that it mayhave been exhibited there), and the Pennsylvania Academy of the Fine Arts (Sunlight Effect, a painting similar insubject and handling to the one illustrated here, is in the Academy’s collection).

33

Walter Dendy Sadler(English, 1854–1923)

The Battle Refought

Oil on canvas, 25 1/4 × 33 3/8 inchesSigned at lower left: “W. Dendy Sadler”Canvas stamp (dealer) on verso: “18s/ L. CORNELISSEN & SON/ 22 Gt.

QUEEN St./ LONDON, W.C.”Provenance: Charles G. Simpson; Moore College of Art and Design,Philadelphia (deaccessioned 2002)

Walter Dendy Sadler was an English artist who specialized in genre painting. When he was seventeen he beganstudying art at Heatherlay’s School in London and then studied further in Düsseldorf—where Safer Than theBank (see plate 34) was painted—for six years. He exhibited at the Royal Academy in London beginning in 1873.Sadler’s paintings, which are infused with his sense of humor and good nature, are often set in the eighteenth andearly nineteenth centuries. Very popular, Sadler’s paintings were often reproduced as engravings. His work is inprivate collections and museums in Liverpool and Manchester, as well as the Tate Gallery in London.

34

Walter Dendy Sadler(English, 1854–1923)

Safer Than the Bank, 1874

Oil on canvas, 29 7/8 × 21 inchesSigned, dated, and inscribed at lower right: “W. [D]endy. Sadler./ DUSS[E]LDORF 74”

By including a magpie in Safer Than the Bank, Walter Dendy Sadler has made his genrepainting an allegory of miserly greed. In the painting, an old man, dressed in the clothing of anindeterminate earlier period, distrustfully eyes a black bird with white-marked wings. Amember of the crow family, the magpie (L. pica) is attracted by shiny objects, which it has beenknown to hoard. In the Metamorphoses (V, 117), Ovid writes of the transformation of Euippe’sdaughters into magpies, and (II, 360) identifies the magpie with a wily person, or thief.

35

Alexandre De Faux(French, 1826–1900)

Le Pont Neuf, Paris, 1850

Oil on panel, 9 3/8 × 13 3/4 inchesSigned at lower right: “A. De Faux”Signed, dated, and inscribed in ink on panel verso: “Le pont neuf 1850/ A. De Faux”

Alexandre De Faux was a student of Camille-Jean-Baptiste Corot (1796–1875), whose influence is seenparticularly in De Faux’s use of color and choice of subjects. Equally adept in oil and watercolor, De Faux paintedmany landscapes, especially in the Barbizon region near Paris. He first exhibited at the Paris Salon in 1859. Hecontinued to exhibit there until his death, winning medals in 1874, 1879, and 1900. He became a member of theLegion of Honor in 1881.

The oldest bridge in Paris, the Pont Neuf (paradoxically, the “New” Bridge), was begun in 1578 and opened byHenri IV in 1607. Unusually large for a bridge of the period, it incorporated sidewalks, but omitted the shops anddwellings that were usually built on earlier, and some later, bridges. In spite of many restorations, the Pont Neufretains its original form.

36

Paul Vernon(French, active 1874–83)

Venetian Canal, 1883

Oil on panel, 10 1/2 × 14 inchesSigned and dated at lower left: “Paul Vernon ’83”

Paul Vernon was born in Paris, where he exhibited at the Salon from 1874 to 1882. He painted landscapes, marines,and genre subjects. The domes that can be seen in the distance in this view of Venice are probably those of SantaMaria della Salute, which was designed by Baldassare Longhena and built largely between 1631 and 1683. It is oneof the most prominent landmarks of the city and long a favorite subject for artists.

37

Ernest Lawson, n.a.(American, born Canada, 1873–1939)

Twilight in Winter (Moret-sur-Loing), 1894

Oil on canvas, 30 × 25 1/4 inchesSigned and dated at lower left: “E Lawson/94”Provenance: Mrs. Robert M. Leslie, PhiladelphiaExhibited: Pennsylvania Academy of the Fine Arts, Philadelphia, Sixty-Ninth Annual Exhibition (1899), as Twilight in Winter (no. 41)

Ernest Lawson painted Twilight in Winter (Moret-sur-Loing) in 1894, a year that was crowded with events thatwould have lasting significance for the young artist’s career. Following early study with John Henry Twachtman(1853–1902) at the Art Students League in New York and at Cos Cob, Connecticut, Lawson, a native of Halifax,Nova Scotia, went to Paris to study at the Académie Julian. By 1894, he had met Alfred Sisley (1839–1899).Lawson later wrote about his encounter with the retiring French Impressionist:

When I was working out of doors at Moret in France, I saw Sisley the Impressionist painterwalking nearby. As I had met him before, I stopped and asked him if he would criticize my effort.Although he did not want to, having a horror of artists, he could not very well refuse. All he saidwas, after looking over the canvas and then taking in my appearance, “Put more paint on yourcanvas and less on yourself!”1

It seems likely that Twilight in Winter was painted before Sisley’s advice had its full effect, for it is rather thinlypainted and echoes Twachtman’s interest in capturing the effects of hazy atmosphere. Soon Lawson would learnto apply his paints more heavily and broadly: his later paintings are known for their thick impasto. Later in 1894,two of Lawson’s paintings, Evening Sunlight (possibly the painting illustrated here) and Morning, were acceptedfor exhibition at the Salon des Artistes Français. Also in 1894, Lawson married Ella Holman back in the UnitedStates; by the time their daughter Margaret was born later that year, the couple had settled again in Paris. In 1895Lawson returned to the United States, where he became closely associated with the urban Realists often knownas the Ashcan School or The Eight. Lawson’s later paintings are not so easily classified, but are mostlystraightforward Impressionistic responses to the landscapes he saw wherever he traveled. Lawson was a memberof numerous art organizations, including the American Association of Painters and Sculptors—of which he was afounder—which organized the Armory show in New York in 1913. He exhibited extensively throughout theUnited States, especially in New York, and his work can be found in many important public and private collectionsof late-nineteenth and early-twentieth-century American painting.

Note

1. Quoted in Henry and Sidney Berry-Hill, Ernest Lawson, American Impressionist (Leigh-on-Sea, U.K.: F. Lewis Publishers, 1968), p. 22.

38

Louis Braquaval(French, 1856–1919)

View of Paris with the Madeleine

Oil on canvas, 14 5/8 × 16 1/8 inchesSigned at lower right: “Braquaval”Provenance: A printed label in Danish or Norweigan gives the name ofErik Becker, executor for the estate of Ingeborg Nielsen, who sold thispainting to the dealer P. A. Schram.

Louis Braquaval began to paint seriously after his marriage, with the financial support of his father-in-law. Heworked closely with Eugène-Louis Boudin (1824–1898), a friend of his wife’s family, whose influence can be seenin his handling of sky and water in his river views and coastal scenes of northern France, painted in Normandyand near his native Lille. But he is best known for his city scenes, especially Parisian views, like this one, whichincludes the well-known landmark the Church of the Madeleine (dedicated to Mary Magdalene).

Construction of a domed church on the site was begun in 1764, during the reign of Louis XV. A second architectbegan construction of a new design based on the Pantheon in Rome, which was halted in 1790 until 1806, whenNapoleon decided to start anew and build a Grecian Temple of Glory dedicated to the victories of his armies. Thecommemorative function of Napoleon’s Temple, which was being built according to the plans of Pierre-AlexandreVignon, was superceded by the completion of the Arc de Triomphe de l’Étoile (see plate 40) in 1808, and, in 1814,under the restored monarchy, Louis XVIII decided that the building should be a church. Although it was proposedas Paris’s first railroad station in 1837, it was finally consecrated in 1842. The Madeleine is still used for services,but since its recent restoration, is more often used for concerts.

While living at St. Valery, a small town on the Picardy coast, Braquaval met Hilaire-Germain-Edgar Degas(1834–1917), who introduced him to Parisian art circles. After 1900, Braquaval exhibited in most of the ParisSalons, where his paintings were well received. He was made a chevalier of the Legion of Honor in 1914. The FirstWorld War and failing health cut short Braquaval’s career, and it was only in 1969 that his work was reevaluatedin a major exhibition at the Kaplan Gallery in London.

39

Henri Coudour(French, active 1890–1920)

Still Life with a Doll

Oil on canvas, 16 1/2 × 10 1/2 inchesInscribed in paint on canvas verso: “Je certifie que cette/ pienture est de/ Henri Coudour/ A.Donoyer de Segonzac” [“I certify that this/ painting is by/ Henri Coudour/ A. Donoyer deSegonzac”]

Henri Coudour, who was born at Montbrison on the Loire River, is recorded as an Associate of the Salond’Automne. He exhibited there and in other Parisian exhibitions, including those of the Salon des Tuileries. Hepainted portraits, landscapes, and still lifes—especially flowers, as in this example. This painting is not signed, butbears an inscription signed by André-Albert-Marie Donoyer de Segonzac (1884–1974), one of the best-knownartists of the School of Paris. Presumably, Donoyer de Segonzac knew Coudour and his work, and was probablyasked to authenticate his friend’s paintings after Coudour’s death at the age of thirty.

40

A. Frederick Tellander(American, born 1878)

L’Arc de Triomphe de l’Étoile, Paris

Oil on canvas, 30 × 36 inchesSigned at upper right: “Frederick Tellander”

In 1806 Napoleon commissioned François Thérèse Chalgrin (1739–1811) to design a triumphal arch, based onthose of ancient Rome, to commemorate the glory of his armies. One hundred and sixty-two feet high, it is thelargest such monument in the world. It is covered by sculptural reliefs, the best-known of which is La Marseillaiseby François Rude (1784–1855). The Arc de Triomphe de l’Étoile, which shelters France’s tomb of the unknownsoldier, is the point at which twelve great radiating avenues converge, hence its sobriquet, “of the star.”

Born in Illinois, A. Frederick Tellander studied in Paris and Rome. He worked as an illustrator and exhibitedthroughout the Midwestern United States, especially at the Art Institute of Chicago, where he showed 93 worksbetween 1910 and 1941. Of these, four—Boat Pond, Luxembourg Gardens (1927), Over the Seine to La Cité(1927), After Notre Dame, Thirty Minutes for Tea (1929), and Pont Neuf (1930)—were Parisian subjects.

41

Maximilien Luce(French, 1858–1941)

Flowers in a Vase

Oil on paper mounted on canvas, 16 1/4 × 20 3/4 inchesSigned at lower left: “Luce”Label (dealer) on frame verso: (typewritten) “Bouquet de Fleurs/ MAXIMILIENLUCE/ 1858–1941”/ (printed) “Shoneman Galleries/ [ . . . ]/ New York”Recorded: Denise Bazetoux and Jean Bouin-Luce, Maximilien Luce: Catalogueraisonné de l’oeuvres peint (Paris, Éditions Jeran Bouin-Luce, 1986), no. 1155, asFleurs dans un Vase

Maximilien Luce was apprenticed to the printer Hildebrans in his native Paris to learn the art of engraving, which hecontinued to practice with the firm of Froment in Paris and London. At the same time, he studied painting at night,even during his military service, when he worked in the studio of Émile-Auguste Carolus-Duran (1837–1917). Earlyin his career he was befriended by the renowned Impressionist painter Camille Pissarro (1830–1903), whose advicehad great influence on the younger artist. With Paul Signac (1863–1935), Luce founded the “Neo-Impressionist”school, whose adherents sought to define form by rendering the effects of light in broken color. Luce exhibited withthe avant-garde “Indépendents,” showing mostly landscapes, but also producing figural compositions that depicted thelives of the poor. His genuine concern for the less fortunate led him to participate in radical politics, which resulted inhis imprisonment in the 1890s. During his long career Luce was an extremely prolific painter and printmaker.Although he never sought honors, he accepted the presidency of the Société des Artistes Indépendents after Signac’sdeath in 1935, only to resign in protest against the anti-Semitic policies of the Vichy government.

43

Cesar A. Villacres(Ecuadorian, born 1880)

La Place de la Concorde, Paris

Oil in canvas, 20 × 24 inchesSigned at lower left: “Villacres”

Designed by Jacques-Ange Gabriel and completed in1763, the octagonal Place de la Concorde is thelargest square in Paris. It was first named for LouisXIV, whose equestrian statue was at its center. In1792 the king’s statue was removed, and the square was renamed La Place de la Révolution. A guillotine waserected and 1,119 people were executed there, including Louis XVI and Marie Antoinette. Renamed several moretimes, the square became la Place de la Concorde in 1830. Gabriel designed two nearly identical buildings for oneside of the square, one of which can be seen in this painting.

Cesar A. Villacres was an Ecuadorean artist who worked in South America and Paris.

42

François Gall(French, born Hungary, 1912–1987)

In Montmartre

Oil on canvas, 15 1/8 × 18 1/4 inchesSigned at lower right: “F. Gall”Inscribed in paint on canvas verso: “AU. MONTMARTRE/ F. GALL”Inscribed in ink on stretcher verso: “E 3716/ [. . . ]”Label on stretcher verso: (printed) “DOMINIONGALLERY/[ . . . ]/ MONTREAL/ [ . . . ]”

Supporting himself first by working as a laborer,and later with a small grant from the Hungariangovernment, François Gall studied at the RoyalAcademy in Rome. He later moved to Paris (and became a French citizen in 1942), where he came under theinfluence of the Impressionists and specialized in genre scenes like this one, which quickly gained popularity. Gallalso painted landscapes and still lifes and was a regular exhibitor at the Paris Salons. The Montmartre section ofParis, the frequent setting of his paintings, is known for its lively society of artists and bohemians who are drawnto its sidewalk cafés and nightlife.

44

Henri Hayden(French, born Poland, 1883–1970)

Still Life with a Basket, 1963

Oil on canvas, 15 × 21 3/4 inchesSigned and dated at lower right: “Henri Hayden/63”Labels (dealer) on frame verso: (printed) “THE WADDINGTON GALLERIES/11 CorkStreet, London[ . . . ]”/(typewritten) “Nature Morte au Panier c. 1962[ . . . ]” Provenance: Waddington Galleries, London; Benjamin Bernstein, Philadelphia [Note: Thepresent frame is probably original to the painting and probably dates from an exhibitionmounted by Waddington Galleries sometime after Bernstein, an important Philadelphiacollector of twentieth-century paintings, first the acquired the work.] Exhibited: Waddington Galleries, London

After first studying to be an engineer in his native Warsaw, Henri Hayden completed his training at the Academy ofFine Arts there. In 1907 he arrived in Paris, where he remained for the rest of his life, except during the Second WorldWar, when he moved from town to town until France was liberated. During his first years in Paris, he worked inisolation, gradually becoming acclimated to Parisian art and society. He studied very briefly with Georges Desvalières(1861–1950) and Charles Guérin (1875–1939). In 1909 he exhibited a painting for the first time, at the Salond’Autumne. A trip to Britanny in 1911 proved a breakthrough for Hayden and was followed by a productive periodthat culminated in his first participation in a group show, at the Galerie Druet. In 1913 he showed in his first of manyexhibitions at the Salon des Indépendents. A Parisian dealer liked Hayden’s paintings in the show and offered him acontract for all his future work; unfortunately, the gallery soon closed at the outbreak of the First World War, neverto reopen. During this period, Pablo Picasso (1881–1973), Juan Gris (1887–1927), and Jacques Lipchitz (1891–1973)were among the artists in Paris who were developing Cubism, and a painting by Hayden, Three Musicians (Muséed’Art Moderne de la Ville de Paris), was included with theirs in a special gallery at the 1920 Salon des Indépendents.Cubism proved a dead-end for Hayden, and during the 1930s and 1940s, he painted realistic landscapes. His stylecontinued to evolve into a personal synthesis of Realism and Cubism over the next forty years, during which heexhibited extensively in France and abroad. His paintings are in museums worldwide.

INDEX

Adam, Julius, II 20

Bertling, Carl 19

Bigg, William Redmore 17

Blommers, Bernardus Johannes 15

Braquaval, Louis 38

Bromley, William, III 12

Costa, Julio Da 9

Coudour, Henri 39

D’Entrayques, Charles-Bertrand 10

De Faux, Alexandre 35

Doll, Anton 5

Ertz, Edward Frederick 23

Frère, Pierre-Edouard 16

Gabani, Giuseppe 27

Gall, François 42

Gool, Jan van 1

Hayden, Henri 44

Heck, Robert Wilhelm Emil 22

Herzog, Herman 24, 25

Hubner, Carl Wilhelm 21

Hutin, Charles 13

Jernberg, Olaf August Andreas 14

Laugée, Désiré-François 11

Lawson, Ernest 37

Luce, Maximilien 41

Moormans, Frans 7

Munsch, Joseph 18

Nicholls, Burr H. 32

Pratt, William 29

Prouvé, Victor Émile 26

Ranken, William Bruce Ellis 30

Reid, Flora MacDonald 28

Ruyten, Jan Michael 3

Sadler, Walter Dendy 33, 34

Sheppard, Warren W. 31

Spohler, Jacob Jan Coenraad 4

Tellander, A. Frederick 40

Vernon, Paul 36

Villacres, Cesar A. 43

Unknown artist

Floral Still Life 6

Sir Thomas Hammond 8

Still Life: Fruit and Wine 2

SCHWARZP H I L A D E L P H I A

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mail@schwarzgallery.com www.schwarzgallery.com

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