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Feb. 4. 1880.
My father's mortgage to Booth is $10.000.

2 Policies of insurances 
Father's - House 4500
Barn 400
Hay &c 100
Carriage Home 350  
Tools 50  5.400
2 horses 100
Additional on home 1500
Furniture &c 1000

My mortgage 4.000
Insurance on house 2500
Outer Studio 500
Pictures &c at my fathers 1000

Washington Star
- A sale of paintings by Mr. Jervis McEntee will take place at the Fifth Avenue Galleries in New York on Wednesday evening. As a delineator of American pastoral scenery, and especially of its autumnal aspects, Mr. McEntee has probably no rival, and the coming sale will afford collectors an opportunity to make choice in a wide range of subject and treatment. [[note]] Mar. 3. 1888 [[/note]]

[[note]] Times  Mar. 21 1888 [[/note]]
PAINTINGS BY McENTEE, N. A.
Mr. Jervis McEntee forms a link between the old and the new in American painting. In his youth he felt the influences that molded the native painters of the so-called Hudson River school, who had all they could do to register on canvas the impression made by our landscapes, overcharged with color even in Winter, and so vivid in Autumn that the poorer sort of painter made the extraordinary phenomena of our foliage a stumbling block and offense to lovers of true art. His tendency then was to tone down the brilliancy of American Autumn scenes, and some of his early work has a rigidity that may be explained by the fear of giving way too much to the temptation to use the uncompromising colors of the palette without reserve. He was one of the first to see the extreme richness of coloring in our midwinter views even after the last glow has faded from the sky, and has always shown his delight in hues thrown to relief by a background of snow.
Specimens of this earlier work will be found among the 75 canvases now on exhibition at 366 Fifth-avenue, in the Ortgies Gallery. But for the most part they show later stages of his progress in rendering nature as it really exists in New-York State, more particularly in the Catskill region of the Hudson River. No. 9, "Paestum." is a bit from Italy, showing the famous temple in its desolation, with a broad colored horizon peeping through the ruined columns and reflecting its glow on the stagnant marsh in the foreground. No. 55 is a view at Kennebunkport, Me., and No. 1, "On the Yellowstone;" No 32. "A Nevada Ranch" with its barrack, distant range through clear air, and patch of poppies; No. 34, "Cavalry Yard, Fort Halleck, Nevada," and No. 42, "Up in the Humboldt Mountains, Nevada," testify his ability to report the peculiar atmosphere of distant places in Europe and America. Strong effects of clear skies and sharp shadows are here to be seen. But the views from the home ranch predominate.
No. 5, "Winter," is an example of the old love treated with the experience gained by the new departure in American art. It is an exquisite little page from the book of American nature, with its sedges still russet in the still pool, its wild growth of copse showing lilac shades in the brown, and its trees standing grayish-brown against a neutral, unbroken, cloudy sky. No. 13, "Mountain Brook, Late Summer," is full of sunlight sifted through yellowish leafage. No. 17, "Winter Morning," is a snow scene with fine atmospheric effects, as if the snow not yet precipitated were suspended in the air. A few maples are flaming in No. 24, "Alder Brook, Autumn," and the season is in its full pomp in "An Autumn Walk." Here the figures are treated with an indifference to details which the landscape painters of Mr. McEntee's youth rarely dared to employ. Finally, No. 29, "October," is a successful attempt to grapple with the full chorus of color which assails the artist a hundred miles or so away from the sea air in the United States.
No. 39, "A Cliff in the Kaatskills," is remarkable for the "great stone face" of an Indian which nature has modeled rudely in some freak of world forming. No. 44, "Mossy Rocks," is a typical trout stream deep in the woods of Ulster County, and Nos. 61, "Home of the Trout" and 62, "Under the Birches," show Mr. McEntee's eye for rich coloring in meadow, woodland, and stream. "Christmas Eve" is a plunging view upon the roofs of an American town of three churches; the night atmosphere is capitally rendered; lights glow in church and dwelling and the air is full of latent snow. A view of the Hudson from a height is in No. 59, the face being toward the east, where the horizon is full of color, although the time is sunset. "Funeral of a Veteran" is remarkable for the drawing of the Catskill Mountains in the distance and the impression of cold produced by the little band of veterans marching through deep snow before a hearse and four carriages. The cowering of soldiers and drivers before the cold is well expressed. The small collection will repay careful examination.

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