Art Lib<
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THE BUFFALO FINE ARTS ACADEMY
ALBRIGHT ART GALLERY
BUFFALO, N. Y.
C ATAL O G U E
of an Exhibition of Paintings and
Tapestries Collected by
Mr. and Mrs. John J. Albright
June 2d -- September 6th
206 - 1921 - 6
NOTES
THE Exhibition of Paintings and
Tapestries Collected by Mr. and
Mrs. John J. Albright is installed in
Galleries XIV, XVII and the Sculpture
Court.
The Albright Art Gallery is open every
day from ten o'clock a. m. until five
o'clock p. m., excepting on Sundays,
Mondays and Holidays, when the hours
are from one until five o'clock p. m.
Admission is free on Tuesdays, Thurs-
days, Saturdays, Sundays and Holidays.
On other days, an admission of twenty-
five cents is charged.
The ^Buffalo Fine Arts Academy
Albright Art Gallery
CATALOGUE
of an Exhibition of Paintings and Tapestries Collected
by Mr. and Mrs. John J. Albright
June 2d--- September 6th
206-1921-6
STEVENSON MEMORIAL
BY ABBOTT H. THAYER
PAINTINGS IN OIL
Dbrary
SRLF
AMERICAN SCHOOL
GEORGE INNESS, N. A. (1825-1894).
1. SUMMER, MONTCLAIR (29x38).
GEORGE DE FOREST BRUSH (1855- ).
2. FAMILY GROUP (50x60).
DWIGHT W. TRYON, N. A. (1849- ).
3. MoRNfNG (20X31).
ABBOTT H. THAYER, N. A. (1849-1921).
4. STEVENSON MEMORIAL (84x62).
EDMUND C. TARBELL, N. A. (1862-' ).
5. FAMILY PORTRAIT (49/^x39^/2 ).
HORATIO WALKER, N. A. (1858- ).
6. A SUMMER PASTORAL (18^2x27).
FREDERICK BALLARD WILLIAMS, N. A. (1871- ).
7. THREE WOMEN DANCING (24x16).
GEORGE HITCHCOCK (1850-1913).
8. HOLLAND WOMEN (38^x73).
MRS. ABBOTT H. THAYER.
9. STUDY STILL LIFE (21^2x18).
1904640
FRENCH SCHOOL
JEAN BAPTISTS CAM1LLE COROT (1796-1875).
10. VIEW OF DOUAI (20x25).
LEON AUGUSTIN L'HERMITTE (1844- ).
11. HAYING (30^x39).
CONSTANT TROYON (1810-1865).
12. VALLEE DE LA TOUQUES (16x28).
JEAN JACQUES HENNER (1829-1905).
13. RED HAIRED WOMAN (26x18).
CHARLES EMILE JACQUE (1813-1894).
14. SUPPER TIME (29x37).
15. SHEEP (8xii).
NARCISO VIRGILIO DIAZ DE LA PENA (1809-1860).
16. FOREST OF FONTAINBLEAU (17x25).
17. BOCCACIO (10^x17).
JEAN CHARLES CAZIN (1840-1900).
18. LANDSCAPE (14^/2x13).
LOUIS-EMILE ADAN.
19. LE SOIR (16x26).
20. LE SOIR D'AUTOMNE (16x26).
PAUL SAIN.
21. NENUPHARS WATER LILIES (52x64).
J. LE BLANT.
22. YOUNG PEOPLE ON TF.RRACE (32x21^2).
RENE GILBERT (NINETEENTH CENTURY).
23. THE ETCHER (24x26/2).
ANDRE ANTOINE CROCHEPIERRE (i860- ).
24. LE BENEDICITE (16^2x25).
EMILE BRETON (1831-1902).
25. CREPUSCULE D'HIVER (31x185/2).
BELGIAN SCHOOL
ALFRED STEVENS (1828- ).
26. MOONLIGHT ON THE ENGLISH CHANNEL (20^x16^2).
EMILE CLAUS (1849- ).
27. Two PEASANT GIRLS RETURNING FROM HAYING (31^2x37).
ENGLISH SCHOOL
SIR THOMAS LAWRENCE, P. R. A. (1769-1830).
28. GEORGE THE FOURTH (36x28).
(From the collection of the Duke of Cambridge.)
SIR JOSHUA REYNOLDS, P. R. A. (1723-1792).
29. PORTRAIT OF LADY CHAMBERS (24x29).
GERMAN SCHOOL
HEINRICH ZUGEL (1850- ).
30. Cows (16^2x25).
LUDWIG V. ZUMBUSCH.
31. HEAD OF A BOY (13x10).
WENZEL VON BROZ1K (1851-1901).
32. OFFICER, I7TH CENTURY (285^x20).
F. HEILBUTH (1826-1889).
33. REVERIE IN THE GREEN (7^2x18^2).
SPANISH SCHOOL
MARIANO-JOSE-MARIA-BERNADO FORTUNY y CARBO
(1841-1874).
34. A SUMMER DAY IN SEVILLE (7x5).
CHECA Y SANZ (ULPIANO) (1860- ).
35. PLACE DE LA REPUBLIQUE, PARIS (33x585/2).
DUTCH SCHOOL
ANTON MAUVE (1838-1888).
36. SHEEP AT STABLE (22^x32^).
JOZEF ISRAELS (1824- ).
37. WOMAN WARMING HER HANDS OVER FIRE (36x25).
ITALIAN SCHOOL
RUBENS SANTORO (1843- ).
38. VIEW NEAR NAPLES (6x13).
39. SCENE ON THE NILE (17x13).
FRANCOIS BRUNER (NINETEENTH CENTURY).
40. COAST (13x22).
PASTELS
AMERICAN SCHOOL
DWIGHT W. TRYON, N. A. (1849- )
41. SEA (9x15).
42. LANDSCAPE (7x9^).
JULES GUERIN (1866- ).
43. PORTA CAMOLLIA-SIENA
FRENCH SCHOOL
LEON AUGUSTIN L'HERMITTE (1844- ).
44. HARVEST FIELD (12^2x18).
WATER COLORS
AMERICAN SCHOOL
THOMAS W. DEWING, N. A. (1851- ).
45. WHITE AND GOLD (11x7).
JULIAN ALDEN WEIR, N. A. (1852-1920).
46. MORNING
FRENCH SCHOOL
JEAN LOUIS ERNEST MEISSONIER (1815-1891).
47. YOUNG MAN WITH MANUSCRIPT (6x9).
(Was included in the Famous "Exposition Meissonier" 1880)
JULES WORMS (1832- ).
48. SUNNY ROAD WITH PEASANTS (11^x9^2).
JULES LEFEBVRE (1834- ).
49. LA ClGALE (2OXI2).
ALPHONSE-MARIE DE NEUVILLE (1836-1885).
50. FRENCH SOLDIER WITH HORSE (175/2x12^)
FELIX-FRANCOIS-GEORGES-PHILIBERT ZIEM
(1821-1911).
51. COAST (9x13).
ETIENNE PROSPER BERNO-BELLECOUR (1838- ).
52. SOLDIER T\JNC. FLOWERS (13x9).
A. LE COMTE.
53. DELFT, WINTER EVENING (19x16).
J. J. VEYRASSAT (1825-1893).
54. MAN WITH Two HORSES (10^x15).
ITALIAN SCHOOL
C. DETTI.
55. PROCESSION COMMUNICANTS (21x15).
MINIATURES
LAURA COOMBS HILLS (1859- )
56. PORTRAIT OF A LADY.
DRAWINGS AND SKETCHES
THOMAS W. DEWING, N. A. (1851- ).
57. HEAD, SILVER POINT (11x8).
EDMUND C. TARBELL, N. A. (1862- ).
58. PENCIL SKETCH (18x22^).
SCULPTURE
AMERICAN SCHOOL
AUGUSTUS SAINT GAUDENS, N. A. (1848-1907).
59. EIGHT CARYATID FIGURES (S l / 2 feet high).
(The last works produced by the artist.)
60. VENUS AND FAUN.
(A terra cotta group from Greece. Period IV Century B. C.)
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TAPESTRIES
61. ELJEZER BEFORE BETHUEL,
12 feet 7 inches by 13 feet 9 inches.
62. ABRAHAM AND ISAAC WELCOMING REBECCA,
12 feet 4 inches by 18 feet 9 inches.
Two Flemish tapestries of the Early XVI Century School of
Jan Van Eyck, executed at the Brussels Manufactory. Both
tapestries are woven in coloured worsteds and silk threads on
flax warps, with scenes in the ancient Testament, illustrative of
the History of Rebecca and Isaac. The smaller panel represents
Eliezer asking Bethuel for the hand of his daughter Rebecca, for
Isaac, the son of Abraham, his master; in the centre of the
picture is the faithful messenger relating his mission to Bethuel
and addressing to him his request to take his daughter back to
Abraham and his son Isaac ; in front of him is Rebecca speak-
ing to her maids, and on the right is the imposing figure of
Bethuel seated in a majestic attitude, while male and female
attendants in sumptuous attire stand around. The scene is laid
in a palatial hall of rich architectural design.
The larger panel illustrates the presentation of Rebecca to
Abraham and his son Isaac. Rebecca and Isaac, with the
Patriarch in the act of giving them his blessing, form the central
group in the picture, and Rebecca's suite of richly-clad attendants
with their handsomely caparisoned horses, and servants of
Abraham, stand on the right and left, or against the mountainous
landscape background.
The cartoons are attributed to Jan Mostaert, a painter who
was born at Harlem in 1474, and died in 1556; he so success-
fully adhered to the traditions of the School of Jan Van Eyck
that among other works of his, an Adoration of the Magi, in
Brussels, was long ascribed to the latter ; Mostaert, owing to
his great respect for the ancient and also to his immense talent,
it may be said that he resumed the whole school in himself for
his works recalled all at once the bluish mountainous distances of
Jan Van Eyck, the richly-embroidered and jewelled fabrics of
Memling, the grandiose architectural conceptions of Bernard van
Orley and Bouts' correction in details, while for force of colour
he yielded to none; with him disappeared the last Flemish
Gothic painter.
The date of execution of these fine tapestries must be placed
between 1520 and 1528, but as the compulsory marking of Brus-
sels Tapestries did not come into force until the latter date, it is
next to impossible to ascertain the name of the weaver, though
in all probability they were the work of Pierre de Pannemaker;
however, as far as is at present known, any information which
may have existed on this particular point was destroyed when
the Brussels archives were burnt down in the seventeenth century.
63. SCENE FROM ANCIENT HISTORY,
Flemish, II feet 7 inches by 8 feet 10 inches.
Perhaps an event of the Trojan War, cut down from a larger
tapestry, with a wide Renaissance border that is especially rich
and pleasing.
64. SOLOMON AND QUEEN OF SHEBA,
Flemish; a Renaissance tapestry, n feet n inches by
13 feet 2 inches, with typical Renaissance border.
It has been cut down some, but the composition still remains
interesting, and is interestingly backgrounded by the landscape
and buildings.
65. DIANA ENCOURAGING MELEAGER TO PRESENT THE BOAR'S
HEAD TO ATALANTA,
12 feet 4 inches by 13 feet 5 inches.
Woven in Paris in the first half of the seventeenth century,
in the shops established at the Gobelin, in 1601, under the pro-
tection of Henry IV, by two Flemish merchant weavers, Comans
and Planche; or in the independent works established after his
father's death in another part of the city by Raphael de la
Planche, whose monogram R appears on other tapestries woven
by him. Possibly the R in the right selvage of the tapestry
before us is his signature, although it is confused by another
letter that cuts into it. The story of ''Diana" designed by Tous-
saint and Dubreuil, is one of the most famous sets of tapestries
ever woven, and with "Artemisia" series did much to establish
the high reputation of the early Gobelin. The set in the National
French Collection, rich with gold, and the set in the Imperial
Austrian Collection, as well as the set in the Royal Spanish
Collections, are admired by all who see them. In the United
States there are at least two sets, one of them a set of five, rich
with gold, lent to the Hartford Museum by Mr. Morgan. The
border of the tapestry before us is characteristic of the period.
66. VERDURE TAPESTRY,
XVIII Century (Made in France by Flemish weavers).
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ILLUSTRATIONS
SUMMER, MONTCLAIR
By GEORGE INNESS
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GEORGE THE FOURTH
BY SIR THOMAS LAWRENCE
PORTRAIT OF LADY CHAMBERS
BY SIR JOSHUA REYNOLDS
MOONLIGHT ON THE ENGLISH CHANNEL
BY ALFRED STEVENS
A SUMMER DAY IN SEVILLE
BY MARIANO- JOSE-MARIA-BERNADO FORTUNY Y CARBO
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WOMAN WARMING HER HANDS OVER FIRE
BY JOZEF ISRAELS
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EARLY RENAISSANCE FLEMISH TAPESTRY
ELIEZER BEFORE BETHUEL
SEVENTEENTH CENTURY FRENCH TAPESTRY:
(GOBELIN)
DIANA ENCOURAGING MELEAGER TO PRESENT
THE BOAR'S HEAD TO ATALANTA
FLEMISH TAPESTRY: SCENE FROM ANCIENT
HISTORY
J A 001 134 454 6
THE BUFFALO FINE ARTS ACADEMY was incorpor-
ated December 4th, 1862, "to promote and cultivate the
fine arts and to that end to establish and maintain in the
City of Buffalo a permanent art building or buildings, and
collections of paintings, sculpture, engravings, and other works
of art, an art library, and art schools adequately equipped and
having courses of instruction and practice, and generally to
foster art in all its branches." The Albright Art Gallery, the
gift of Mr. John J. Albright to the City of Buffalo, first
occupied in 1905, is open to the public every day from ten a. m.,
with the exceptions of Sundays and Mondays, when it is open
from one to five p. m. Admission is free to members and their
families at all times, and free to the public on Tuesdays, Thurs-
days, Saturdays, Sundays and Holidays; other days an admis-
sion fee of twenty-five cents is charged.
THE ART SCHOOL, in the same building, includes departments
of Drawing, Painting, Sculpture, Illustrations, Decorative Design-
ing, Metal Work, Jewelry Silversmithing, Weaving, Basketry
and Leather Embossing. For further particulars telephone Bid-
well 1416.
ALL FRIENDS of the Albright Art Gallery are invited to become
members. Annual Members "The Friends of the Albright Art
Gallery" pay a fee of five dollars a year. Life Members pay
one hundred dollars and are thenceforth exempt from dues.
The contribution or devise of fifty thousand dollars in cash,
securities, or property, to the funds of the Academy shall render
the donor eligible to be elected or declared a Benefactor of the
Academy by the Board of Directors. The contribution of five
thousand dollars in cash, securities, or property, to the funds of
the Academy shall render the donor eligible to be elected a
Fellow of the Academy in Perpetuity, by the Board of Directors.
The contribution of one thousand dollars in cash, securities, or
property, shall render the donor eligible to be elected a Fellow
for Life of the Academy.
