New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-02-23
PICTURE SALE AT LEAvITT's.
THE MoRroN.HoE COLLECTION.


nesday evenings February % and March II is
Fiction upon the Of either Of the gentlemen who
these pictures 20 that out Of the whole number
there very few. indeed that desirable on tue
contrary TO their credit Of taste and discern
ment that they should wish to disturbances themselves
OF works acquired In the Of that painful and
pensive process known TO all collectors educa-
tiOn," and which they have outgrown. II we have
any fault TO find, II ia with those who invite Va TO
these feasts Of scraps with much circumstance as
they had prepared frstclass banquet. The disap-
pointment greater than it need be when we find our
selves face OF the reality, and the pictures, from be-
Ing overprsed beforehand apt to be- at frat glance
msudged However. in this case, it was well known to
all who make il their business to be informed that Mr.
Morton, having already disposed OF the greater part OF
bis collection auction had few pictures left OF any
value and consequently there less surprise in store
for them for the general public Yet by far the
larger part Of the collection belongs TO Ar Norton only
IL out OF the 157 being marked the property OF
Mr.. Hoe. To Mr.. Morton belongs the master
work OF the gallery, the "Automedon Tanning
the Horses Of Achilles painted by the late Henri kes
nault, while Mr. Hoe is the Of the excellent exam
pies OF Church and Kensett tho Tropical Scenery Of
the former and the Reniniscence Of Italy OF the lat
artist. There several email specimens OF tue
French artists whose works more familiar TO H Ten
years than they to-day, or than they are
likely to be again-roulmouche, young lady
knocking gently at the door of room for whose occu-
pant she ready bouquet Of flowers Chavct scene
in artists studio; De Jonghe lady looking at pic
ture another, lady sitting by the fire David COL
group OF gentlemen in a cellar tasting wine F1chei
parry playing chess all these reasonably good specimens
OF an art which had vogue and which VIII Keep
its place long people enjoy seeing neat and de1-
ferrous hand work, and but lite for the subjects on
which it exercised 1t must be frankly stated how
ever in the Of the public while the names
slfully displayed the catalogue eminent enough.
the pictures by represent in the greater num-
,-ftI,p III IN
associate these Neither the Fichc, nor the De
JOughe nor the small Bouguereau the Touimouche.
nor the Chavet is frstrate specimen. We have had
in this country the very bes, that these men can
do and we know very wei that in the case Of Fichel
and Chavet least the examples here shown are not
their best nor their second best The Alfred Stevens.
No 127. is little than carcature OF this distn-
guished artist. though 1t must be confessed be 10
singulary unequal, and often shows want
Of in selecting his subjects. But here. one
hardly knows which is the least TO be praised,
the awkwardly posed yonng lady or the hmsy way in
which she ia painted The COrot By, No 65, IS an
uninterestng example, and in the execution feel how
much by painting the light seen between the tree
branches in Solid white instead Of leaving the
The Daz No As, The Forest at FOntanebleau is more
interesting than the other, landscape with cattle but
both bro1g the indfcrent-honest performances OF
TIL. artist A study Of FlamiugOes," No 123 by &C.
rome Is valuable : a study Of these grOtesqus and
splendid birds Dy famous painter, but unnterestlng
enough for sake. lannon's CUPID Entreating,'
No l25 al infant with the limbs Of Goliath pulling the
clothes OF two with the limbs Of GOlaths wife, is
til. least edifying specimen OF this artists work rene
her 10 have seen Even Rico he judged by his
street FOntarabia, Spain" No. l3l, though the
windows balconies, Cornices, and other architectural
details that make UP this spoy picture are very well TO
look at schreyers Horses IN the RAIN" No. 1872. is
good example Of n well known and favOrte artist |
There is also a bright Pasini-a bit OF CoAstantnope
No Al Pasni Italian landscape painter, not % be
COMPOUNDED with Passtni, an Austrian water-cooris
whose subjects chiefly genre. Names Ike Knaus
Vibert Tony Robert-Feury are misrepresenied here
One wonders of Knaus attached to such
picture No 1888 But, In truth, the collection does
not bear this dissection And II the Ameri-
can pictures VIC are little better Oaways excepting
the two large paintings by Kenset and F. f. Church,
which are all respects representative OF their dis
tinguished authors.
We find something to commend in the "Manon Les
cant" of NJ Dagnan, although that someihng is not in
the helre of Manon herself The landscape is well rem
dered thought Lines somewhat too confused to
suit 80 dismal a tragedy they distract the attention
from the in the There is much ex-
preston the face of the Chevauer des Greux and in
his attitude though, in truth, no one could paint
that face But the figure OF ManOn ruins the picture
reality refuses TO make any demand upon our pity
Not thus Gds thou look OH hapless Manon when after
long wandering, at first bravely then with fanting
heart and limbs supported by those faithful arms OF thy
ddst 5uCCuIuD despair JOucH tue emu
OF all thy miseres Not In neat garments Of the last
mode unrufled by the haste OF thy flight, IN |
furnished by the dcws. with shoes fresh from |
the shop and with all hues Of health and life upon
a appeal To our generosity forgiveness it binders
thy voice reaching VI from thy lonely grave, and in
place OF q vision OF inelable tenderness and pity
are put of with figure from the last fashion plates
The chief this collection Is, OF IN the
1ainef when the artist only twenty-five years Old
AS his enroi de Rome At that time artists who com
PIT gain I seuf bv
the Government to Rome, where during certain num-
SUM sg tier studies as artists Each year they
were obliged 10 send home picture as test
IN paris and made part Of the Exposition envois
de- Rome" When Regnault arrived III ROME. NJ. Hebert
had just been made director OF the Academy OF It Luke
and he was extremely anxious that his pupils should
make good impression the French public with their
gard to the subjects treated had been little respected Of
late NJ Heberi made point OF insisting on compliance
figure from the pupil NJ Hebert persuaded kegnau to
Tent of Holofernes An intention which he carried
later in the picuIe now IN the gallery al
superior selected the present subject In letter 10
friend he writes have yielded and shall paint this
serve as model But what the Director does not know
fIat I'M. nude figure Will be between two horses of the
sic of nature. The bureau OF rules VIII gruMbe no
DOUBT but claim for myself the right to paint nasto-
While Rcguault painting this picture he had ter
ble tall from spirited morse winch he had set himself
him az linst a cart loaded with sand-Regnaut was
picked up for dead. He was Ill Tor several
weeks and his recovery went to spain,
where he painted the portrait Of General rrim, noH
in the Louvre IN this picture the General rides mag
black AGdllusitn horse ptuOus
char acer those Ii AuUOmedOn. When N. portrait
lin heI General Frim refused accept IL, because
he represented without his hat with hair
dlsordcred The picture at seut IN Paris and
that Prm Is dead and the French Government owns
his portrait IL Is said tha the family Of Prim
soaDc TO the loss o. tuis masterpiece.
The sub the present picture is taken from Homer
II represents AutOmedOu the character Achilles. yok
ing the neet hor-es Nanthus Baius, winch kept
pace Win lur hIAuh 4Ath tAc HdrIy Isddrgt bore
Lephyrus, the winds wnls feeding in the mead w, by
inc stream Oceanus." Achilles had tuese Lurses from