New-York tribune., 1918-02-20

and Wild Roses" nn arrangement in
aubdued black and white. The deriva-
'ioh from Mnris is obvious, but tho
w,tchery of these canvases is too gen
u'he TO Do attributed to anything save
Onmcron's instructive gift.
Mr. Hearn bought some French and
EnSl'sh pictures, landscapes and figure
pieces, which presumably belong to his
carrier years as a collector. and suCgcst
an interest In subject colors, but from
'hese Camerons, as from many other
cahvases, IT is plain that as he went
or no was beguiled more and moro by
good painting. The same impression
le conveyed by the group of Barbzon
mno m, moro or less related paintings.
Inc great names are here, but not in
stereotyped examples. The Corots nrc
inc noble classical composition. "Lc
Joucur dc Flute" and the charming
Glrl Reclining." The three Daubignvs.
all good, include his huge gray "Ma,'
rinc,' sombrcly magnificent canvas.
Dlaz, Duprc. Decamps are present in
credltablc aspects. There arc four fine
paintings by Monticello, and one of
Ihem is the vast. sunny "Triumph of
flora, which for so long time made
a Iesplcndent space i'll the old Cotticr
gallery. Mr. Hcarn must have had
courage to buy that immense dccora-
tlon. And he must have had a rich
Vein of discernmcnt to buy the land
scapc by Monticello (No. 1889 in the
INST of the smaller rooms upstairs. In
works like this, in fact, beautiful cx-
amplcs of painters painting, the col.
lection Is all the time revealing itself
to advantage. Witness the eight or ten
sketches by Boudn, the little pictur,
by Jongkind. the "Windy Day" by v.
&c Vlllc. the Nautilus Shcll'' by Vol
ION; the "Avenue d'Orleans" by Raj
leelii. and so on through considera-
bic list: Some of the prizes of this
sale VIII be discovered among the
smaller nominally less "important'
PAINTINGS.
The American school, having the
great upper room to itself, suggests
the idea which we have already OK
pressed regarding Mr. Hearn's col]ec-
uon' the idea of miniature museum.
And it is not such "m,niaturc"
museum, either. There are 13o pictures
mere. Eight Wyants, of different
per'ods, Illustrate the fine sentiment
and delicate skill Of that pioneer, and
ms comradc. George lnness, is repre-
"enicd by three works which admi-
faply commemorate the essential pas
sages in his career. The "Berkshire
HILLS is an early picture. typical Of
his tighter" but still massive man
ncr In the late "Wood Gatherers" we
see him at his apogoc, kind of orchcs-
tral master Of color and synthesized
forms. The little Italian study. "Near
Ferugla," done casually on mill board,
All ords glimpse into his Workshop.
showing us the constructive fundamen-
tails OF his art Homer Martins curl
Gus, tempermcntal quality afiirms it,
self in "a Glimpse of the Sea" one of
the most original of his compositions.
Iherc is a panel of half dozen Blake
locks. a II interesting, and one of them.
the dark russet and blue "LandscaDe"
ono. ll3). looms up with the power of
a noble Dlaz. The late John La Fargo
is happily included III the comnanv a
landscape painted in the early SOS
Hecailing his quality of style in a vein
ef impressive simplicity.
The older men come inevitably into
the foreground, but they do not bv
any means dominate. Mr.. Hearn had
constant interest in our landscanc
tradition. The pictures by Wyant ard
lnncss are followed by those Of d. w.
Tryon and j. Francis Murphy, the col
lected paintings by Charles Melville
Dewey, George II. Bogert, II. w.
Ranger and Theodore Robinson. There
are four pictures by Robinson, every
one of them full of his rare talent.
The important figure piece, the Girl
Sewing" is among them. Dewing is
represented by an early nude, '"rhc
Sorceress," piece which we'll indi-
Gates the knowledge of drawing and
modelling upon which his exquisite art