EXHIBITION OF THE GEORGE A. LUCAS _ ART COLLECTION THE MARYLAND INSTITUTE GALLERIES, MOUNT ROYAL AVENUE, BALTIMORE 1911 call EXHIBITION OF PAINTINGS BRONZES AND PORCELAINS FROM THE GEORGE A. LUCAS COLLECTION The MARYLAND INSTITUTE BALTIMORE 1911 ~2 GEORGE A. LUCAS 1824 - 1909 fee EP ALOYSIUS LUCAS. George A. Lucas, the son of Fielding Lucas, Jr., one of the founders and managers of the Maryland Institute, and Eliza M. Carrell, his wife, was born in Baltimore May 29, 1824. He was educated at St. Mary’s College and at the United States Military Academy at West Point, which he entered in 1844, and where he was a fellow-cadet of Generals Stonewall Jackson and George B. McClellan. After leaving West Point he became a civil engineer of the New York, New Haven and Hartford Railroad, and lived in New Haven, Conn., during the years from 1851 to 1853. In July 1853, he took charge of the construction of the Central Railway of New Jersey with headquarters at Elizabethtown, and in January 1854 became assistant engineer of the Croton water supply, which was then being introduced into New York. He resided in New York until 1855, when, upon the death of his father, he returned to Baltimore and lived here for two years. He was attracted by art from his youth and in 1857 he left Baltimore for a continental trip. After enjoying an extended tour of Europe he resolved to spend some time in Paris which attracted him by its art life and atmosphere. His sojourn in Paris was extended over the remaining years of his life. He never returned to America. During his residence in Paris of over fifty years he greatly assisted in the development of public appreciation of the Barbison school of painters and of Barye, the great sculptor. He was the intimate friend of most of the noted artists of Paris and frequented their studios. He soon became a recog- nized authority on art matters and a collector of art objects. He was in close touch from their beginning with the Metropoli- tan Museum of Art, the Corcoran Gallery of Art, the Walters Art Gallery and many of the leading private collections in America, and together with Mr. Samuel P. Avery of New _ York, and Mr. William T. Walters of Baltimore, his intimate . friends, influenced their collections quite materially. [3] In recognition of what he had done in the interest of art in Paris, the French Government desired to decorate him with the insignia of the Legion of Honor, but his retiring and mod- est nature prompted him to avoid this distinction. Hs home, No. 21 Rue de l’Arc de Triomphe, was a center of artist life of Paris, and in it during his long life he gathered a large and choice collection of art objects. He spent his summers at his country seat on the banks of the Seine, near Paris, and seldom, if ever, left France. His portrait was painted many times by the leading artists of Paris. Conspicuous among these is that by Cabanel, in 1873, a reduced copy of which constitutes the frontispiece of this catalogue. Another, by Bonnat, fourteen years later, is well known to visitors of the galleries of Mr. Walters. Mr. Lucas died at his home in Paris, December 16, 1909, in his eighty-sixth year. His remains were brought to the home of the William F. Lucas family in Baltimore, and, after a quiet and imposing ceremony at the Cathedral, were buried in Greenmount Cemetery. Mr. Lucas was noted for his love of the neadeeel his high cultivation and his ability as an art critic. His quiet and at- tractive nature won all who came in contact with him and the assistance and guidance he delighted to give to the art student, the young artist and the art collector, had a marked and lasting effect upon art in this country and in France. It was his great desire through life to place his collection in — the care of a worthy and useful institution in his native city, to be dedicated to sincere art education, and, having selected the Maryland Institute as his beneficiary, he bequeathed the entire collection by his will to Mr. Henry Walters for that purpose. In furtherance of this plan, Mr. Walters caused the collec- tion to be brought from Paris to Baltimore and to be installed in the Institute. Wie [4] PAINTINGS. The paintings are numbered in regular order, commencing at the right of the Entrance Door, extending along the North Wall and thence around the Gallery. The short notes con- cerning the different artists have been transcribed from state- ments which Mr. Lucas had either printed or pasted upon the backs of his pictures. No catalogue of his paintings, bronzes, porcelains, or engravings and prints has yet been found. It is possible that he had the making of such a catalogue in mind, and, if so, it might have read somewhat after the style of the following pages : ENTRANCE CORNER AND NORTH WALL. JACQUE (Charles Emile). Medals, 1861-63-64. Legion of Honor, 1867. Born, 1818. Died, 1894. “Red and White Poppies.”’ 215.5510 2 LESREL (A.). Pupil of Géréme. “Study of Poppies.” 11% x 5% — * The measurements of the pictures are given in each case in inches, generally measured to the nearest quarter inch. The first figure given represents the height of the canvas, the second the width as the picture hangs upon the wall. This system of measurements is one that is used in the Buropean galleries, and is being generally adopted in this country. In order to approximate the size of the stretchers (which in this collection are sealed within the frames), one-half inch in the case of the small pictures (examples under twelve inches in longest dimensions), and one inch in the case of the larger examples has been added to the dimensions of the inside of the frames. [5] A Ay, ae 3 STEINHEIL (A. C.). Died, 1908. “Still Life.” 6% x 514 | 4 VINCELET (Victor). Died, 1870. “Study of Flowers.” Painted in 1869. 19 x 18% GIACOMELLI (F.). ‘e. “First Sketch for a Perch of Birds.” vee 4% x17 6 KREYDER (Alexis). Medal, 1867. Medal of Second Class, 1884. Silver Medal, 1889. Chevalier of the Legion of Honor, Pxposition Unive Hors Concour. “Hollyhocks and Gute 44 x 31% 7 MONGINOT (Charles). Pupil of Couture. Medals, 1854-59. Born, 1830. Died, 1900. “Still Life.” ie 7% x 9% hah [6] 8 JEANNIN (Georges). Pupil of Vincelet. Medal of Third Class, 1878. Medal of Second Class, 1888. Hors Concour, 1889. ree Medal, Exposition Universal, 1900. “Study of Flowers.”’ 10% x 13% 9 VOLLON (Antoine). Pupil of Ribot. Medals, 1865-68-69-73. Legion of Honor, 1870. Officer of the Legion of Honor, 1878. Pupil of the Academy of Lyons. Medal, Exposition Universal, 1878. Born, Lyons, 1833, ‘Study of Flowers.”’ 18% x 15% IO COLLIN (Raphael). Pupil of Cabanel. Medal, 1878. Legion of Honor, 1884. Officer of Legion of Honor, 1889. Member of the Institute, 1909. ‘*Study of Flowers.” 35 x 14% ET BONVIN (Francois S.). Medals, 1849-51. Legion of Honor, 1870. Born, 1817. Died, 1887. “Still Life.” 16% x 138% [7] 12 THIOLLET (A.). Pupil of Drollinge and Robert Fleury. Third Class Medal, Salon 1885. Second Class Medal, 1887. Medal, Exposition Universal, 1889. Born, Paris. Died, Paris, 1896. “Fisherwoman of Villerville.’’ 94% x 6% 13 BAIRD (W. B.). “Village Church.” 12% x 10 14 STEVENS (Alfred). Paris. Gold Medal at Brussels, 1851. Paris, 1853-55-67 (HE. U.). Legion of Honor, 1863. Officer of the Legion of Honor, 1867. Commander of the Order of. Leopold. First Class Medal, Exposition Universal, 1878. Grand Officer of the Order of Leopold, 1881. Born, 1817. Died, 1875. “Study of a Head.” 18 x 9% 15 MICHEL (Georges). Born, 17638. Died, 1843. “Gathering Storm.” 17 x 28% 16 MUNIER (E.). Pupil of Bouguereau. Honorable Mention, 1882. Died, 1896. “Under the Lilacs.” 244, x 124% [8] 17 Medals at Salon. Medal of the Third Class, 1880. Medal of the Second Class, 1882. Silver Medal, 1889 (E. U.). Silver Medal, 1893. Gold Medal, 1903. Born, Avallon, 1842. QUOST (Ernest). “Decorative Study.”’ 6 x 19% 18 HAMON (J. L.). Pupil of P. Delaroche. Medals, 1853-55-67. Legion of Honor, 1855. Born, Plouha, 1821. Died, 1874. “The Fugitive.” 8% x 10%. 19 CASTRES (Edouard). Pupil of Zamacois. Medals, 1872, 1874. Born, Geneva, Switzerland. “On the Seine at Bougival.”’ 10% x 8% 20 ZIEM (Felix). Medals, 1851-52-55. Legion of Honor, 1857. Born, 1821. Died, 1908. “Color Scheme.”’ 12% x 7% 21 COLLIN (Raphael). “Study of Flowers.” 35 x 14% [)] 22 BABCOCK (Wm. P.). American Painter. Pupil of Couture and Millet. Born, Boston, 1826. Died, Bois D’Arcy, France, 1899. “The Quartette.”’ 8% x 10% 23 MONTICELLI (Adolphe). Pupil of Academy of Fine Arts, Marseilles. Born, Marseilles, 1834. Died, 1886. “Road Through the Wood.” 24 x 16 24 DELPY (Camille). Pupil of Corot and Daubigny. Born, Goigny. Died, 1908. “On the Seine at Boissise-la-Bertrand.”’ 224% x 17% This house was one of the places in which Mr. Lucas spent his summers 25 HOWLAND (Frank). “Studying the Album.”’ 10% x 8\% 26 SAINTPIERRE (Gaston C.). Pupil of Cogniet and Jalabert. Medal, 1868. Medal of the Second Class, 1879 Legion of Honor, 1881. Officer of the Legion of Honor, 1903. Hors Concour. Born, 1833. ‘*Yamina.”’ 101% x 8% [10] 27 ROUSSEAU (Philippe). Pupil of Gros and Victor Bertin. Born, Paris, 1816. Died, 1887. “Still Life.” 53% x 9% 28 PISSARRO (Camille). | Pupil of Melbye and Corot. Born, Normandy, 1830. Died, 1903. “Path by the River.” 224% x 17% 29 MONTICELLI (Adolphe). “Allegory.” 14144, x 27 30 HOVENDEN (Thomas). Pupil of Cabanel. Associate of National Academy, 1881. National Academician, 1882. Member of Society of American Artists. American Water Color Society, 1882. Philadelphia Society of Artists, 1883. New York Etching Club, 1885. Born, Dunmanway, Ireland, 1840. Died, 1895. “Study of an Old Lady.”’ 64x 5% Mr. Lucas had noted upon the back of this picture: “Given me by him at the time he was pursuing his studies at Paris, in Cabanel’s studio.” 31 THIOLLET (A.). “Fishing Boats.” 43% x 8% [11] 32 TASSAERT (N. F. 0.). Pupil of Guillon and Lethier. Second Class Medal, 1838. First Class Medal, Genre Historique, 1849. Third Class Medal, 1855. “The Angel’s Message.” 16% x 134% 33 CABANEL (A.). Pupil of Picot. “Prix de Rome,” 1845. Medals; 1852 (BE. U.), 1855. Legion of Honor, 1855. Member of the Institute of France, 1863. Officer of the Legion of Honor, 1864. Grand Medals of Honor, 1865 and (E. U.) 1867. Commander of the Legion of Honor, 1878. Grand Medal of Honor (E. U.), 1878. Professor in l’Ecole des Beaux Arts. Born, 1823. Died, 1889. ‘‘Portrait of George A. Lucas.” The portrait of the donor of this collection has been reproduced as a frontis- piece to the Cataolgue. 34 KREYDER (Alexis). “‘Study of Apple Blossoms.” 151% x 20 35 GUIGNET (Adrien). Born, Annecy. Died, Paris. ‘“‘Afterglow on the Banks of the Nile.” ix 23 Mr. Lucas had noted upon the back of this picture: ‘““Decamps was very much struck with the quality of Guignet as a painter, see the book ‘La Vie de Guignet,’ J. A. Bulliott.” a VELY (Anatole). Pupil of Signol and Bouguereau. Medal, 1875. “The Well.” 10% x 6 _ [12] 37 ROZIER (J.). Pupil of Bertin and P. Delaroche, “Seaside Village.”’ 5144 x 8% 38 FLERS (Camille). Pupil of M. Paris. Medal of Third Class, 1840. Medal of Second Class, 1847. Legion of Honor, 1849. Born, 1802. Died, 1868. “The Foot-Bridge.”’ 15% x 23 39 CLAIRIN (J. Georges). Pupil of Picot and Pils. Medals, 1882, 1885, 1889. Legion of Honor, 1897. “Study of Saint Marks at Venice.’’ 9% x 6% 40 BOUGUEREAU (Wm. A.). Pupil of Picot. “Prix de Rome,” 1850. Medals, 1855-57-67. Legion of Honor, 1859. Member of the Institute of France, 1876. Officer of the Legion of Honor, 1878. Medal of Honor, 1885. Commander of the Legion of Honor, 1885. Medal, Universal Exhibition, 1889. Born, 1825. Died, 1905. ‘‘ Sketch for the Picture Entitled ‘Charité.’ ’’ 11 x 7% [13] 41 MONTICELLI (Adolphe). - 42 ‘*Allegory.”’ 19% x 2314 43 “Early Spring.” 24 x 16 44° BS gle CAs Gans ses j Pupil of Pujol, David and Ingres. — Medals, 1831-34. : Chevalier, Legion of Honor, 1839. — Officer, Born, 1803. Died, 1860. | “At the Edge of the Forest.” 19 x 15% * 45 PLASSAN (A. E.). Medals, 1852-57-59. Medal, Philadelphia Centennial Exposition, 876 Legion of Honor, 1859. ide Born, 1817. Died, 1903. sa “Group of Still Life.” 14 x 10% _— a lek a WEST WALL 47 STEINHEIL (A. C.). _ “Study of Poppies.”’ 26 x 1814 48 GREUZE (Jean Baptiste). Born at Tournus (Burgundy), 1725. Died, 1805. “The Greedy Child.” 22 x 15% 49 LeROUX (Hector). Pupil of Picot. “Prix de Rome,” 1857. Born, 1829. Died, 1900. Medals, 1863-64-77. “The Vestal Tuccia.’’ 103% x 8% 50 ‘Sleeping Vestal.” 12%, x 6% 51 ZIEM (Felix). i pas “Sketch of the Grand Canal, Venice. 7x 9% [15] 52 DURAN (Carolus). Pupil of Souchon. Medals, 1866-69-70. Legion of Honor, 1872. Medal of Second Class, 1878. Exposition Universal. Officer of Legion of Honor, 1878. Hors Concour, 1889. Exposition Universal. Commander, 1889. Grand Officer Legion of ‘Honor, 1900. Member of Jury. Hors Concour. Born, Lille, 1837. “Study of an Italian Model.” 18% x 144 53 MONTICELLI (Adolphe). ‘*Allegory.”’ 63% x 154% 54 Medals, 1870-1875. Decorated, Chevalier, 1879. Officer, 1900. Born, Grenoble, 1836. Died, Paris, 1904. FANTIN-LATOUR. ‘*Study in Oil.”’ 9x IZ 55 JEANRON (Philippe Auguste). “Girl in the Forest.”’ 223%, x 16% 56 LeFEBVRE (Juies). “Prix de Rome,” 1864. Medals, 1865-68-70. Legion of Honor, 1870. Medal of First Class, 1878. Officer of the Legion of Honor, 1878. Medal of Honor, 1886. Grand Prix, 1889. Member of the Institute. ‘*Mignon.”’ 20% x 12 [16] 57 DURAN (Carolus). DOR et udy of a Head.”’ 16% x 18% 58 LONGUET. Pupil and Friend of Diaz. “Hagar and Ishmael.” 16 x 11% : 59 LEMMENS (E.). Pupil of Lassale. “In the Barnyard.”’ 444 x 6 60 LOIRE (L.). “The Picket at the Angelus Time.”’ 9% x 6% 6I RICO (Martin). Medal, 1878. Legion of Honor, 1878. “The Grand Canai from the Artist’s Window.”’ 64% x 5 62 HEREAU (Jules). Born, 1830. Died, 1879. “Opening the Sheepfold.”’ 15 x 238% [17] 63 SANTORO (Rubens). Medal, 1896. Medal, Chicago Exhibition, 1893. “An Outpost of Venice.” 8% x 124% 64 LEMMENS (E.). ‘The Barnyard Pool.” 3% x 5% 65 DAUMIER (Honoré). Born, 1808. Died, 1879. “In the Theatre Boxes.”’ 9144 x 12% This famous French caricaturist was condemned in 1832 to six months’ impris- onment for having drawn a lithograph’ disrespectful to the sovereign, Louis Philippe 66 DEHODENCQ (Alfred). Pupil of Leon Cogniet. Medals, 1846-1853-1865. Decorated, Legion of .Honor, 1870. Born, Paris, 1823. Died, 1882. “Little Gypsy.” 30 x 19% 67 HEREAU (Jules). “Landscape with Sheep and Lambs.” 17 x 25% 68 DELORT (Charles). Pupil of Géréme. “The Departure of Manon Lescaut from Havre.”’ 7% x 10% [18] LEMMENS (BE). “Study of Fowls.”’ 3% x 51% 70 BRACQUE MOND. Pupil of Joseph Guichard. Born, Paris, 1833. Died, Paris, 1904. ‘Portrait Head.”’ 5% x 4% 71 SANCHEZ-PERIER (E.). “View in Vigo, Galicia.”’ 63% x 5% 72 GAVARNI. Born, 1801. Died, 1866. “Costume Study.” - 12% x 8% gan CONSTANT (J. J. Benjamin). Medals, 1875-1876-1878. Legion of Honor, 1878. Officer of the Legion of Honor, 1884. Member of the Institute of France, 1893. _Medal.of Honor, 1896. Born, 1845. “Inmate of the Harem.”’ 8% x 12 [19] 74 LEMMENS (BE). “Study of Fowls.”’ 4x5% 75 BOUGHTON (G. H.), A. R. A. Member of the Royal Academy of Design. Associate of the Royal Academy. Born, 1834. “Portrait of a Young Girl.” 8 inches (diameter). 76 DANNAT (Wm. T.). Studied in Munich Academy with Munkacsy. President of Society of American Artists. Commander of Legion of Honor. Represented in Metropolitan Museum of Art, New York. Art Institute of Chicago, and Luxembourg. Born, New York, 1853. “The New Hat.” 8% x 10% 77 LOBRICHON (Thimoleon). Medal, 1868. Medal of the Second Class, 1882. Legion of Honor, 1883. Hors Concour. ‘‘Portrait Head.”’ rd 7 inches (diameter). 78 METTLING (Louis). “Portrait of a Young Girl.” 91%x T% [20] 79 -DAUMIER (Honoré). “The Stairway of the Palace of Justice.’ 14% x 10% 80 LAMBERT (Eugene). Died, Paris, 1900. “Cat and Frightened Rabbits.” 53%, x 9 81 MERY (A. E.). Medals, 1868, 1869. Exposition Universal. Born, Paris, 1848. Died, Paris, 1896. “Nestlings Amid the Blossoms.”’ 20 x 39 82 BRETON (Jules). Pupil of Devigne and Drolling. Medals, 1855-56-59-61. Medals, London, Vienna and Brussels. Legion of Honor, 1861. Medal of the First Class and Officer Legion of Honor at the Universal Exhibition, 1867. Medal of Honor, Salon, 1872. Knight of the Order of Leopold, 1881. Ribbon of St. Stanislas, of Russia. Corresponding Member of the Academies of Vienna, Stockholm and Madrid. Member of the Institute of France, 1886. Commander of Legion of Honor, 1889. Born, 1827. “Study for the Picture, ‘Les Communiantes.‘ ”’ 18%, x 18 Mr. Lucas has noted on the back of this picture: ‘‘Madame Breton posed in costume for this sketch.” [21] 83 VAN MARCKE (E.). Pupil of Troyon. Medals, 1867-69-70. Legion of Honor, 1872. First Class Medal (E. U.), 1878. Born, 1827. Died, 1891. ‘Cattle Drinking.”’ 114% x 14% 84 DUPRE (Victor). **Landscape.”’ 34% x 45% 85 PATROIS (I.). . Medal of the Third Class, 1861. Naples, 1863, Medal, 1864. - Decorated, Legion of Honor, 1872. Born, France. ‘Russian Peasant Playing on the Mandolin.” 10% x7 86 VILLA (E. D.). Pupil of Gleyre and Glaize. ‘“‘Entrapped.” 44%,x 7% 87 ROQUEPLAN (J. E. C.). Pupil of Baron Gros and Abel de Pujol. Medals, 1853, 1855. Officer of the Legion of Honor, 1831. Appointed Battle Painter at Versailles Gallery. Decorator of Luxebourg Palace. : Born, Malemort, 1802. Died, 1855. “Landscape with Figures.” 10x 13% [22] 88 LAVIELLE (E. A. S.). Ss Pupil of Corot. Medal of Third Class, 1849. Medal, 1864. Born, Paris. “The River Bresle at Nesle.’’ 13 x 23% Mr. Lucas notes that “Van Marcke (see Nos. 838 and 111) painted most of his eattle pictures in this vicinity.” 89 AUBERT (E. J.). Pupil of Paul Delaroche and Flamon. Medal of Third Class, 1861. Born, 1824. Died, 1906. “Greek Fisher Girl.’’ 10x 7 90 WELLS (G.). ““Sisters.”’ 8144 x 644 rob VILLAIN (Eugene). Pupil of Charlet and L. Cogniet. Born, Paris. “Still Life.” 1 ASY, 92 VEYRASSAT (Jules Jacques). Medal, 1872. Medal, 1889, Exposition Universal. Legion of Honor, 1878. “The Ferry on the Marne.” 7x 12% [23] 93 PISSARO (Camille). “Village Street in Winter.” 14% x 18% 94 JACOMIN (Marie Ferdinand). Medal, 1883. Medal Universal Exhibition, 1889. ‘‘Landscape in Cloud and Sunshine.” 32% x 46 95 GUERARD (Henry). Born, 1846. “Three Panels, Views at Honfleur.’’ Hach of the three panels is 64% x 9% 96 DELORT (Charles). “Choir Stalls, Church of Thun, Alsace.’’ 184% x 9% 97 BOUGUEREAU (Wn. A.). “Study for the Principal Figure of the Picture Entitled ‘Les Oranges.‘ ”’ 164% x 138% 98 MARILHAT (Prosper). Pupil of Roqueplan. Born, 1811. Died, 1847. ‘Beneath the Archwav.”’ 12% x 8% [24] 99 FANTIN-LATOUR. : “Still Life.” 7 x 12% 100 DAUBIGNY (C. F.). Pupil of Paul Delaroche. Medals, 1848-53-55-57-59-67. Chevalier, Legion of Honor, 1859. Officer of the Legion of Honor, 1874. Diploma to the Memory of Deceased Artists. Exposition Universal, 1878. Born, 1817. Died, 1878. “Through the Fields.” 8 x 18% IoOr MARIS (Jacob). Born at the Hague, 1888. Died, 1899. ‘“‘Breeze from the Sea.”’ 15 x 24% 102 BRETON (Jules). “Young Musician.” tiex is * 303 UNKNOWN ARTIST. “On the Exterior Boulevards.” 64% x9 104 FRERE (Theodore). Born, 1815. Died, 1888. “Cairo Cafe.” 10% x 8% [25)] 105 BONNAT (Leon). Pupil of Madrazo and Cogniet. Second “Prix de Rome,” 1851. Medals, 1861-63-67. Legion of Honor, 1867. Medal of Honor, 1869. Officer of the Legion of Honor, 1874. Member of the Institute of France, 1874. Knight of the Order of Leopold, 1881. Commander of the Legion of Honor, 1882. Born, 1833. ‘“‘View on the Teverone, or Little Tiber, near Rome.” 7% x 12% 106 APPIAN (A.). Pupil of Corot and Daubigny. Born, 1819. Died, 1898. ‘‘Lake in the Department of Ain, France.’’ 1344, x 22 107 JACQUE (Charles Emile). The Blacksmith’s Shop. 64%, x 54 108 LE POITTEVIN (E.). , Pupil of Hersent. Medals, 1831-36-48-55. Chevalier of the Order of Leopold. Legion of Honor, 1848. Born, 1806. Died, 1870. “In the Barnyard.” 81%, x 7 109 MERY (A. E.). “Apple Boughs.”’ 20 x 389% ILO BRETON (Jules). Sketch for the Picture ‘‘Les Communiantes.”’ See also No. 82 17% x 11% III VAN MARCKE (E.). “‘Cattle.’’ 10% x 144% 112 GAVARNI. “Costume Study.” 138% x 8% 113 PLASSAN (A. E.). **At the Shrine.’’ G6 x 3% 114 MONTICELLI (Adolphe). “Portrait of Monticelli.” 644 x 4% 115 TENIERS (Abraham). Born at Antwerp, 1629. Died, 1670. “After Lunch.”’ 7x 9% 116 BOUGHTON (G. H.), A. R. A. “Viola.”’ 9 inches diameter. [27] 117 ARMAND-DUMARESQ (C. E.). Pupil of Couture. Medal of Third Class, 1861. cas Medal at Naples, 1863. Legion of Honor, 1857. Born, Paris, 1826. Died, 1895. “Portrait of Joseph.”’ 7% x 5% Mr. Lucas added this note: “Joseph was a model who posed for Gericault, for the negro in his celebrated picture, ‘‘The Raft of the Medusa.”’ 118 DIAZ (N.). Medals, 1844-46-48. Legion of Honor, 1851. Diploma to the Memory of Deceased Artists, Eons Universal 1878. Born, 1807. Died, 1876. “Jean d’Paris in the Forest of Fontainebleau.’’ 6% x 8% IEQ GAVARNI. “Costume Study.” 1A < 120 BOULANGER (Gustave). Born, 1824. Died, 1888. “Two Moors.”’ 8% x 544 12 COUDER (A). Pupil of Gros. Medal, 1836. Decorated, 1853. “Study of Fruit.” ™%x5y4 [28] I22 FIELDING (Newton). “Hunting on the Moors.” 634 x 8% 123 THIOLLET (A). “Sea and Sky at Villerville.”’ hele oo bRI 124 LEMMENS (E.). ““A Lesson for Wrongdoers.”’ 7 x 10 125 JACOMIN (Marie Ferdinand). “Environs of the Forest of St. Germain.”’ 138% x 16% 126 COUTURE (Thomas). Pupil of Gros and Delaroche. Medals, 1844-47-55. Legion of Honor, 1848. Born, 1815. Died, 1878. “Portrait of a Child.”’ 24 x 204% 127 BRENDEL (Albert). Pupil of Jules Dupré. Professor in School of Fine Arts, Weimar, Germany. Born, Berlin. Died, Germany, 1898. ‘In the Stable.’’ 114%x 14% Mr. Lucas has added a note on the back of the picture, stating that Brendel came to Barbison about 1860, resided there ten years, becoming an intimate friend of Bodmer, Theo. Rousseau, and Millet. [29] 128 HERVIER (A.). “The Windmill.”’ 54% x 7% 129 FLAMENG (L.). ‘‘The Sisters.”’ D4 X 5% 130 HERVIER (A.). “Village of Windmills.” 17% x 26% 131 JACQUE (Charles Emile). “In the Barnyard.”’ 5144 x 7 132 GUILLEMIN (A. M.). _ Pupil of Baron Gros. Medal of Third Class, 1841. Medal of Second Class, 1845. Medal, 1859. Decorated, Legion of Honor, 1861. Born, Paris. “By the Fire-Side.”’ 53% x 4% 133 SCHENCK (A. F.). Pupil of Cogniet. Medal, 1865. Born, Germany, 1821. Died, 1901. “Study of Sheep.” 71%, x 5% [30] 134 DIAZ (N.). “Landscape.” 3x4 135 LOUSTAUNAU (Louis Auguste Georges). Pupil of Vibert, Géréme and Barrias. Born, Paris, 1846. “Study in the Chateau at Fontainebleau.”’ eg ion Res 136 COMPTE (P. C.). Pupil of R. Fleury. Legion of Honor, 1857. Medals, 1852-53-55. Exposition Universal, 1857. Exposition Universal, 1867. Figure Study for Picture Entitled ‘‘Henry III and the Duke of Guise at the Chateau of Blois.’’ 16 x 11% 137 DESGOFFE (Blaise). Pupil of Flandrin. Medals, 1861-63. Legion of Honor, 1878. Honorable Mention, Exposition Universal, 1878. Died, 1901. “Small Vase in the Galerie d’Apollon, Louvre.’’ 5 x 614 138 LEMMENS (E.). ; The Rabbit Hutch. 81% x 61% [31] 139 CHARNAY (Armand). Pupil of Pils. sugteanbces : Medals, 1876, 1886. R5 Medal, Universal Exhibition, 1889. Decorated, Chevalier Legion of Honor, 1909. “April Showers on Sunday Morniagi 104% x 13% 140 cs BERAUD (Jean). ee Pupil of Bonnat. : Medals, 1882, 1883. . Legion of Honor, 1887. ; Gola Medal, Exposition Universal, 1889, ‘‘Arc de Triomphe and Champs acct 4x 5% sy 14 DECAMPS (A. G.). “The Washwoman.”’ 8% x TY 142 SOYER (Paul). Died, 1893. “The Grandmother’s Support.” 18% x 15% 143 ZIEM (Felix). “The Venetian Lagoon.” 10% x 14% 144 LeFEBVRE (Jules). os “Sketch for Ceiling for a Bed-Roo: ~ W. H. Vanderbilt. _ [82] 145 LeFEBVRE (Jules). “Spirit of the Morning Mists.”’ 101% x 12% 146 Le PRINCE (Xavier). Born, Paris, 1799. Died,———. “The Parisian Milk Seller.’’ 54x6 147 Pupil of Géréme. Medal, 1874. Medal, Universal Exhibition, 1889. GOUBIE (Jean R.). “Study of a Dog.” 67% x 8% 148 DAUMIER (Honoré). “The Bathers.”’ 84x T% 149 GREUZE (Jean Baptiste). “The Chestnut Roaster.”’ ae ae dE 150 ‘Highroad.”’ 6% x 114% APPIAN (A.). I51 MURATON (Alphonse). Medal, 1868. Born, Tours. “Praying Monk.” 14x 9% [33] SouTH WALL — 152 GUES (Alfred). | ‘Pupil of Howie Wernaee Born, Montargit, France, “The Source.” 241% x 29% VINCELET (Victor). ; “Study of Flowers.”’ 264% x 21% 154 CARAND (J.). Pupil of C. Muller. Medals, 1859, 1861-63. “Pet Pigeon.” — 84x 6Y. wt 155 FRERE (Ed.). Pupil of P. Delaroche. Medals, 1851-52-55. Legion of Honor, 1855. Born, 1819. Died, 1886, _ “Little Girl Eating Porridge.” 5% x 4% ae MILLET (J. F.). Pupil of P. Delaroche. | Bs Medals, 1853-64 joe Me Lane “Sketch of tekteas Woman I ; ee a % one 15 x ge 157 ZIEM (Felix). “Study of Vegetables.” tay ets 158 BOULARD. Pupil of Jules Dupré. “Study of Flowers.” 20 x 17% 159 LEMMENS (E.). “Roosting Time.’’ 61 x 9% 160 PLASSAN (A. E.). “Village of Courrances.”’ 44%, x 7% 161 DUPRE (Victor). “*Landscape.”’ 2344 x 29 162 ANDRIEUX (A.). Pupil of Gleyre. Born at Paris. “‘Knife Sharpener.”’ 10 x 14 162 ANASTASI (Auguste). Pupil of Paul Delaroche and Corot. Medals, 1848 and 1865. Legion of Honor, 1865. Born at Paris. ‘*Moonlight on the Canal.” 914 x 18% [35] 164 MANET (Edouard). Pupil of Couture. Legion of Honor, 1882. Born, Paris, 1833. Died, Paris, 1883. “Portrait of the Marine Painter, Michel de L’Hay.”’ 144x114 165 TROYON (C.). Pupil of Rivereaux. Medals, 1838-40-46-55. Legion of Honor, 1849. Born, 1810. Died, 1865. ‘*Across the Meadow.” 10% x 8% This study was bought by Mr. Lucas at the sale held after Troyon’s death. It is recognized as one of the most beautiful of the master’s studies. 166 “A Study Head.” 25 x 20% COUTURE (Thomas). 167 DUPRE (Victor). : ‘*Landscape.”’ 201% x 27 168 DUVERGER (T. E.). Medals, 1861-63-65. “The Morning After the Storm.” 914 x 13 8% x il [36] 170 LEMMENS (E.). “His Majesty.” 61% x 10 171 ANASTASI (Auguste). “View in the Forest of Fontainebleau.”’ 5144 x 9 172 MILLET (J. F.). “Rudolphe Bodmer.”’ 19% x 15% Photographic copy of a portrait of Charles Bodmer, executed about 1850, J. F. Millet. 173 ZIEM (Felix). “Study of Fish.’’ 12 x 16% 174 VOLLON (Antoine). “Study of Flowers.” 19 x 15% 175 COUTOUTIER (Philbert Leon). Pupil of Picot. Medals, 1855, (EH. U.) 1861. Born, Chalon-sur-Saone, 1825. Died, 1901. “Feeding the Cock.” 9% x 6% [37] ro 176 ROUSSEAU (Philippe). “The Cock and the Pearl.” 8% x 5% 77 SCHENCK (A. F.). “After the Storm.’”’ 13°x S21, 178 BOULARD. “Study of Asters.” 19 x 15% 179 MICHEL (Georges). “The Interior of the Forest.”’ 25 x 1914 180 JACQUEMART (Jules F.). Medals, 1864-66-67 (I. U.). Medal of Honor (E. U.), 1878. Legion of Honor, 1869. Member of the Order Francis Joseph. Born, 1887. Died, 1880. “The Washwoman of Montone.’’ 11% x ay 181 GOENEUTTE (Norbert). Pupil of Pils. Born, Paris, 1854. Died, 1894. “The ‘Pont de L’Europe’ and Railway Tracks to the St. Lazare Station.” 18% x 21% [38] EAST WALL 182 FLAMENG (L.). “Spring Landscape.” 19% x 16 183 DELACROIX (Eugene). Pupil of Guérin. Medals, 1824-48. Medal of Honor (E. U.), 1855. Legion of Honor, 1831. Officer, 1846. Commander, 1855. Member of the Institute, 1857. Born, 1798. Died, 1863. “Copy of a Painting by Van Dyck, Entitled ‘Christ Wept Over by the Virgin and Angels.’ ”’ 8%4 x 12% : 184 LELOIR (Louis). Pupil of his Father. Medals, 1864-68-70. Legion of Honor, 1876. “The Angel of the Dawn.” 18% x 10 185 JACQUET (Gustave). Medals, 1868-75-78. Exposition Universal. Legion of Honor, 1879. Hors Concours. “Portrait Head.” ; 138% x 10% [39] BESNART (A. P.). Prix de Rome, 1874. Medal of Third Class, ‘187 Second, 1880. _ a Legion of ‘Honor, 1888. | Hors Concour, 1889. Exposition Unt Officer of Legion of Honor, 1895. Member of Jury, Exposition Une ; Commandant of Legion of Honor, 1903. Hors Concours. Born, Paris. Died, 1908. ‘*‘Motherhood.”’ 14% x 11% 187 DAUMIER (Honoré). “Good Friends.”’ 9% x 12% ; 188 SIMONS (Marcius). Pupil of Vibert. Chevalier of the Legion of Honor. Died, Bavaria, 1909. “Ye Loving Hearts.” 8% x 19% 189 PRIOU (Louis). Pupil of Cabanel. Medal, 1867. ~ Medal of the First Class, 1874. Medal, Exposition Universal, Sasi Hors Concours. “Family of Satyrs.” oe fale 21 x 25, es? [40] 190 VIGNON (Victor). “Hamean in Normandy.”’ 181% x 15% 191 WEISZ (Adolphe). Pupil of Jalbert. Medals, 1875-88. “Waiting Room of the Minister.” fi we aA 192 LEMMENS (E.). “Duck Pond.”’ 38% x 7 193 BESNART (A. P.). ’ “Crossing the Bridge.’ 14% x 11 194 ERNST (Rudolph). Pupil of Feuerbach. Born, Vienna, Austria. “Algerian Moor.’’ 10 x 8% 195 COOMANS (Joseph). Born, 1816. : Pupil of de Keyser and Wappers at Antwerp. Medals at Brussels, 1848. Hague, 1859. Metz, 1861. Rouen, 1863. Lydenham, 1874. Chevalier of the Order of Leopold. “Girl in Classic Drapery.”’ 9% x64 [41] 196 RUDEAUX (Eos Pupil of Savieille and Boulanger. Born, France. ‘‘Under the Orchard Tree.”’ 8% x 5% 197 PASINI (A.). Puptl of Ciceri. Medals, 1859-63-64. Legion of Honor, 1868. Grand Medal of Honor, (KH. U.), 1878. Officer of the Legion of Honor, 1878. Born, 1826. Died, 1899. “In the Market Place.”’ 10: 3:16 198 LONGUET. “The Huntsman.”’ 21 x. 154% 199 PALIZZI (Giuseppe). Pupil of Troyon. Born, Lanciano, in the Abruzzi, 1812. Died, 1898. ‘*Landscape.”’ 18) 6Yy x 200 DESGOFFE (Blaise). “Fruit Study.” 9x 6% [42] 201 PLASSAN (A. E.). ‘‘Landscape at Cernay.”’ 53%, x 10 202 L’HUILLIER (Charles). Pupil of Collaborateur of Pils. Decorator of the School of Fine Arts, Havre. Born, 1826. Died, 1900. “Refreshing the Horses.” 25144 x 20 203 VIGNON (Victor). “Still Life.” Te Gis 204 HOVENDEN (Thomas). “Breton Farmer’s Wife Blowing the Dinner Horn.”’ 24% x 14% 205 GRISON (A.) Honorable Mention, 1885. Medal, 1890. “The Butcher Shop.” 121%, x 10% 206 JONGKIND (attributed to). “Borders of the Seine at Passy.”’ 6x 9% [43 ] 7 = a, ) ay oe : 5 ss i ba . * , : Pe te ie Y 207 BERRE. | Born at Antwerp. Medals, 1810-17. “Study of Cattle.” 10 x 12% ; 208 JONGKIND (Johan Barthold). Born, Lathrop, 1819. Died, Dauphine, France, 1891. “Moonlight on the Canal.” 10 x 14% . VILLAIN (Eugene). 209 “Still Life.” 10 x 18% 210 MILLET (J. F.). “Drawing, ‘The Gleaners.’ ”’ 7% x 10% 211 THIOLLET (A.). “Study of the Beach, Villerville at Low Tide.” 11 x 16% | 212 MICHALLON. : Born, 1796. Died, 1822. “Ruins of the Theatre of Taormin ~ 14% x 18% - A a by Mr. Lucas states that this artist was the orot. : ge [44] oe Bent tere 213 LALANNE (Maxime). Decorated, 1875. Born, Bordeaux, 1827. Died, 1886. “A celebrated Engraver, Etcher, Designer and Painter.” “Trouville.”’ 8% x 15 : 214 HENNER (J. J.). Pupil of Drolling. Prize of Rome, 1858. Medals, 1863-65-66-78 (EK. U.). Legion of Honor, 1873. Officer of the Legion of Honor, 1878. ‘“‘Nymph.”’ 9% x 12% 215 BONVIN (Francis S.). “Still Life.” 16% x 18% 216 LELEUX (A.). Pupil of Ingres. Medals, 1844-47-48-59-57. Decorated in 1860. Born, Paris. ‘‘Woman Peeling Vegetables.” 18% x 151% 217 HEREAU (Jules). “At the Horseshoer’s.”’ 10 x 19% : [45] A PATROUILLARD (J.). 218 “Studying the Vase.” _ : x 138% x 10% This artist sometimes signed his name ‘‘Degrave.”’ 219 DOMINGO y MARQUES (D. Francisco). i Rees Pupil of Royal Academy, San Carlos, of Valenci Pensioned by native town, studied at Rome, 1868-6 First Class medal, National Exhibition of Fine Arts, Ma Professor of Academy of Valencia. Commander of Order of Don Carlos III, 1876. — Grand Cross of Order of Isabella the Catholic, 1883. Municipality of Valencia named a street after him, Member of Royal Academy at Antwerp, 1888. “Portrait Study.” — Th x 5% 220 BONINGTON (Richard Parks) (attributed to), Born at Arnold, near Nottingham, 1801. Pupil of Baron Gros. aa Died, 1828. ers Landscape. ae aga 5 221 | Le PRINCE (Xavier). of ) “The Water Gat 8% x 11% 3 cy ee 222 SCHREYER (Ad.). Medal, Brussels, 1863. Cross of Order of Leopold, 1864. Medals, Paris, 1864-65-67 (H. U.), Vienna (E. U.), 1873. Member of Academies of Antwerp and Rotterdam. Honorary Member of the Deutsches Nachstift. Born, 1828. Died, 1899. “Tending the Horses.”’ 223 ‘Arab Horseman.’’ 12Y, x 9% 224 DIAZ (N.). ‘‘Parrakeets on a Basket of Fruit.’’ 19 x15 225 HUNT (Wm. Morris). Born, 1824. Died, 1879. “Study of Half Draped Figure.”’ 16% x 13 226 GAUTIER (Armand). Pupil of Cogniet. Born at Lille. Died, Paris, 1894. “Study of Fish.” 12 x 19% [47] . 227 LOUTHERBOURG (Jacques). Pupil of Casanova. _ Born, Strasburg, 1740. Died, Lond “At the Drinking Trough.” as 7% x 84% 228 VERON (A. °R.). Pupil of Delaroche. ‘*Landscape.” 8% x 14% 229 ROUSSEAU (Theo.). Pupil of Léthiére. Medals, 1834-49-55. | Legion of Honor, 1852. — ite tiie ee One of the Eight Grand Medals of Honor (EL U. ( Diploma to the Memory of Deceased Artists, Exposition 1 Born, 1812. Died, 1867. “ “Landscape at Sunset.” 64x 9 230 11 x 14 231 LEPERE (Louis Auguste). Wood Engraver. Medal of the Third Class, 1856. Medal of the Second Class, 1887. Medal, 1889, Exposition Universal. eh Chevalier of the Legion of Honor, 1900. Born, Paris. ee [48] “ } “er : Ne \ 232 COROT (J. B. C.). Pupil of V. Bertin. Medals, 1838-48-55-67 (HE. U.). Legion of Honor, 1846. Officer of the Legion of Honor, 1867. Diploma to the Memory of Deceased Artists, Exposition Universal, 1878. Born, 1796. Died, 1875. “The Bridge.” 8% x 10% 233 . “Environs of Ville D’Avray.”’ 138 x 16% 234 ‘‘Highroad near Ville D’Avray.”’ 18% x 25 235 “Study of Landscape.”’ 94%x 124% 236 “‘Thatched Village.” 151%4 x 19 . 237 ROUSSEAU (Theo.). ‘“‘Forest at Fontainebleau.’’ 138 x 22% [49 ] Te 7. 238 Pe hare nee “Evening Landscape.” 4%, x 8% 239 DIAZ (N.). “In the Forest.” IOs 240 ROUSSEAU (Leon). | “Study of Flowers.” Tl, = hike eae) JACOMIN (Marie Ferdinand). “Forest of St. Germain.” ey 7% x 9% 242 MONTICELLI (Adolphe). “Study of Sunset.” 8% x 11% 243 LEYENDECKER (P. J.). ene Pupil of GérOme. “Study in the Forest of Font in Ohaus 11% x 153 eee 244 CAZIN (J. C.). Pupil of Boisbaudran. Medal, 1880. Legion of Honor, 1882. Officer of Legion of Honor, 1889. “Early Evening.” 83% x 10% 245 ‘“‘The Ferry.” 4% x 94% VEYRASSAT (Jules). 246 MAILLAND. ‘‘Peaches.”’ 10 x 15% 247 FAUVELET (Jean). “The Smoker.’’ 6% x 5 248 JACQUE (Charles Emile). ‘The Planet Jupiter.” 144% x 114 249 WILLEMS (F.). Medals, 1844-46-55-67- (KH. U.). Medal at Brussels, 18438. Chevalier of the Order of Leopold. Legion of Honor, 1858. Officer of the Order of Leopold, 1855. Officer of the Legion of Honor, 1864. First Class Medal (E. U.), 1878. Died, 1905. “Forest of Fontainebleau, the Viewpoint known as the ‘Camp de Chailly.’ ”’ 19% x 14 [51] 250 BAUDIT (Amedie). Born at Geneva. Pupil of Diday. Medals, 1859, 1861. ‘‘Landscape.”’ 101%, x 18% ‘ 251 GIDE (Theophile). Pupil of Delaroche. Medals, 1861-65-66. Legion of Honor, 1866. ‘‘The Monastary Laboratory.” 9x 6% — _ 252 GEROME (J. L.). Pupil of P. Delaroche. 7 Medals, 1847-48 (HE. U.), 55. ea One of the Hight Grand Medals of Honor (BH. U. ) 18¢ Officer of the Legion of Honor, 1867. __ Grand Medal of Honor, 1874. : Commander of the Legion of Honor, 1878. ¥ Medal Sculpture (BH. U.), 1878. a uae Grand Medal of Honor (E. U.), 1878. Professor in the School of Beaux Arts. Member of the Institute of France, 1865. ** Muscadin.”’ 13% x 9% ~~ 253 om VIGNON (Victor). “Spring Landscape.” 10 x 13% - oe [52] 254 FICHEL (E.). Pupil of Paul Delaroche. Medals, 1857-61-69. Legion of Honor, 1870. “In the Library.” 6% x5 255 PLASSAN (A. E.). “The Promenade.” 6 x 3% 256 GOENEUTTE (Norbert). ‘‘A Venetian Balcony.” 154% x 181% 257 THIOLLET (A.). “Port of Villerville.” (Normandy.) 15 x 24 258 “Fish Auction on the Beach at Villerville.”’ 11x 15 : 259 CONSTABLE (John), R. A. Associate Royal Academy, 1819. Academician, 1829. Born at East Bergholt, Suffolk, 1776. Died, 1837. “Rugged Cliff and Drifting Clouds.” 713%, x 4% [53] 4 260 MEISSONIER (J. L. E.). Pupil of Cogniet. ~ Medals, 1840-41-43-48. Sat Legion of Honor, 1846. a Grand Medal of Honor ( 1) a Bae 1855. es Officer of the Legion of Honor, 1856. Member of the Institute of France, 1861. Honorary Member of the R. A., London. — One of the Hight Grand Medals of Honor (BE. U.), 1 Commander of the Legion of Honor, 1867. — Grand Medal of Honor (BE. U.), 1878. Born, 1813. Died, 1891. ‘‘Port Marly, on the Banks of the Seine.” _ 3% x 4% | 261 UNKNOWN ARTIST. ‘Study of Landscape.” s 734,x 4% 262 DUPRE (Jules). Medals, 1833 (E. U.), 1867... Legion of Honor, 1849. Officer of the Legion of Honor, 1870. Born, 1812. Died, 1889. “The Windmill.” 10% x 17% 263 NAZON (Francois Henri). Pupil of Gleyre. | iad “Landscape.” aC. 18% x 19 © re [54] 264 GLEYRE (Charles). Pupil of Hersent. Medals, 1843-45. Never Hxhibited After 1848. Born, 1807. Died, 1874. “Return of the Prodigal Son.” 15% x 11% 265 LAMBINET (Emile). Pupil of Drolling and Horace Vernet. Medals, 1848-53-57. Decorated, 1867. “On the Seine at Bougival.”’ 54x 10% 266 THIOLLET (A.). “Departure of the Fishing Fleet from Villerville.”’ 9x 17% 267 PASCUTTI (Antoine). Pupil of the Beaux Arts Academy, Venice. Born, Trieste, Austria. “Costume Study.”’ 7x 3% 268 BUTIN (Ulysée Auguste). Pupil of Picot and Pils. “Waiting at Villerville.”’=--Sketch for the Painting. 24% x 14% [55] 269 BOUDIN (Eugene). “Last of Great Masters of the Scneat™ i but first to adopt Impressionist Methods, though in a rational fashion.” Born, Honfleur, 1825. Died, Deanyilis: 1898. “Outside the Bar.” 7 ce 13% x 19% 270 JOURDAN (Adolphe). Pupil of Jalbert. Medals, 1864, 1866, 1869. Born, Nimes. “The Peasant Child.’’ 10 x 7% 271 FLERS (Camille). “Normandy Orchard.” 20% x 24% 272 GUIGNET (Adrien). “Guarding the Pass.” 10% x 7% | 273 LAMBINET (Emile). A [56] IN THE COLLECTION BEQUEATHED BY MR. LUCAS TO THE INSTITUTE WAS ALSO IN- CLUDED A NUMBER OF SKETCHES AND DRAW- INGS ADAPTED FOR USE IN THE STUDIOS AND CLASS ROOMS, ALSO ABOUT TEN THOUSAND ENGRAVINGS, ETCHINGS, PROOFS AND PRINTS, AND A WORKING LIBRARY OF SOME FIFTEEN HUNDRED VOLUMES. Pa 796 + A ae ANTOINE LOUIS BARYE 1795 - 1875 | i . ee Peel N Er LOUIS BARYE, “The man of genius whose work is represented in this exhi- bition enjoyed an inspiration rare in any epoch, but never, from the earliest times, without its zealous followers. In nearly every great school there have been artists to whom the appeal of the animal as a subject for treatment has been as urgent as the appeal of the human figure has been to the majority of their fellows. * * * Antoine Louis Barye is an honorable figure in a long line of artists whose gifts have been dedicated to the interpretation of the carnivora of those four-footed creatures which have been tamed by man. “Born in Paris in 1795, he came to manhood at a time and amid circumstances exceptionally favorable to the growth of his artistic predilections. In the clash of the Napoleonic wars man’s minds turned naturally enough to themes of wild vio- lence. “The story of his career is one of unremitting application to the lessons of nature. His father was a silversmith, and in his youth he served the apprenticeship of a craftsman. In the workshop of Fourrier he learned how to work in the precious metals, and it may be noted in passing that down to the day of his death he preserved the aptitudes of the goldsmith. Some of his statuettes might have easily been produced by a disciple of Ceilini. But Barye soon craved a wider field of activity, and found the key to it in that impulse which drove him to the Jardin des Plantes. Frequenting the collection of wild ani- mals there, absorbed.in contemplation of their traits, he pro- ceeded to observe them both as an artist and as a naturalist. pene te could do this, in the first place, because he knew his subjects so well, because he had got, so to say, under their skins. * * * It took his countrymen some time to realize what he was driving at and to do him honor. In the [59] competitions which he entered at the Ecole des Beaux-Arts, as a young man, the prize would again and again be awarded to some rival now unknown to fame. “He was sorely tried, and must at times have reached the brink of despair. He was, however, no less tenacious than modest, and after years of patient waiting he had his reward. Discerning patrons entered his life, some of them, like the Duke of Orleans, well qualified to make his talent known, and little by little public appreciation drew him from the obscurity in which academic authorities would have been satisfied to leave him. Monumental bronzes of his were erected in Paris and elsewhere; his works, executed on a small scale, figured in ex- hibitions and were presently acquired with enthusiasm by pri- vate collectors. When he died, in 1875, he died in the knowl- edge that his rank as a great artist had been fixed, and ever since his renown has increased. It is good to know that American connoisseurs were quick to perceive his merit, and that his art is finely represented in this country.” BRONZES The bronzes are numbered in regular order, commencing with the bust of Mr. Lucas at the right of the entrance door of the Barye Room; thence extending along the north wall, around the screen of reliefs; across the corner cabinet; through the crystal case; and then along the east wall. The titles given have been sought with care from original sources and record, as far as possible, the names under which Barye first exhibited or sold these remarkable observations of animal life. The variety of patina* displayed in this collection is prob- ably unrivaled, and an attempt has been made to classify these t * The term Patina is generally used to describe an incrustation formed upon a bronze after exposure to the weather, or after burial beneath the ground, as in the case of certain antique bronzes. As used in describing these bronzes by Barye, it should be understood to mean a coloring of the surface of the bronze produced by artificial means. It is interesting to note that Barye made some of the most important and successful experiments in this field, producing results which are as lasting as they are beautiful. [60] ; a eae. ‘ aa lal illustrations of color experiments under certain descriptive terms, such as golden brown patina, antique green patina, etc. Whenever possible the year in which the subject is finished or known to be exhibited has been added after the title, and whenever the bronze displayed is one which has been cast since Barye’s death, it is marked “modern.” BARYE ROOM. 400 BRONZE BUST OF MR. GEO. A. LUCAS. The Donor of this Collection. By A. Moreau-Vauthier. NORTH WALL. BRONZES BY ANTOINE LOUIS BARYE 401 TIGER DEVOURING A GAZELLE. (18380. ) *Height, 514 inches; length, 135 inches. Green Patina. Signed on the Base, “Barye.” * The measurements of the bronzes are given in each case in inches, generally measured to the nearest quarter inch. The first figure represents the height of the bronze as it rises above the shelf; the second figure represents the length of the bronze base or plinth. This system of measurements is the method adopted by Barye for his catalogues, and has been followed in many collections. In a few cases the length of important overhanging elements of certain compositions has caused an over-all dimension to be recorfled, and in such cases this fact has been especially noted. [61] 402 SLEEPING JAGUAR. Height, 3% inches; length, 124% inches. Mottled Green and Brown Patina. Signed on the Base, “Barye.” This figure of a South American jaguar lying asleep shows in a most interesting manner the technique of the sculptor in indicating the rounded color spots on its pelt by shallow, in- cised lines. 403 LION SEATED. (1847.) (Modern.) Height, 10% inches; length, 12 inches. Green Patina. Signed on the Base, “Barye,’ and “EF. Barbédienne, Fondeur.” This striking sketch is said to have been one of the models in plaster in the studio of Barye at the time of his death. It was possibly one of the studies made by the master in 1847 at the time when he refused to give his permission for the casting of a duplicate of the “Seated Lion” which had been placed at the Quay Entrance of the Louvre. Note.—In 1885 Mr. W. T. Walters erected in Mt. Vernon Place, Baltimore, a copy of the Seated Lion of the Quay Entrance, cast by Barbédienne. 404 JAGUAR DEVOURING A CROCODILE. (18387.) (Modern.) Height, 344 inches; length, 914 inches. Dark Brown Patina. Signed on the Base, “Barye,’ and “F. Barbédienne, Fondeur.” This modern reproduction of one of Barye’s small bronzes is suggestive of the time in the sculptor’s life when his work was so seriously misunderstood that the members of the Salon Jury refused to accept the examples which de desired to place on ex- hibition. The rejection of his small pieces seemed to him to prove so rooted a hostility on the part of the Salon Juries that he resolved to withdraw from public exhibitions and only show his bronzes to those who came to his workshop to buy. After 1887 he did not appear in the Salon until 1850, when his exhibit certainly astonished many people, who did not dream such a remarkable artist dwelt in their midst. [62] —e ‘ ¥ Sure" 405 LION CRUSHING A SERPENT. (Modern. ) (This subject was receiving careful study in 1832-33. ) Height, 5% inches; length, 714 inches. Brown Patina. Signed on the Base, “Barye.” In 1889 Mr. Lucas exhibited certain of his bronzes in the great exhibition of the Works of Barye at the Ecole des Beaux- Arts. (See the painting No. 602 hanging in this room.) In that exhibition were displayed the cast in plaster of the “Lion” of the Tuileries, and also various smaller studies of the same subject. At that time Mr. Lucas catalogued this example as “Lion and Serpent, No. 3, Sketch.” 406 PYTHON STRANGLING A GAZELLE. (Modern. ) Height, 7 inches; length 15% inches. Golden Brown Patina. Signed on the Base, “A. L. Barye,” and “F. Barbédienne, Fondeur.” 407 ENGLISH DACHSHUND. (1824. ) Height, 414 inches; length, 5% inches. Brown Patina. Signed on the Base, “Barye.” 408 WALKING LION. (1836. ) Height, 138 inches; length, 1514 inches. Antique Green and Brown Patina. Signed on the Base, “Barye.” This example, together with the “Walking Tiger” (No. 422), was exhibited by Mr. Lucas in the great exhibition of the Works of Barye held at the Ecole des Beaux-Arts in Paris in 1889, under the title, “Walking Lion and Tiger, a Fireplace Fender. ” (See Nos. 565 and 570.) [63] 409 PANTHER AND ZIBER. (Modern. ) Height, 434 inches; length, 834 inches. Golden Brown Patina. Signed on the Base, “Barye.” 410 ELK SURPRISED BY A LYNX, (1884.) (Modern.) Height, 914 inches; length, 12 inches. Golden Brown Patina. Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.” The original of this composition was first exhibited by Barye in plaster in the Salon of 1834, and later cast in bronze by the “lost wax process” on the order of the Duke of Orleans, who presented it in 1836 to Alexandre Dumas the Elder. A4Ul TARTAR WARRIOR CHECKING HIS HORSE. Height, 14% inches; length, 12% inches. Antique Brown and Green Patina. Signed on the Base, ‘‘Barye.” 412 BEAR IN HIS TROUGH. (1834.) (Modern.) Height, 41%4 inches; length, 5% inches. Golden Brown Patina. Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.” The original of this little bear was cast by the “lost wax process” for the Duke of Orleans and first exhibited in the Salon of 1834. It shows how well the sculptor could treat the comic side of his animal study as well as the tragedies of the forest. [64] ae 413 JAGUAR DEVOURING AN AGOUTI. (1847.) (Modern.) Height, 3 inches; length, 914 inches. Golden Brown Patina. Signed on the Base, “Barye.” This subject was a study that the great sculptor made when he was working out in his mind that marvelous example of the “Jaguar Devouring a Hare,” which is one of the gems of both the Walters Gallery and the Corcoran Gallery of Art. It shows much of the same vigor of the larger group which came up to the Salon in plaster in 1850, was cast in bronze and exhibited again in 1852, and purchased by the Minister of the Interior for the Luxembourg collection, but is now in the Louvre. 414 THESEUS FIGHTING THE MINOTAUR. (1848. ) Height, 18 inches; length, 11% inches. Brown Patina. Signed on the Base, “Barye.” This, says Mr. Lucas in a note on this bronze, is “one of the first proofs” of this famous work. It represents a contest of mind over brute strength, and typi- fies the triumph of civilization over barbarism. This group, together with that of Roger and Angelica on the Hippogriff (No. 574) and the Centaur and Lapith (No. 567), represent the heights to which Barye could attain in the treat- ment of classic story. It may be interesting to note the different treatment of the figure of Theseus and the way the animal-like Minotaur has been rendered. To the latter has been given all the realism which marks Barye’s other animal groups, while Theseus has been modeled after the fashion of some of the primitive antique Greek statues. [65] 415 OCELOT AND HERON. Height, 65g inches; length, 1214 inches. Brown and Green Patina, with rich Red Browns brought out by rubbing. Signed on the Base, “Barye.” Barye was not only a master of form and the most accom- plished bronze founder in the world, but was a colorist as well. The secret of the patinas found on antique bronzes was thor- oughly pondered and understood by him. It is only necessary in this collection to observe the variety of greens, red and bronze browns, and golden bronzes that greet the eye to realize the master’s power as a colorist in this field. 416 (1834. ) Height, 54 inches; length, 8 inches. Mottled Brown Patina. Signed on the Base, “Barye.” LOLLING BEAR. 417 AFRICAN BADGER (Ratel) ROBBING A NEST. (Modern. ) Height, 4% inches; length, 484 inches. Golden Brown Patina. Every line from the lifted paw to the stubby tail of this dis- tant cousin of the bear expresses the humorous satisfaction at the finding of such a good dinner. A lively figure, broadly modeled and finished in the charming color scheme which M. Barbédienne so conscientiously produces. 418 HORSE SURPRISED BY YOUNG LION. (1834. ) Height, 16 inches; length, 11 inches. Antique Brown Patina. Signed on the Base, ‘‘Barye.” This spirited group was first exhibited by Barye in plaster in the Salon of 1833 and cast in bronze and exhibited in the Salon of 1834. (See No. 433.) [66] pa Ss) I LION DEVOURING A DOE. ous (1837. ) Height, 51% inches; length, 1214 inches. Dark Brown Patina. Signed on Base, “Barye, 1837.” This bronze, which is one of the comparatively few which are dated by the master, marks, like the “Jaguar Devouring a Croc- odile” (No. 404), one of the examples produced in those first vears when he refused to send examples to the Salon. The treatment of the lion’s tail as it is raised in expression of en- joyment of the feast reminds one that ‘no artist before or since has known so well how to render the expressions that the great and little members of the cat family register by the sinuous movements of their tails.” 420 STAG SEIZED (by the throat) BY A WOLF. (Modern. ) Height, 834 inches; length, 1814 inches, including the antlers. Golden Brown Patina. Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.”’ 421 TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. (1831.) Height, 414 inches; length, 10% inches. Antique Green and Brown Patina. Signed on the Base, “Barye, 1881.” Chis example, which Mr. Lucas has marked “No. 2,” is one of three bequeathed by him to the Institute. This was the ex- ample with which Barye gained a Second Medal in 1831. 422 WALKING TIGER. é (1836. ) Height, 1244 inches; length, 15% inches. Antique Green and Brown Patina. Signed on the Base, ‘“Barye.” See notes under Nos. 408 and 570. [67] 423 HORSE, HALF-BLOOD (Head Lowered). (Reduction. ) Height, 434 inches; length, 6% inches. Antique Green Patina. Signed on Base, “Barye.” 424 GRAYHOUND AND HARE. ( Modern. ) Height, 81% inches; length, 12% inches. Golden Brown Patina. Signed on the Base, “Barye.”’ 425 EAGLE ON ROCK WITH WINGS EXTENDED. Height, 414 inches; spread of Wings, 1284 inches. — Green Patina. Signed on the Base, “Barye.” In 1835 Barye was asked by M. Thiers to model a design which should serve as a crowning feature for the newly finished Arc de Triomphe. ‘The sculptor submitted a large model of an eagle some 70 feet from tip to tip of outspread wings alighting on the spoils of war gathered from many nations For diplomatic reasons this bold scheme was never carried out, and it has been suggested that the statuettes of eagles with outspread wings may have been studies for the large model. (See also No. 439.) 426 PANTHER WITH PAW CN MUNTJAC DEER. (1839.) (Modern. ) Height, 4 inches; length, 814 inches. Dark Golden Brown Patina. Signed on Base, “Barye.” [68] 427 DACHSHUND. (Modern. ) Height, 64% inches; length, 914 inches. Brown Patina. Signed on Base, ‘Barye.”’ This bronze probably represents the type of German badger hound common in Barye’s day, and not the more extreme type of the modern dog thus named. 428 WOUNDED BOAR. (18389.) (Modern.) Height, .634 inches; length, 9% inches. Brown Patina. Signed on Base, ‘Barye.” 429 SEATED LION. (1836.) (Modern.) Height, 14 inches; length, 1114 inches. Golden Brown Patina. Signed on Base, ‘“Barye.” This is believed to be a reduction by Barye of his famous Seated Lion. 430 BASSET SITTING. (Modern. ) Height, 51% inches; length, 10% inches. Golden Brown Patina. Signed on the Base, “Barye,” and “F. Brabédienne, Fondeur.” 431 JUNO OF THE NINE-FIGURE CANDELABRUM. (1840.) Height, 12 inches; length, 5% inches. Gold Patina. Signed on Base, “Barye.” [69] This Candelabrum was one of two planned to light the group of Roger and Angelica on the Hippogriff. (See No. 574.) It consisted of Three Graces standing with interlocked arms above the cups for the candles; below, on the shaft, were three renais- sance monsters, and about the lower shaft, as a base, were seated the three goddesses—Juno, Venus and Minerva—who await the judgment of Paris concerning their beauty. With Juno we see the sceptre and peacock, and she sits haughtily as becomes a queen secure in royal dignity. (No. 485 represents the Minerva of this group, and in No. 563 we see a second re- production of Juno in another patina.) 432 TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. (18381.) Height, 4144 inches; length, 1084 inches. Antique Brown Patina. Signed on Base, “Barye.” This is a second example of this subject in Mr. Lucas’ collec- tion. (See Nos. 421 and 487.) 433 HORSE SURPRISED BY YOUNG LION. (1834.) Height, 16 inches; length, 11 inches. Antique Brown Patina. Signed on the Base, ‘‘Barye.” A second example of No. 418. 434 APE RIDING A GNU. (1842.) (Modern.) Height, 9 inches; length, 9%4 inches. Dark Antique Green Patina. Signed on the Base, “Barye.” “Barye was permeated with the scientific spirit of the age, but his ideas were necessarily lacking in the clearness they might have gained later in the century, and the forms in which to express them were necessarily limited to those already known and at least partially accepted as beautiful by men of cultivation. He could not very well model an imaginary Missing Link. * * * But what he did do on the less artistic side was to advance a step from the combats of wild crea- tures to the first faint appearance of the subjection of one beast by an- other for its own profit.” [70] 435 MINERVA OF THE NINE-FIGURE CANDELABRUM. (1840.) (Modern.) Height, 12% inches; length, 5% inches. Gold Patina. Signed on the Base, “Barye,” and “F,. Barbédienne, Fondeur.” This little statuette represents a second figure from the fa- mous Candelabrum, planned to light the group of Roger and Angelica on the Hippogriff. (See No. 574.) Minerva is seen with owl and sword, and sits in self-reliant fashion as befits a warrior maiden. (See Nos. 431 and 563 for the Juno. ) ; 436 INDIAN PANTHER RECLINING. Height, 314 inches; length, 7% inches. Golden Brown Patina. Mr. Lucas carefully pasted upon the base of this example a note, “Panther reclining, superb specimen, not signed, G. A. L.” 437 JAGUAR STANDING. (1840.) (Reduction. ) Height, 5 inches; length, 7% inches. Antique Brown and Green Patina. Signed on the base, “Barye, 1840.” Mr. Lucas marked this bronze ‘“‘No. 1.” 438 WOUNDED BOAR. (1839.) (Modern. ) Height, 654 inches; length, 9% inches, Dark Brown Patina. Signed on the Base, “Barye.” A second example of No. 428. [71] 439 EAGLE ALIGHTING (Open Beak). Height, 984 inches; spread of wings, 1314 inches. Antique Brown and Green Patina. Signed on the Base, “A. L. Barye.”’ A second study, which may have been made at the time the master was engaged on the large model requested for the Are de Triomphe. (See No. 425.) SCREEN OF RELIEFS, NORTH FACE 440 MME. BEAUHARNOIS DE LA VALLETTE. (1843) David. 441 ALPHONSE DE LAMARTINE. (1830) 442 ST. JUST. 443 SAMUEL PUTNAM AVERY. (1903) “To Samuel Putnam Avery, M. A. from the artist, 1903.” 444 ARCHILE ROCHE. (1831) 445 KLEBER. (1831) 446 J. P. DeBARRANGER. (1830) [72] David. David.. V. D. Brenner. A tribute of friendship David. David. David. 447 ALAVOINE. (Architect, 1883) 448 JEREMY BENTHAM. David. 449 RAGMEY. (1833) David. 450 E. CHEVREUL. (1830) David. 451 BENJAMIN FRANKLIN. Nini. “Benjamin Franklin, American.” A reproduction in electro of the celebrated medalist, Nini. 452 ROBESPIERRE. (1835) David. 453 A. INGRES PICTOR. (1826) David. 454 LOUIS BOULANGER. (1824) David. 455 GERICAULT PICTOR. (1830) David 456 LAEMMERGEYER AND SERPENT (Bas Relief). (1826) Barye. Height, 4 inches; length, 644 inches. Brown Patina. [73] 4 457 PUMA (Bas Relief). (1831) Height, 2% inches; length, 5%4 inches. Brown Patina. 458 EAGLE AND CHAMOIS (Bas Relief). (1826) Height, 5 inches: length, 714 inches. Brown Patina. 459 VIRGINIA HART (Bas Relief). (1831) Height, 3% inches; length; 5% inches. ie Brown Patina. Fe 460 POINTER AND DUCKS (Bas Relief). (1824-25) Height, 4% iiches; length, 6 inches. Brown Patina. Aor = LAZZARONE. - Bronze Head by A. Moreau-Va [74]: ae ot ete ae, SCREEN OF RELIEFS, SOUTH FACE. 462 ALFRED JOHANNOT. (1831) David. 463 D. J. LARREY. (1832) P. J. David. 464 LE GENERAL BONAPARTE. David. 465 MOZART. : David. 466 : J. U. NIEMCEWICK. (1833) ; David. This relief carries the inscription “Fuimus.” 467 CHARLES NICHOLAS FABVIER. (1828) David. 468 GUSTAVE HANEKE. (1834) P. J. David. 469 LATOUR D’AUVERGNE. D’ Angers. “First Grenadier of the French Republic.” He was thus called by Napoeon when he refused the rank of General. So great was the admiration with which he was re- garded that from his death in 1800 to 1814 his name was re- tained on the roll-call of his company as a mark of honor, the color-sergeant answering “Dead on the field of honor” when it was called. [75] ; 479 FELIX FEYBOTIER. 471 H. DAUMIER. (1879) “Done by his friend, Geoffroy de Chauaee! ane : 1879.” (See pictures. in the Gallery numbered & 187.) 472 GIUDITTA PASTA DIMILANO. (1828) _ 473 GEORGES CUVIER. (1832) 474 EUGENE F. M. J. DEVERIA. (1828) 475 GRANET PICTOR. (1827) 476 LE GENERAL MASSENA. : 477 L’ABBE DE LA MENNAIS. (1831) CHATEAUBRIAND. (1830) 479 LEOPARD (Bas Relief). (1831) Height, 2% inches; length, 514 inches. Brown Patina. 480 RUNNING ELK (Bas Relief). (1831) Height, 4 inches; length, 554 inches. Brown Patina. 481 EAGLE AND CHAMOIS (Bas Relief). (1826) Height, 4%4 inches; length, 6 inches. Brown Patina. Signed, “Barye.” A second example of No. 458. 482 LAEMMERGEYER AND SERPENT (Bas Relief). (1826) Height, 4 inches; length, 5% inches. Brown Patina. 483 GENETTE CARRYING A BIRD (Bas Relief). (1831) Height, 3 inches; length, 5%4 inches. Brown Patina. Signed, “Barye, 1831.” CORNER CABINET. 484 GLADIATOR ,WITH TRIDENT AND NET. Height, 15 inches; diameter of Base, 5% inches. Dark Antique Green Patina. Signed on the Base, J. L. Gér6éme. [77] Barye. Barye. Barye. Barye. Barye. Cérome. 485 TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. (1831) Height, 4144 inches; length, 1034 inches. Dark Golden Brown Patina. Signed on the Base, “Barye.” This is the third example of this subject in Mr. Lucas’ collec- tion. (See Nos. 421 and 432.) 486 SEATED LION, Height, 814 inches; length, 6 inches. Golden Brown Patina. Signed on the Base, “Barye.” Mr. Lucas had marked upon this bronze “No. 2.” It is prob- ably another one of the series which Barye worked out at the time his mind was occupied with those studies noted under Nos. 403 and 429. 487 TIGER DEVOURING A GAZELLE. (1830) Height, 5 inches; length, 1314 inches. Antique Brown Patina. Signed on the Base, “A. L. Barye.” A second example of the subject noted under No. 401. 488 DROMEDARY OF EGYPT. (1827) (Modern) Height, 534 inches; length, 5% inches. Golden Brown Patina. Signed on the Base, ‘“Barye.” [78] 489 LION CRUSHING A SERPENT. (1832-33) (Modern) Height, 954 inches; length, 14 inches. Golden Brown Patina. Signed on the Base, ‘“Barye.” This modern reproduction of a reduction by Barye of his fa- mous colossal group in the Gardens of the Tuileries in Paris (see the painting by Bonnefoy on the wall behind this case) is one which has been much sought after by collectors. Barye first exhibited the “Lion and Serpent” in plaster in the Salon of 1832. In 1833 the Government purchased this group, and in 1835 it was cast by the famous bronze worker, Honoré Gonon, by the “lost wax process,” and set in the Gardens of the Tuiler- ies. This composition brought upon the sculptor much criti- cism from those who could not appreciate his power and pur- pose. A broad-minded Ministry, however, purchased the masterly group and placed it where the dark rich bronze so happily rests beneath the trees above the Seine. 490. LION OF THE COLUMN OF JULY, PLACE DE LA BASTILLE, PARIS. (A Modern Reduction of the Monumental Bas Relief Ordered in 1838 and Exhibited in 1859.) Height, 13 inches; length, 20 inches Gold Patina. Signed, “Barye,’ and “EF. Barbédienne, Foudeur.” This bas relief, which forms part of the decoration on the base of the Column of July in the historic square, is one which the art lovers of Paris rightly deem to be one of Barye’s monu- mental reliefs. It is so highly appreciated that when a cast was requested for the Universal Exposition of 1889, the en- gineer in charge of the Column refused to grant permission. He maintained that if the taking of the cast did not injure the bronze by filling up the fine cuts and scratching the surface, that there was no telling what effect it might have on the fa- mous Barye patina. [79] ; 491. FIREPLACE FENDER. Extends 3 feet, 254 inches. 492 FIREPLACE FENDER. Extends 3 feet, 134 inches. 493 COCHIN CHINA ELEPHANT. (1833) (Modern) _ Height, 6 inches; length, 8 inches. Golden Brown Patina. Signed on the Base, “Barye.” was about thirty-seven years of age. 494 LION HOLDING AN ANTELOPE, Height, 4% inches; length, 11 inches. Dark Golden Brown Patina. Signed on the Base, “Barye.” In this group, which suggests the “Lion Devourin, No. 419, the lion has evidently been interrupted in | and raises his head with a growl which can almost be he: 495 SEATED LION. Height, 7 inches; length, 514% inches. Antique Brown and Green Patina. — Signed on the Base, “Barye.” Mr. Lucas has marked upon this bronze “No. 3.” : is another one of the series which Barye worked ou his mind was occupied with those studies ape w and 429. ‘ [80] i aaa a i le 496 LOLLING BEAR. (1834) (Modern) Height, 4 inches; length, 484 inches. Dark Brown Patina. Signed on the Base, ‘“Barye.” This subject, representing another of his bear studies (see Nos. 412 and 416), was among the models left by Barye at his death and since cast in bronze. 497 GLADIATOR WITH HELMET, SWORD AND SHIELD Gérome Height, 1514 inches; diameter of Base, 514 inches. Dark Antique Green Patina. Signed on the Base, “J. L. Géréme.” CASE OF SMALL BRONZES—WEsr SIDE. 498 CROUCHING RABBIT. (1828) Height, 1% inches; length, 314 inches. Golden Brown Patina. These little bronzes, which were in many cases meant for paper-weights, show all the characteristics of a great artist. They are finely proportioned, broadly massed, and modeled in - large planes with much conscientious effort. DEER WITH FOOT RAISED. Height, 7 inches; length. 734 inches. Antique Green Patina. Signed on Base, ‘“Barye.”’ 500 OWL, WINGS EXTENDED, WITH RAT. Height, 3 inches; spread of Wings, 65-16 inches. Golden Brown Patina. Signed on the Base, “Barye,” and “HM, Barbédienne, Fondeur.” [S81] 501 WARRIOR OF THE CAUCASUS. (Modern) Height, 744 inches; length, 6% inches. Silver Bronze Patina. Signed on the Base, “Barye.” 502 DROMEDARY MOUNTED BY AN ARAB. (Modern) Height, 11 inches; length, 7% inches. Silver Bronze Patina. Signed on the Base, ‘“‘Barye.” 503 . HUNTSMAN. COSTUME OF LOUIS XV. (1833) (Modern) Height, 71% inches; length, 7144 inches. Silver Bronze Patina. Signed on the Base, ‘‘Barye,” and “F. Barbédienne, Fondeur.” 504 STAG WALKING. Height, 734 inches; length, 8% inches. Antique Brown Patina. Signed on the Base, “Barye.” 505 RABBIT ON THE ALERT. (1828) Height, 13%, inches; length, 244 inches. Dark Brown Patina. Signed on the Base, “Barye.” 506 SEATED CAT. (1824) Height, 3°34 inches; length, 2%4 inches. Antique Green Patina. Signed on the Base, “Barye.” 507 FAUN LYING DOWN. (1840) Height, 134 inches; length, 6 inches. Dark Brown and Green Patina. Signed on the Base, “Barye.”’ [82] 508 SETTER. (1824) Height, 414 inches; length, 6% inches. Antique Brown and Green Patina. Signed on the Base, “Barye.” 50 STARTLED RABBIT. (1828) 4 Height, 134 inches; length, 214 inches. Antique Green Patina. Signed on the Base, ‘‘Barye.” 510 SPANIEL AND SWAN. (1824) Height, 5144 inches; length, 656 inches. Dark Green Patina. Signed on the Base, “Barye.”’ 511 BABOON’S HEAD. Height, 234 inches; length, 1%, inches. Golden Brown Patina. Signed on the Base, “Barye,” and “F, Barbédienne, Fondeur.” 512 RABBIT. (1828) Height, 134 inches; length, 3 inches. Golden Brown Patina. Signed on the Base, “Barye.’”’ 513 POINTER. (1824) Height, 314 inches; length, 65 inches. Silver Bronze Patina with Antique Gold Base. Signed on the Base, ‘‘Barye.” 514 DROMEDARY (Japanese Bronze). Idzmu Height, 6 inches; length, 3%4 inches. Dark Brown Patina. 515 KID LYING DOWN. Height, 1144 inches; length, 2 inches. Golden Brown Patina. [83] 516 PARRAKEET SEATED ON A TREE. eee Height, 7 inches; ;, length, 5% ioe es ‘ Golden Brown Patina. Signed on the Base, “Barye.” 517 RECLINING DOE. (1840) Height, 1% inches; length, 3% inches. Dark Golden ‘Brown Patina. Signed on the Base, “Barye.” 518 GOLDEN CHINESE PHEASANT. Height, 4% inches; length, 8% inches. Brown Patina. oe Signed on the Base, “Barye.” | aa ; 519.24 RT. FAUN LYING DOWN. (1840) ae Height, 1% inches; length, 6 inches. _ Mottled Brown and Green Patina. Signed on the base, “Barye.” 520 FAUN LYING DOWN. (1840) Height, 3% inches; length, 6 inches. Mottled Brown and Green Patina. Signed on the Base, “Barye.” - 521 KING CHARLES SPANIEL. (1824) Height, 2% inches; length, 544 inches. Golden Brown Paling,” :’ tee Signed on the Base, “Barye.” 522-> RABBIT ON THE ALERT. (18298) : Height, 1% inches; length, 3 inches. ' ~Brown Patina. eer esas et es Signed on the Base, “Barye.” ate [84] ee ae 523 POINTER AND SETTER WITH PHEASANTS. (1824) Height, 4%, inches: length, 934 inches. Golden Brown Patina. Signed on the Base, “Barye.” 524 CANDELABRA WITH PHEASANT. Height, 734 inches; length, 8 inches. Brown Patina. Signed on the Base, “Barye.”’ 525 ORNAMENT WITH DECORATION OF CHILDREN. Height, 4 inches; length, 1% inches. Dark Golden Brown Patina. 526 CANDELSTICK (Greek) Height, 101%, inches; diameter, 414 inches. Dark Brown Patina. Signed on the Base, “Barye.” 527 CARD RECEIVER. Height, 714 inches; diameter, 714 inches. Dark Brown Patina. Signed on the Base, ‘“Barye.” 528 TORTOISE. (1828) Height, 34 inch; length, 114 inches. Brown Patina. Signed on the Base, ‘“‘Barye.”’ 529 CANDELABRA. Height, 10% inches ; length, 414 inches. A Second Example of No. 524. A second example of No. 526. [85] (Modern) 530 CANDELABRA WITH PHEASANT. Height, 784 inches; length, 8 inches. Dark Golden Brown Patina. A second example of No. 524. 531 POINTER AND SETTER WITH QUAILS. (1824) (Modern) Height, 434 inches; length, 9%4 inches. Golden Brown Patina. — Signed on the Base, “Barye.” CASE OF SMALL BRONZES—Eastr Sipe. 532 CROUCHING RABBIT WITH YOUNG RABBIT. (1828) Height, 1% inches; length, 4%4 inches. | Antique Golden Brown Patina. 533 ELK STANDING (Aluminium). (Modern) Height, 6 inches; length, 714 inches. Signed on the Base, “Barye.” 534 POINTER STOPPING. (1824) Height, 2% inches; length, 334 inches. Golden Brown Patina. Signed on the Base, ‘“Barye.” 535 SEATED PANTHER. Height, 284 inches; length, 414 inches. Antique Brown Patina. Signed on the Base, “Barye.” 536 HERCULES CARRYING BOAR. (Modern) Height, 5 inches; length, 234 inches. Silver Bronze Patina. [86] ee ae ee 537 POINTER. (1824) (Modern) Height, 314 inches; length, 6% inches. Golden Brown Patina. Signed on the Base, “‘Darye.” 538 AT THE SPRING. A. Moreau-Vauthier. Sketch in Terra Cotta. Height, 544 inches; length, 614 inches. . 539 DIANA. A. Moreau=Vauthier. Statuette in Terra Cotta. Height, 11% inches; length, 8%¢ inches. 540 ROMAN JESTER. (Modern) Height, 9 inches; length, 444 inches. Antique Green Patina. Mr. Lucas has placed this note: “Original by Barye not signed.” 541 DECORATED DISH WITH HANDLES—WHEAT DESIGN. Height, 214 inches; length, 25¢ inches. Signed on the Base, “F. Barbédienne and Cie. 542 DEER OF JAVA. Height, 5% inches; length, 614 inches. Antique Brown Patina. Signed on the Base, “Barye.” A numbered proof (No. 15). 543 BOAR. (Modern) Height, 3144 inches; length, 3%4 inches. Dark Golden Brown Patina. Signed on the Base, “Barye.” [87] 544 = CROUCHING RABBIT WITH EARS PRICKED (On black marble base, suitable for janeoee Height, 21% inches; length, 44 PaCiee, Golden Brown Patina. - 545 PARRAKEET SEATED ON A TREE. (Modern) ‘Height, 7 inches; length, 5144 inches. Golden Brown Patina. Signed on the Base, “Barye.” A second example of No. 516. ees 546 SPANIEL. (1824) (Modern) Height, 494 inches; length, 64% inches. Golden Brown Patina. — Signed on the Base, “Barye.” ; 547: 4: Te CHAMOIS ALARMED. Height, 2% inches; length, 4 inches. Antique Brown Patina. DASCHUND. (Plaster Model) . Height, 7% inches; length, 1136 inches. ROMAN JESTER. (Modern) Height, 614 inches; length, 3144 inches. Antique Brown Patina. A second example of No. 540. 550 ETHIOPIAN GAZELLE. (1837) | Height, 3% inches; length, 4% inches. 5 = Dark Brown Fauna a oe Signed on the Base, Bs ee [88] 551 SPANIEL AND RABBIT. (1824) Height, 41%4 inches; length, 814 inches. Golden Brown Patina. Signed on the Base, “Barye.” 552 STORK AND SERPENT. Height, 5144 inches; length, 114 inches. Golden Brown Patina. Signed on the Base, “Barye,’ and “F. Barbédienne, Fondeur.’’ 553 MUDESSE. Height, 91% inches; length, 914 inches. 554 CANDELABRA WITH PHEASANT. Height, 734 inches; length, 8 inches. Brown Patina. Signed on the Base, “Barye.” A third example of No. 524. 555 TURTLE. (1828) (Reduction) Height, 114 inches; length, 214 inches. Antique Brown and Green Patina. Stamped on the Base, “Barye.” A numbered proof (No. 3). 556 PERFUME BURNER (Ornamented with Chimeras). Height, 414 inches; length, 2%, inches. Brown Patina. [89] 557 CARD RECEIVER. Height, 74% inches; length, 714 inches. Dark Brown Patina. Signed on the Base, ‘“Barye.”’ 558 Height, 134 inches; length, 5% inches. Dark Golden Brown Patina. LIZARD. 559 CANDELABRA WITH PHEASANT. Height, 734 inches; length, 8 inches. Signed on the Base, “Barye.” Fourth example of No. 524. 560 POINTER HUNTING PHEASANT. (1824) (Modern) Height, 41%4 inches; length, 81% inches. Golden Brown atina. Signed on the Base, ‘‘Barye.’’ 561 STATUETTE OF MOSES. Height, 121%, inches; length, 5% inches. The Tables of the Law carry the inscription, “A Mr. Cou- ronnee.” EAST WALL. 562 SLEEPING JAGUAR. Height, 314 inches; length, 1214 inches. Mottled Green and Brown Patina. Signed on the Base, “Barye.” A second example of No. 402. [90] ee a 563 JUNO OF THE NINE-FIGURE CANDELABRUM. (1840) Height, 12 inches; length, 5%4. inches. Antique Green Patina. Signed on the Base, “Barye.” A second example of No. 431. 564 AFRICAN ELEPHANT. Height, 544 inches; length, 6%4 inches. Dark Brown Patina. Signed on the Base, “Barye.” 565 WALKING LION. (1836) Height, 94% inches; length, 1514 inches. A Most Remarkable Antique Green and Brown Patina with Rich Reds Brought Out by Rubbing. Signed on the Base, “Barye.” A most interesting example of Barye’s close observation of animals as he had studied them in the cages of the Jardin des Plantes. Authorities on the lion state that when traveling in _ the wilds he carries his head somewhat after the fashion of the sketches shown in Nos. 612 and 614. When pacing back and forth in captivity, however, the head is carried higher against the bars. Barye has shown that lifted head and twitching tail in most masterly fashion, as this lion, in challenge, advances toward an enemy. (See No. 408 for an example of this subject used as a fire fender. ) 566 TURKISH HORSE (Half-Blood, Left Foot Raised). Height, 1134 inches; length, 9% inches. Mottled Brown and Green Patina. Signed on the Base, “Barye.” Mr. Lucas has marked this example No. 2. [91] 567 CENTAUR AND LAPITH. (1846) Height, 13% inches; length, 11% inches. Antique Brown and Green Patina. Signed on the Base, ‘“Barye.” Barye commenced this example in 1846, completed it in 1848, and in 1850, the time of his reappearance in the Salon, exhib- a ited it under the title “Theseus Slaying the Centaur Bianor.” It was purchased by the Minister of the Interior, cast later in 4 bronze and sent to the Museum at Le Puy in 1850. Mr. Lucas exhibited this bronze in the great Exhibition of the Works of Barye in 1889 under the title “Theseus Slaying the Centaur Bianor, Sketch.” This group was most successfully modified and refined as. Barye progressed in his study, so altering his sketch that he finally advanced from the attack to the actual crisis of the combat. As is the case in “Theseus Slaying the Minotaur” (414), the Sun God has already overcome the Man- Horse. The hoofs stumble, the mouth is wide in death, and Theseus’ hand on his throat appears to have almost done its work and to make the blow of the club unnecessary. 568 PYTHON CRUSHING A CROCODILE. (1840) Height, 614 inches; length, 1514 inches. Golden Brown Patina. Signed on the Base, “A. L. Barye,’ and “IF. Barbédienne, Fondeur.” 569 TURKISH HORSE (Half-Blood, Right Foot Raised). Height, 11%, inches; length, 91%4 inches. Mottled Brown and Green Patina. Signed on the Base, ‘“Barye.” A companion piece of No. 566. 570 WALKING TIGER. Height, 814 inches; length, 15144 inches. Antique Green and Brown Patina. Signed on the Base, ‘‘Barye.’” [92] A companion piece to the remarkable example, the “Walking Lion,” No. 565. The technique of the sculptor is shown in most interesting manner by the shallow incised lines which serve to indicate the color on the animal’s coat. See No. 422 for an example of this subject used on a fire fender. 571 ~ELEPHANT OF ASIA. (1833) Height, 5% inches; length, 6% inches. Ruddy Brown Patina. Signed on the Base, ‘“Barye.”’ 572 BRONZE STUDY OF ROBERT MACAIRE - Honore Daumier Height, 1744 inches; length, 744 inches. Brown Patina, Signed on the Base, ‘‘Daumier.” For examples of this artist among the pictures in the large Gallery see Nos. 65, 79, 148 and 187; and for his portrait see No. 471. 573 AUROCHS ATTACKED BY A SERPENT. (Modern) Height, 105g inches; length, 14% inches. Antique Green and Brown Patina. Signed on the Base, ‘“Barye,” and “F. Barbédienne. Fondeur.” ON A PEDESTAL BETWEEN THE CASES. 574 ROGER BEARING OFF ANGELICA ON THE HIPPOGRIFF. Barye. Height, 2014 inches; length over all, 26%, inches. Mottled Antique Green Patina. Signed on the Base, “Barye.” This composition was the centerpiece of a series, including the two Nine-Figure Candelabra (see Nos. 431, 485 and 563), which Barye executed for the Duke of Montpensier, the young- est son of Louis Philippe. While these pieces were never pub- licly exhibited by the sculptor, yet replicas were later placed on sale. [93] The Hippogriff is represented as a winged horse, or, aS one author has described it, a “Horse-Bird,’ borne upward on a spray cast by a dolphin as it coils itself in a spiral above the waves. Firmly seated on the broad back of the winged horse is the mailed figure of Roger, the Paladin, firmly but tenderly holding Angelica, whom he has rescued from the marine mon- ster Ore by means of his magic shield. The steadying hand of Roger on the back of Angelica and the support which he offers beneath her arm are cited as remarkable examples of modeling and reflecting much tenderness and protection. Both figures look backward at the marine monster turned into stone by the magic wonder-working shield. The whirling spray, the hard- riding attitude of Roger, the direction of the figure of Angelica and the beat of the great soaring wings aid in the impression of a tremendous rush through the air. Mr. DeKay, the author of “Life and Works of Antoine Louis Barye,” says that idea of the Hippogriff arose slowly in Barye’s mind, and that the progress of this composition could be traced in a memorandum book which Mr. Lucas (in 1889) had in his possession. 575 CROCODILE DEVOURING AN ANTELOPE. Height, 614 inches; length, 16% inches. Antique Green Patina. Signed on the Base, “Barye.” Mr. Lucas had carefully pasted a note on this example stat- ing that it was a proof and given to him by the sculptor for his Collection. 576 DROMEDARY OF EGYPT HARNESSED. (Modern) Height, 10%4 inches; length, 954 inches. Golden Brown Patina. Signed on the Base, “Barye.” 577 BUFFALO OF EGYPT. (Modern) Height, 6 inches; length, 9 inches. Golden Brown Patina. Signed on the Base, “Barye.’” [94] 1 ae ee 578 LION STRIKING AT SERPENT. (1832) Height, 5144 inches; length, 6%¢ inches. Dark Antique Brown Patina. Signed on the Base, “Barye.” Another example of the same subject shown in the water- color study, “Lion Bopping Before a Snake,” and Nos. 405 and 489. 579 PANTHER OF TUNIS RECLINING. (1840) Height, 5% inches; length, 914 inches. Antique Brown and Green Patina. Signed on the Base, “Barye.” 580 GASTON de FOIX. (1833) (Modern) Height, 183% inches; length, 11 inches. Antique Green Patina. Signed on the Base, “Barye.” 581 TWO YOUNG BEARS TUSSLING. (1833) (Modern) Lissa Height, 814 inches; length, 514 inches. Golden Brown Patina. Signed on the Base, “Barye,” and ‘“F. Barbédienne, Fondeur.” 582 ELEPHANT OF ASIA, RUNNING. (1833) Height, 5%4 inches; length, 10% inches. Dark Antique Brown Patina. Signed on the Base, “Barye.” This example should be compared with No. 493. [95] / 583 SEATED LION. (1847) (Modern) i Height, 14 inches; length, 11% inches. | Golden Brown Patina. — Signed on the Base, “Barye.” A companion piece to No. 429. 584 WOUNDED BOAR. Height, 65 inches; length, 9% inches. Brown Patina. Signed on the Base, “Barye.” A third example of No. 428. 585 ELEPHANT OF SENEGAL, RUNNING. (Modern) Height, 514 inches; length, 7% inches. Golden Brown Patina. Signed on the Base, Biase and “F. Barbédienne 586, SEATED LION. (1841) Height, 7 inches; length, 534 inches. Dark Antique Brown Patina. — Signed on the Base, “A. L. Barye.” pena Tee 587 ee APE RIDING A GNU. (1842) (Modern) Height, 9 inches; length, 11 inches. Dark Brown and Green Patina. Signed on the Base, ‘“Barye.” A second example of No. 484. S88 EAGLE ON ROCK WITH HERON. es Height, 6%4 inches; spread of wings, 3 eet Dark Brown and Green Patina. Signed on the Base, “A. L. Barye.” See notes under No. 425. [96] 589 PYTHON SWALLOWING A DOE. (1840) (Modern) Height, 34% inches; length, 1234 inches. Golden Brown Patina. Rtenad on the Base, “Barye, ” and “EF. Barbédienne, Fondeur.” 590 PANTHER OF TUNIS, RECLINING. (1840) (Reduction of No. 579. by Height, 38% inches; length, 7 inches. . Antique Green and Brown Patina. Signed on the Base, “Barye.”’ ees ;+. 59 BASSET, SITTING. (Modern) Height, 5144 inches; length, 1014 inches. Golden Brown Patina. Signed on the Base, “Barye,” and “F. Barbédienne, Fondeur.” “A companion piece to No. 430. 592 ELEPHANT WITH INDIAN MOUNTED, CRUSHING A TIGER. - (1837) Height, 10% inches; length, 12 inches. Antique Green Patina. Signed on the Base, “‘Barye.” 593° PYTHON CRUSHING AFRICAN HORSEMAN. Height, 8% inches; length, 11% inches. Dark Antique Brown Patina. Signed on the Base, “Barye.” PAINTINGS AND SKETCHES. a tee _ ex . 594. 25. SLEEPING ELEPHANT. A. L. Barye. Sketch in Charcoal and Chalk. 544 x 8% [97] 595 Water Color. iM che This Subject Was Executed in Bronze for the Principal Group 0: = Table Piece of the Duke of Orleans, and is now a in the Walters Gallery. : 17% x 24% 596 (1895) Reproduced for This Catalogue. 597 PYTHON COILED IN LIMBS OF DEAD TREE. Water Color. 11%x 18% 598 BEAR ATTACKING OX. Pen Drawing, with Color. 61% x 9% 599 DEER ON MOUNTAINSIDE. Oil. 43, x 7. 600 ELEPHANT AT DRINKING-PLACE. Water Color. 114% x 14% 601 Oil. 5% x 8 BEAR WALKING. 602 HALL IN THE BARYE EXPOSITION OF 18809. ~ Oil. 231%, x 29% [98] In 1889 Mr. Lucas displayed the most important of his bronzes and sketches at the great Exposition of the Works of Barye held at the Ecole des Beaux-Arts in Paris. At that time there were gathered together the finest examples of Barye’s works belonging to the most important French collections, in- cluding those of Barbebienne, Binder, Count Doria, Bonnat, Lutz, and many other lovers of the great master’s work. To this display Mr. Lucas was invited to send Nos. 401, 402, 405, 408, 411, 413, 414, 415, 417, 418, 410, 421, 422, 423, 425, 431, 432, 430, 437, 439, 457, 479, 494, 495, 500, 504, 506, 512, 513, 517, 519, 522, 524, 520, 527, 520, 540, 541, 542, 544, 552, 555, 557; 505, 506, 567, 569, 570, 571, 575, 579, 588, 592 and 593: The sketches which he had on exhibition on the same occa- sion are those numbered 595, 597, 600, 601, 604, 605, 606, 607, 608, 609, 610, 611, 614, the photograph numbered 596, and several examples from his collection of prints and engravings to further illustrate the work of the great master. The status of the Barye bronzes in the George A. Lucas Col- lection is best determined by this invitation to send so many of his examples to this display of masterpieces, for it was the announced purpose of the Committee having this exhibition in charge to present to the public only the finest bronzes fash- ioned by Barye himself or cast under his direction. Owing to the impossibility, however, of thus showing the master’s com- plete work, it became necessary in some cases to invite the finest proofs known to exist of those examples cast since his death, and especially those cast from models left in his studio, and this accounts for the display of certain of Mr. Lucas’ “modern” examples. The prominence of this Collection in the Exhibition and the large number of examples which were placed on view should be an answer to those who wish to know how this Collection ranked among the great ones across the water. [99] PYTHON KILLING DEER. Oil. | 10 x 138% 604 LEOPARD SITTING. | Dlbees 5% x 7% 605° BOA COILED IN TREE. Water Color. 54% x 8% 606 DEER IN THE FOREST OF FONTAINEBLEAU. Wass fs Ae, 9% x 12% .; 607 BIRD OF PREY ON THE BRANCH OF A TREE. Water Color. 384 x 9% 608 CONGUAR ATTACKING DEER. Oil. 11 x 138% 609 FOREST OF FONTAINEBLEAU. | Oil. 8% x 12% 610 TIGER STALKING PREY. é . Water Color. Tg Sa [100] 3 ore + : : 61r a eee ON STOPPING BEFORE A SNAKE. | a ee Water Color. eee. | 7x 11y <3) a 612 “TIGER WALKING IN DESERT. [3 SS ae . Water Color. ‘ 10%, x 14% Baie; 613 IR OF RHINOCEROS. 5 a w Water Color, ad i a 5% x 8% cae 614 - WALKING TIGER. oe ; Water Color. 615 IGER ROLLING ON HIS BACK. Water Color. 9% x 11% [101] A. L. Barye. A. L. Barye. A. L. Barye. A. L. Barye. A. L. Barye. —— — OB a wees: The examples of Pottery and Porcelain which form a part of the George A. Lucas Collection are displayed in the long crystal case on the Terrace Gallery of the Entrance Court. The Vases are numbered from left to right, reading in a simple system to include the upper and lower shelves, and so ar- ranged in sequence that the visitor may easily identify the ex- amples by reading through the case. The Maryland Institute would acknowledge, with much appreciation, the courtesy of Mr. Faris C. Pitt, who has kindly identified the examples of Ceramics and furnished the following notes: 650 BLUE AND WHITE HANGING JAR. Height, 6% inches. Two Panels Illustrating Legendary Scenes. Emblems of the “Eight Precious Things’ Surrounding Rim. Mark in a Double Ring. Period, K’ang-Hsi, (1662-1722.) 651 ONE OF A PAIR OF TALL CYLINDRICAL : SOUFFLEE MADE VASES. (See No. 699.) Height, 18% inches. Decorated with Traces of Gilt Ornamentation. Period of Ch’ien-Lung, (1736-1795.) 652 ONE OF A PAIR OF BLUE AND WHITE OVOID COVERED JARS. | (See No. 696.) Height, 12 inches. Four Oblong Oval Panels with Decorations of Fans, ete. Leaf Mark at Bottom. Period of K’ang-Hsi, (1662-1722.) [102] 653 ONE OF A PAIR OF TALL MOHAMMEDAN BLUE AND WHITE CYLINDRICAL VASES. (See No. 697.) Height, 1314 inches. Floral and Intricate Scroll Decoration. French Mountings in “Ormolu.” Period, K’ang-Hsi, (1662-1722. ) 654 SMALL TRIPLE GOURD-SHAPED BLUE AND WHITE BOTTLE. Height, 9 inches. Finest Quality. Decorated with Landscape and the “Hight Precious Things.” Period of Yung-Chéng, (1723-1735.) 655 FINE CELADON JAR. Height, 12 inches. Greenish Tint, Boldly Crackled, with Color of Remarkable Depth and Uniformity. Two Dragon Handles. Period, Chia-Ching, (1522-1566. ) 656 BLUE AND WHITE FLATTENED QUADRILATERAL VASE. Height, 1514 inches. Yorm of an Ancient Chinese Bronze Vase. Decoration, Pale Cobalt in Archaic Design. Hlephant and Ring Handles. Period, K’ang-Hsi, (1662-1722.) 657 ONE OF A PAIR OF BLUE AND WHITE CIRCULAR FLAT WATER RECEPTACLES, WITH BRONZE HANDLES. (See No. 694.) Height, 25g inches; diameter, 91% inches. Landscape Decoration Around the Sides and Interior of Each Piece. Very Fine Quality. These Receptacles Seldom Occur in Pairs. Period, K’ang-Hsi, (1662-1722. ) [103] 658 ONE OF FOUR OVIFORM VASES, WITH ELEPHANT HEAD ‘HANDLES. (See Nos. 663, 684 and 690.) Height, 15 inches. Decorated with Palmettes, Rosettes, and Madallions. Color, White and Yellow, on Blue Gray. Rich Brocade Decoration with Sceptre Heads on the Neck of each Vase. Period, Ch’ien-Lung, (1736-1795. ) Notr.—These four vases have an inscription in French pasted upon the bottom of each vase. The following is a free translation : ‘‘These four vases were ordered by a Mandarin of the first class, who presented them to Prince Li. These yases are esteemed of great value by the Chinese themselves.”’ 659 BLUE AND WHITE GALLIPOT VASE. Height, 10 inches. Scenes with Landscape and River with Boatmen. Period, Ch’ien-Lung, (1736-1795. ) 660 SMALL WHITE CABINET VASE. Height, 6°34 inches. Decoration in Enamels (“famille Rose’’) of a Lady and Stork. Period, Ch’ien-Lung, (1736-1795. ) 661 ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. (See No. 687. y Height, 8 inches. House Interior Decoration with Figures. Band of Sceptre Heads at Neck with Mark of C’éng-Hua, (1465-87). False Mark, Probably of K’ang-Hsi, (1662-1722.) _ | 662 ONE OF A PAIR OF TALL CLUB-SHAPED CYLINDRICAL VASES. (See No. 689.) — Height, 18 inches. Powder Blue, with Decoration in Gold and Colored Enamels of Person- ages in a Landscape Watching the Rising Moon. The Neck Ornamented with the Signs of Longevity sais with the “Hight Precious Things.” Period, K’ang-Hsi, (1662-1722. ) [104] 663 ONE OF FOUR OVIFORM VASES, WITH Gs ELEPHANT HEAD HANDLES. (See Nos. 658, 684 and 690.) Height, 15 inches. Decorated with Palmetes, Rosettes and Medallions. Color, White and Yellow on Green. Rich Brocade Decoration with Sceptre Heads on the Neck of each Vase. Period, Ch’ien-Lung, (1736-1795. ) : 664 POWDER BLUE BOTTLE. Height, 8 inches. Period, Ch’ien-Lung, (1736-1795. ) 665 FINE BLUE AND WHITE BOTTLE-SHAPED VASE. Height, 714 inches. Very Fine Quality. Scenic Decoration in Transparent Cobalt Blue. Period, Yung-Chéng, (1725-1735. ) 666 ONE OF A PAIR OF ANTIQUE JAPANESE (Imari) GALLIPOT VASES. (See No. 688.) Height, 91% inches. Floral Decoration in Blue Underglaze and Gold and Red Overglaze Enamels. Period, 17th Century. 667 SMALL APPLE-GREEN CRACKLE BOTTLE-SHAPED VASE. Height, 514 inches. 668 TALL CYLINDRICAL VASE, WITH COVER. Height, 12% inches. Pale Mohammedan Blue. Floral and Scroll Decoration. Probably Period, K’ang-Hsi, (1662-1722.) [105] 669 Things” in Panels and Ean Mark in Double Ring. Period, K’ang-Hsi, (1662-1722.) 670 Height, 11% inches. Pale Sang-de-Boeuf. Period, K’ang-Hsi, (1662-1722.) 671 OLD JAPANESE (Imari) FOUR-SIDED TALL TEAPOT, _ WITHOU Height, 10144 inches. Period, 17th Century. 672 OLD JAPANESE (Imari) BOTTLE-SHAPED VASE. Height, 11 inches. Three circular medallions with floral decoration in ee a all-over pattern of interlacing scrolls with flying bake blue. i Gold and Red Decoration on Neck. © Period, 17th Century. “- | 673 ee: SANG-DE-BOEUF VASE, WITH FLARING LIP. Height, 111% inches. Very Uniform in Color. | Deep and Fine Glaze. | Period, K’ang-Hsi, (1662-1722.) [106] 674 BLUE AND WHITE COVERED VASE. Height, 914 inches. Decorated ES Garden Scenes, Women and Children at Play. Brass Mounts of the 18th Century. Marked on the Base. Period, Chia-Ch’ing, (1796-1820.) 675 SANG-DE-BOEUF GALLIPOT VASE. Height, 734 inches. Fine Quality, Uniform Color. Period, K’ang-Hsi, (1662-1722.) 676 TALL JAPANESE (Imari) BOTTLE-SHAPED VASE. Height, 11144 inches. Floral Decoration in Gold and Iron Red and Green Hnamels. Scroll Decoration at Neck. Period, 17th Century. 677 TALL POWDER BLUE BALUSTER VASE. Height, 1734 inches. Richly Decorated with Gold. Flowers in Panels and Chinese Text in Medallions. Border of the ‘Eight Precious Things” at the Neck. Period, Lung-Chéng, (1723-1735. ) 678 QUADRILATERAL HANGING VASE, WITH HANDLES AT SIDES FOR SUSPENSION. Height, 11% inches. Flattened Sides with ‘“flambé” decoration of Sang-de-Beeuf, Gray and Blue. Period, K’ang-Hsi, (1662-1722.) [107] | 679 ; SMALL BALUSTER MOHAMMEDAN BLUE AND ° Bs: BVA Height, 814 inches. _ Aster and Floral Scroll Decoration. | es Fret Decoration and Sceptre Heads at Neck. ber Mark in Double Ring. Period, K’ang-Hsi, (1662-1722.) 680 PILGRIM BOTTLE-SHAPED Mae WITH. FLATTENED ‘ SIDES AND noe Height, 12 inches. Figure and Animal Decoration in Colored Enamels Period, Ch’ien-Lung, (1736-1795. ) 681 te BLUE AND WHITE VASE. ‘ates : Height, 814 inches.’ Newration of “One Hundred Antiques” and Flowers Floral Decoration at Neck Bordered with Hee. che Period, K’ang-Hsi, (1662-1722.) Fra) 682 BLUE AND WHITE GLOBULAR VASE, WITH ELONGATED BULBO Ss ; Height, 1414 inches.) Pe) yas An At ie Base a Decoration of an Emperor and His sie in ‘Tra ns Cobalt Blue. — Period: K’ang-Hsi, (1662-1772. Ds 683 * -“One Hundred Aree 2 ce te Semi-Soft Paste. i Nile 3 Period, K’ang-Hsi, (en ts RAY [108] 684 ONE OF FOUR VASES WITH ELEPHANT HEAD HANDLES. ~ (See Nos. 658, 663 and 690.) Height, 1514 inches. Enameled and Richly Decorated with Flowers and Birds in Natural Colors. The Neck of each Vase is Decorated in a Rich Brocade Pattern with Borders of Sceptre Heads. Period, Ch’ien-Lung, (1736-1795. ) 685 SMALL POWDER BLUE GALLIPOT. 3 Height, 5% inches. Traces of Gold in the Decoration. Period, Ch’ien-Lung, (1736-1795. ) 686 SMALL MOHAMMEDAN BLUE AND WHITE BOTTLE-SHAPED VASE. Height, 714 inches. Decorated with Floriated Scroll Pattern Covering the Greater Part of the Vase and Neck. Period, Ch’ien-Lung, (1736-1795. ) 687 ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. (See No. 661.) Height, 8 inches. 688 ONE OF A PAIR OF ANTIQUE JAPANESE (Imari) GALLIPOT VASES. (See No. 666.) Height, 914 inches. 689 ‘ONE OF A PAIR OF TALL CLUB-SHAPED CYLINDRICAL VASES. (See No. 662.) Height, 18 inches [109] 690 ONE OF FOUR OVIFORM VASES, WITH ELEPHANT HEAD HANDLES. (See Nos. 658, 663 and 684.) Height, 15 inches. Enameled and Richly Decorated withh Flowers and Birds in National Colors. The Neck of Each Vase is Decorated in Rich Brocade Pattern, with Borders of Sceptre Heads. Period, Ch’ien-Lung, (1736-1795. ) 691 QUADRILATERAL CELADON VASE. Height, 1014 inches. Four Openings Rising from the Body of the Vase to Contain Single Flowers. Period, Square Mark of Ch’ien-Lung, (1736-1795. ) 692 BLUE AND WHITE OVOID COVERED JAR. Height, 12%4 inches. Same Character of Decoration as Nos. 652 and 696. Fang-Shéng Mark at Bottom within Double Ring. Period, K’ang-Hsi, (1662-1722.) 693 CYLINDRICAL VASE, WITH FLARING MOUTH. Height, 834 inches. Invested with a light yellow glaze, leaving in the white, four oblong panels with decoration of flowers and the “One Hundred An- tiques.”’ Period, Ch’ien-Lung, (1736-1795. ) 694 ONE OF A PAIR OF BLUE AND WHITE CIRCULAR FLAT WATER RECEPTACLES, WITH BRONZE HANDLES. (See No. 657.) Height, 25g inches; diameter, 914 inches. [110] 695 QUADRILATERAL TURQUOIS VASE. Height, 11 inches. Archaic Raised Decoration. Period, Ch’ien-Lung, (1736-1795. ) 696 ONE OF A PAIR OF BLUE AND WHITE OVOID COVERED JARS. (See No. 652.) Height, 12 inches. 697 ONE OF A PAIR OF TALL MOHAMMEDAN BLUE AND WHITE CYLINDRICAL VASES. (See No. 653.) Height, 138% inches. 698 ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. (See No. 669.) Height, 8% inches. 699 ONE OF A PAIR OF TALL CYLINDRICAL POWDER-BLUE SOUFFLEE VASES. (See No. 651.) Height, 181% inches. fli THE MARYLAND. ING TurouGH Its BoArD oF MANAGERS, accepts with gratitude the trusteeship for the people of our city and State and for lovers and students of art the magnifi- cent Collection generously bequeathed to it by GEORGE A. LUCAS. His paintings, in variety of subjects and treatment, in pres- entation of the work of artists of front rank, and especially in authenticity and individuality, make an assemblage unap- proached, it is believed, by that of any other American art school, and one which will prove a substantial aid in nursing and developing artistic thought and genius. The examples in this exhibition, which are as numerous as can be shown at one time in the gallery, do not include all the paintings, there remaining others serviceable as models and decorations for our classrooms and studios. Of almost equal importance are his engravings, etchings and prints—a collection of some ten thousand, acquired by great patience and careful discrimination, illustrative of many pe- riods, styles and masters, and which so far there has been no opportunity to classify and catalogue. It is hoped, however, that it will be possible soon to arrange these that they may be accessible to students, and later, perhaps, exhibited to the gen- eral public. An added benefaction is his gift of some fifteen hundred volumes devoted to the history of art, to the lives, training, methods and achievements of great artists, and to the func- tions and canons of art criticism, a valuable addition, as a ref- erence and working library, to the collection which has already been begun by the Institute. [112] ceil lc ene ace a A a i ah ir a al i cal a all a ek q * 4 .: # The noble collection of Barye bronzes is thought to be un- surpassed in number, completeness, variety and delicacy of the individual pieces, whilst the oriental porcelains comprise many rare and beautiful examples. JOHN M. CARTER, WILLIAM B. SANDS, ERNST SCHMEISSER, GEORGE A. BOYDEN, JAMES YOUNG, HENRY ADAMS, LEMUEL T. APPOLD, FRANK A. FURST, THOMPSON P. PERINE, MARTIN MEYERDIRCK, SAMUEL W. REGESTER, GEORGE C. MORRISON, GEORGE R. SKILLMAN, B. HOWELL GRISWOLD, Jr., SAMUEL R. WAITE, THEODORE F. KRUG, FERDINAND C. LATROBE,* ANTON H. FETTING, FRANK N. HOEN, SPENCER E. SISCO, FREDERICK W. WOOD, OLIVER C. CROMWELL, JACOB S. DETRICK, AUGUSTINE J. RYAN, HENRY A. BREHM. * Deceased. [113] PALE? hao: Throughout the long residence of Mr. Lucasin Paris he made it a practice to collect and cherish the palettes of those artist friends who were near and dear to him. While the character of this material is such that it can not be permanently dis- played, yet the palettes possess a unique interest and are there- fore listed for such reference as may seem proper. All of the palettes were carefully labeled on the back by Mr. Lucas, who marked in red paint the artist’s name, and in addi- tion certain dates and personal notes. On some he had pasted clippings concerning the artist’s honors and accomplishments. The artists, on the other hand, had frequently inscribed their gifts in very personal fashion, and many times had painted ~ upon the palettes most characteristic sketches. 328 ALMA-TADEMA (Lorenze). (1885) On the Front the Inscription: “A Monsieur Lucas, L. Alma-Tadema, 31/7 185, * 329 ARTIGUE (A). (1892) On the Front a Spray of Flowers and the Inscription: “Offert 4 Mr. Lucas par A. Artigue, ’92.” 330 BODMER (K). (1888) On the Front the Inscription: “Offert 4 Monsieur Lucas, Paris, 25 Avril, 1888, K. Bodmer.” On the Back the word “Bodmer” and the Pen Signature, “K. Bodmer.” [116] <= = 331 BONNAT (L). (1881) On the Back the Inscription : “Offert 4 Monsieur Lucas, L. Bonnat, Paris, 8th (August), 1881. 332 BONNAT (L). (1888) On the Front the Signature: “L. Bonnat.” On the Back the Inscription: “Palete avec laquelle le portrait du Cardinal Lavigerie a été fait, L. Bonnat, 1888.” 333 BONVIN (F). On the Back the Pen Signature, “F. Bonvin.” 334 BOUDIN (E). (1897) On the Front the Brush Signature, “EH. Boudin, 1897.” 335 BOUGHTON (G. H.). (1885) On the Front a Suggestive Sketch of a Peasant Girl, with Farming Tools Over Her Shoulder ; Also the Inscription: “To My Old and Good Friend, Geo. A. Lucas, G. H. Boughton, London, 1885.” Also on the Front: “This Palette Belonged Originally to A. L. Egg, R. A.” 336 BOUGUEREAU (William). (1884) On the Back in Autograph Signature: “A Monsieur Lucas, Wm. Bouguereau, Paris, 1884.” 337 BRETON (Jules). (1882) On the Back the Inscription: “A mon ami Monsieur Lucas, Jules Breton, 8th (August), 1882.” [117] trier 338 BUHOT (F.). On the Hecke the Tdaeipgese oe, “A Monsieur Lucas, Souvenir Affecteaux, Felix Bato! ae ae aaa se wa oy Sg a a - 339 CABANEL (A.). On the Back the Inscription, 4% Mr. Lucas,” = 340 CHAPLIN (Ch.). On the Front the Brush Signature, “Ch, Chaplin.” 341 CLAIRIN (G.). On the Front the Brush Signature, “G. Clairin.” ae 342 COROT Cloak Baptiste Camille). On the Front a Seal in Red Wax, “Vente Corok pe “= On the Back, a newspaper clipping, which states, among othe that this palette, together with that of Delacroix, was an int feature of one of the Autumn Salons. It also states that fend leux, who had preserved it reverently, together with Corot’s one of his picturesque striped red and white Normand which he frequently went sketching. 343 COROT (Jean-Baptiste Camille). On the Front the Signature in Capitals, “C. Corot. 344 DAGNAN-BOUVERET. (1897) : ~ On the Front the Inscriptions “A Monsieur Lucas, par Dagnan—B., 1897.” oF 345 DAUBIGNY (Charles). . (Signed) A. Steinheil, extleteyaineee Hs [118] ~~ : 3406 DELACROIX (Eugene). On the Back a Seal in Red Wax, “RE. D.,” in Script, within a Circle. 347 DELPY (H. C.). On the Front an Evening Landscape, Signed “H. C. Delpy.” 348 DEMONT (A.). (1888) On the Back the Inscription: “A Monsieur Lucas, son tout dévoué, A. Demont, Paris, 28th Janvier, 1888.” 349 DEMENT-BRETON (Mme. Virginie). (1896) On the Back the Inscription: “A Monsieur Lucas, Souvenir Affecteaux, Virginie Demont-Breton, Montgeron, le 10 Juin, 1896.’ 350 De NEUVILLE (A.). (1884) On the Front the Brush Signature, “A. de Neuville, 1884.” 351 DETAILLE (Edouard). (1896) On the Front the Suggestive Sketch of a Lancer, and the Inscription: “A Geo. Lucas, Edouar (the final d is omitted) Detaille, 1896.” On the Back Mr. Lucas pasted a note from the Artist, of which the fol- lowing is a free translation: “SATURDAY MORNING. “Dear Friend: “Can you come this Saturday afternoon? The last time you came I completely forgot to show you the Lucas palette. It is ready, though not dry. “Yours in most friendly spirit, “EDWARD DETAILLE.” 352 DUVERGER. (1887) On the Front the Brush Signature, “Duverger.” On the Back the Inscription: ‘‘A mon ami Lucas cette palette qui m’ a servu trente ans, Higuen (spelling uncertain) le 4 D’bre, 1887. J. E. Duverger.” [119] 353 lea dake (1893) | On the Front in Red Paint, “Heusquiza, 18 On the Back, a Cup with a Dove (in red and black), and the “Blut ind Leib der heil’gen Grabe, etc.” (Ete J . Monogram, “FE. R.,” 1898, 4 Mr. Lucas.” 354 ERNST (R.). (1892) On the Front the Brush Signature, “R. Ernst, ’92.” 355 ESCOSURA (Leony). as On the Front a Portrait Sketch, presumably of the apes A On the Back the Inscription, “Offert & mon ami Mr. Lucas, Leony Escosura.” ¥ 356 FANTIN-LATOUR. (1887) vee On the Front the Brush Signature, “Fantiu.” On the Back the Inscription, “Offert 4 Monsieur Lucas, Jany ad 357 FRERE (Ed.). On the Back the Brush Signature, “Ed. Frére.” a? 358 FRERE (Th.). On the Back the Pen Name, amp, Frere.” 359 GEROME (J. L.). 360 GOENEUTTE (Norbert). (1887) On the Front the Brush Signature, “Norbert Goeneutte, On the back Mr. Lucas has pasted a photograph of the artis is also an inscription, “Offert 4 Monsieur Lucas, Norber utte, Paris, Nov. 1887.” . a [120] 361 GOUBIE (R.). (1882) On the Back the Inscription, “Offert 4 Monsieur Lucas, R. Goubie, 1882. 362 GRISON. On the Front the Brush Signature, ‘Grison.” On the Back the Pen Signature, ‘“Grison.” 363 GUERARD (H.). On the Front the Sketch of a Lantern. Qn the Back the Inscription, “Offert 4 Mr. Lucas, H. Guerard.” 364 HENNER (H.). On the Front the Printed Name in Blue Paint, “H. Henner.” On the Back a letter to Mr. Lucas from .Mr. Allard, of Allard & Noel, art dealers, saying he was sending a palette of Henner’s, which had been designated for Mr. Lucas’ collection. 365 JACOMIN (M.). (1887) On the Front the Brush Inscription, “A Mr. G. A. Lucas, M. Jacomin, Palette de 1880 4 1887.” 266 JEANNIN (G.). On the Back the Brush Signature, “G. Jeannin.” 367 JOUVE (A.). On the Front a slight suggestion of a bouquet of flowers and the inscription, “A. Jouve, Monsieur Lucas, hommage de... . tein.” (Spelling uncertain.) [121] 368 KNAUS (L.). On the Front a Charming Sketch of a young Fawn and a Kid at Play; also the Inscription, “4 Mr. G. A. Lucas, L. Knaus.” On the Back Mr. Lucas has Pasted this Note: Knaus, (L.). Berlin. Pupil of the Dusseldorf Academy. Medals 1858-55 (EH. U.) 1857-59. Legion of Honor, 1859. Grand Medal of Honor (EH. U.) 1867. Officer of the Legion of Honor, 1867. Professor in the Academy, Berlin. 369 KNAUS (Ludwig). On the Front, Sketch of a Lion’s Head and the Inscription: “Offert a Mr. G. A. Lucas par L. Knaus.” Mr. Lucas has Pasted on the Back the Following Clipping: Knaus (Ludwig). (Berlin.) Pupil of the Dusseldorf Academy. Medals, 1858, °55, ’57, ’59. Legion of Honor, 1859. Grand Medal of Honor, 1867. Officer of the Legion of Honor, 1867. Member of the Academies of Berlin, Vienne. Munich, Amsterdam, Antwerp and Christiana. Knight of the Prussian Order of Merit. Medals at Berlin, Vienna and Munich. Weimar Gold Medal for Art. Professor in the Berlin Academy. Grand Medal of Honor, Antwerp, 1880. Honorary Member of the Royal Academy, London. 379 LAMBERT (Eug.). On the Front a Suggestive Sketch of a Cat’s Head and the Inscription, ‘‘Eug. Lambert, 4 son ami Lucas.” 371 LAMBERT (L. Eug.). On the Front the Brush Signature, “L. Hug. Lambert.” On the Back the Pen Inscription, “Offert 4 Monsieur Lucas, L. Eug. Lambert.” 372 LAVIEILLE (Eugene). (1888) On the Front the Inscription, “A mon cher et tres bon ami Odgen Wood, Hugene Lavieille, 15 Janv. 1888. [122] Le FEBVRE (Jules). (1882) On the Front the Brush Signature, “Jules Le Febvre, 1882.” On the Back the Inscripton, “A Monsieur Lucas. Souvenir du Tableaux de la Fiancée, J. Le Febvre.” 374 Le ROUX (Hector). (1885) On the Front the Brush Signature, ‘Hector-LeRoux.” On the Back the Inscription, “Offert 4 Monsieur Lucas par son devoué, Hector LeRoux, 1885.” 375 MADRAZO. On the Back the Inscription, “Offert 4 Mr. Lucas, Madrazo, 84.” 376 MARIS (Jacob). On the Front the Brush Signature, “J, Maris.” 377 MAZEROLLE (J.). On the Back the Inscription, ‘A Monsieur Lucas, Souvenir bien cordial de J. Mazerolle, 1882.” 378 MONTICELLI (Adolphe). Mr. Lucas has Pasted on the Back of the Palette a Reproduction of the Drawing by M. Mongé, Giving a Portrait of the Artist. 379 PLASSAN. (1882) On the Front the Sketch of a Young Woman, and the Brush Signature, ‘“Plassan.”’ On the Back the inscription, of which the following is a free transla- tion: “This palette has been in my possession about twenty-three years, and has been used in the painting of a number of pictures. I have given it to my good friend George Lucas, the accomplished connoisseur of objects of art. P. 1882.” 380 PRIOU (Louis). (1874) On the Back the Inscription, “Offert 4 Mr. Lucas, Priou, 1874.” [123] 381 RIVOIRE. On the Front a Sketch of Poppi re On the Back the Brush pana. Ed: 382 FLEURY (Robert-Henry). On the Front the Inscription, ‘Palette de Robert Flew y donné par J. C. Chaplain, Membre de Sreoie aon 383 384 SANDREZ-PERRIER (E.). (1891) On the Front the Inscription, “E. Sandrez-Perri Juillet, 1891, Offert 4 Mr. Lucas.” Ne haga i’ Rie 385 SCHREYER (Ad.). On the Back the Ppl ee “Souvenir d’ amitié a Mr. L de Ad. Schreyer.” ae yrs 386 SEIGNAC (P.). 387 SEIGNAC (——). On the Front the Brush Signature, “Seignac.” On the Back the Inscription, “A mon ami Lu s 388 SIMONS (Marcius). Aiatatan spate aa pte Be [124] 389 THAULOW (Fritz). On the Front a Suggestive Sketch of a Mill and Mill-Stream, with the Brush Signature, ‘Fritz Thaulow.” On the Back Mr. Lucas has Pasted this Note, “Thaulow (Fritz) Paris. Legion of Honor, 1889.” 390 THIOLLET (A.). (1883) On the Back the Inscription, “A Monsieur Lucas, Thiollet, 1883.” 391 TROYON (Constant). On the Back the Inscription, “Offert 4 mon ami Mr. Lucas, Palette de Troyon. Eug. von Marcke.” Mr. Lusas has Pasted on the Back the Following: ‘“Troyon (Constant) dec’d. Paris. Pupil of Rivereux. Medals, 1838-40-46-48-55. Le- gion of Honor, 1849. Born, 1810. Died, 1865.” 392 VEYRASSAT (J.). On the Front the Brush Signature, ‘J. Veyrassat.” 393 VIGNON (V.). On the Front a Sketch of a Tankard and Leeks, together with the Brush Signature, “V. Vignon.” 394 VON THOREN. On the Front the Signature, “Von Thoren.” On the Back the Pen Signature, “De Thoren.” 395 VAN MARCKE (E.). (1882) On the Back the Inscription, ‘Hug. von Marcke, A son ami Mr. Lucas, Paris, 1882.” Mr. Lucas pasted on the back the following clipping: “Van Marcke, (E.) Paris. Pupil of Troyon, Medals, 1867-69-70. Legion of Honor, 1872. First-Class Medal, (E. U.) 1878.” [125] WEISZ (Adolphe). (1884) On the Front a Sketch of a Girl in National Goma an Alsatian Bonnet. Sketch Signed “A. W On the Back the inscription in French, “This palette Monsieur Lucas by his very affectionate es Paris, June Ist, 1884.” HF 397 WOOD (Ogden). : On the Front the Inscription, “To my dear friend, G. x Ln Ogden Wood.” is 398 ZIEM. (1878) On the Back the Inscription, “Palette, Venitienne. Offert a Lucas, Ziem, Paris 16, 9th (September) 1878.” — | 399 DOMINGO (J.). (1893) On the Front the Inscription, “A Monsieur Lucas, de tae par S. P. Avery, I Domingo, 1893, Paris.” — Also Portrait Heads and Sketches—such as a Reception, a Masquerade, a Conversation, etc. }126] ante LIST OF PAINTERS REPRESENTED IN THE LUCAS COLLECTION. Anastasi (A.), 163, 171 - Andrieux (A.), 162 Appian (A.), 106, 150 Armand-Dumaresq (C. H.), 117 Aubert (E. J.), 89 Babcock (W. P.), 22 Baird (W. B.), 18 Barye (A. L.), 594, 595, 597, 598, 599, 600, 601, 602, 603, 604, 605, 606, 607, 608, 609, 610, 611, 612, 618, 614, 615 Baudit (A.), 250 Béraud (J.), 140 Berre, 207 Besnart (A. P.), 186, 193 Bonington (R. P.), 220 Bonnat (L.), 105 Bonvin (F. S.), 11, 215 Boudin (H.), 269 Boughton (G. H.), 75, 116 - Bouguereau (W. A.), 40, 97 Boulanger (G.), 120 Boulard, 158, 178 Bracquemond (J. F.), 70. Brendel (A.), 127 Breton (J.), 82, 102, 110 Butin (U. A.), 268 Cabanel (A.), 33 Castres (E.), 19 Carand (J.), 154 Cazin (J. C.), 244 Charnay (A.), 139 Clairin (J. G.), 39 Collin (R.), 10, 21 Comte (P. C.), 136 Constable (J.), 259 Constant (J. J. Benjamin), 73 Coomans (J.), 195 Corot (J.-B. C.), 282, 233, 234, 235, 236 Couder (A.), 121 Coutourier (P. L.), 175 Couture (T.), 126, 166 Dannat (W. T.), 76 Daubigny (C. F.), 100 Daumier (H). 65, 79, 148, 187 Decamps (A. G.), 44, 141 Dehodencq (A.), 66 _ Delacroix (E.), 183 Delpy (C.), 24 Delort (C.), 68, 96 Desgoffe (B.), 137, 200 Diaz (N.), 118, 184, 224, 239 Domingo y Marques (D. F.), 219 Dupré (J.), 262 Dupré (V.), 84, 161, 167 Duran (C.), 52, 57 | Duverger (T. E.), 168 Ernst (R.), 194 Fantin-Latour, 54, 99 Faubellet (J.), 247 Fielding (N.), 122 [127] Fichel (E.), 254 Flameng (L.), 129, 182 Flers (C.), 38, 271 Frére (E.), 155 Frére (T.), 104 Gautier (A.), 226 Gavarni, 72, 112, 119 Gérdme (J. L.), 252 Giacomelli (F.), 5 Gide (T.), 251 Gleyre (C.), 264 Goenuette (N.), 181, 256 Goubie (J. R.), 147 Greuze (J. B.), 48, 149 Grison (A.), 205 Geurard (H.), 95 Gues (A.),-152 Guignet (A.), 35, 272 Guilleman (A. M.),°132 Hamon (J. L.), 18 Henner (J. J.), 214 Héreau (J.), 62, 67, 217 Hervier (A.), 128, 130 Hovenden (T.), 30, 204 Howland (F.), 25 Hunt (W.:M.),; 225 Jacque (C. E.), 1, 107, 181, 248 Jacquemart (J. F.), 180 © Jacquet (G.), 185 Jacomin (M. F.), 94, 125, 241: Jeanron (P. A.)., 55 Jeannin (G.), 8 Jongkind (J. B.), 206, 208 Jourdan (A.), 270 Kreyder (A.), 6, 34 Lalanne (M.), 213 Lambert (E.), 80 Lambinet (H.), 265, 273 Lavieille (H. A. 8.), 88 Le Febvre (J.), 56, 144, 145 Leleux (A.), 216 Leloir (L.), 184 Lemmens (F.), 59, 64, 69, 74, 124, 138, 159, 170, 192 Lepere (L. A.), 2381 Le Prince (X.), 146, 221 | Le Poittevin (E.), 108 Le Roux (H.), 49, 50 Lesrel (A.), 2 Leyendecker (P. J.), 243 Lhuillier (C.), 202 Lobrichon (T.),.77 Loire (L.), 60 Longuet, 58, 198 Loustaunau (L. A. G.), 185. Loutherbourg (J.), 227 Mailland, 246 Manet (EH.), 164 Marilhat (P.), 98 Maris (J.), 101 Mazon (F. H.), 263 — Mery (A. B.), 81, 109 Meissonier (J. L. E.), 260 — Mettling (L.), 78 Michallon, 212 Michel (G.), 15, 179 Millet (J. F.), 156, 172, 210 Monginot (C.), 7> Monticelli (A.), 23, 29, 40, 42, 43, ES. 114, 242 Munier (E.), 16 Muraton (A.), 151 ; °'- Palizzi (G.), 199 ~~: Pascuti (A.), 267 Pasini (A.), 197. Patrois (I.), 85 eee en Patrouillard (J.), 218--+.-«" Pizzarro (C.), 28, 93-- Plassan (A. E.), 45, re 113, 160, 201, 255 Priou (L.), 189 Quost (H.), 17 [128] Rico (M.), 61 Roqueplan (J. E. C.), 87 Rousseau (L.), 240 Rousseau (P.), 27, 176 Rousseau (T.), 229, 230, 287 Rozier (J.), 37 Rudeaux (H.), 196 Saintpierre (G. C.), 26 Sanchet-Perier (E.), 71 Santoro (R.), 63 Schenck (A. F.), 133, 177 Schreyer (A.), 222, 223 Simons (M.), 188 Soyer (P.), 142 Steinheil (A. C.), 3, 47 Stevens (A.), 14 Tassaert (N. F. O.), 32 Teniers (A.), 115 Thiollet (A.), 12, 31, 128, 211, 234, 257, 266 Thoren (O. de), 238 Troyon (C.), 165 Unknown Artists, 103, 169, 261 Van Marcke (E.), 83, 111 Vely (A.), 36 Veron (A. R.), 228 Veyrassat (J. J.), 92, 245 Vignon (V.), 190, 208, 253 Villa (HE. D.), 86 Villain (H.), 91, 209 Vinecelet (V.), 4, 153 Vollon (A.), 9, 174 Wells (G.), 90 Weisz (A.), 191 Willems (F.), 249 Ziem (F.), 20, 51, 1438, 157, 173 [129] WE 3 3125 00007 2385