CATALOGUE O F SACRAMENTO, CALIFORNIA GOJ&tPILEQ £Y JtfI?S. jfi. L. (DOYLE " Thou art the fairest of the sisters three, Genius of Painting! all hearts bow to thee! Music and Poetry, with voice divine, Can draw a thousand votaries to their shrine; Ttoth can describe events that onward roll, In strains or language that enchant the soul; But Ihou alone the rainbow tints hast caught, To stamp with life the poet's brightest thought." SACRAMENTO H. S-. CROCKER & CO., PRINTERS 1,876 CATALOGUE. 1. UNKNOWN. WINTER. 2. UNKNOWN AUTUMN. 5. NAHL, CHAS. C. San Francisco. SUNDAY MORNING IN THE MINES (1849). This picture is of special interest, as the scenes it represents are all taken from real life in the mining camp, in the California era of '49. In the fore- ground is a small cabin, within which a young man, evidently not very long from home, is writing to his mother; and immediately outside the door an elderly man is reading the Scriptures aloud to two of his companions. To the right, two miners are washing their decidedly dilapidated garments, and to the left two others are trying to lead home their drunken partner, who, utterly unconscious of what he is about, is scattering his gold dust in a most reckless manner. In the center, some men are having a spirited horse race, while a quiet Englishman is calmly enjoying Sunday morning in his own fashion. Quite in the background, in front of a saloon, there is a fight, which has probably arisen from some cheating at cards. 4. NAHL, CHAS. C. San Francisco. THE FANDANGO. This picture illustrates Spanish life in the early clays of California. In front of a small hacienda, built of adobe, and overshadowed by laurel trees and vines, a mirthful company of young Spaniards is dancing the national fandango, to the music of banjo and violin. Behind them a cavaliero stands ready to escort some of the ladies home. In the foreground, two vaqueros are throwing dice, and on the verandah of the hacienda a fight is going on, which some anxious friends, male and female, and a holy father, are trying to terminate by separating the combatants. In the distance a man is seen catching a bull with the lasso. 4 CATALOGUE 5. COGSWELL, WM. PORTRAIT OF PRESIDENT U. S. GRANT. 6. COGSWELL, WM. PORTRAIT OF CHIEF JUSTICE SALMON P. CHASE. 7. NAHL, CHAS. C. San Francisco. THE PATRIOTIC RACE. No. 7 represents an incident of the American Revolution. While both armies were encamped near the Potomac, the English officers gave a ball to the ladies of the vicinity. In the course of the evening a young American girl happened to overhear a whispered conversation between two officers relating to movements of the army and some important dispatches on the subject, which were to be forwarded that night by special messenger to a commanding officer stationed at some distance. Understanding of what immense advantage the possession of these papers would be to her country- men, the young girl instantly formed a heroic resolution. Slipping into the kitchen, she managed to divert the attention of the messenger while she abstracted the dispatch bag, then hurrying to the stable she mounted the horse, which stood ready saddled for the British soldier, and behold her galloping towards the American encampment. In a short time the impor- tant theft is discovered and an English officer starts in pursuit of the fugi- tive. Just at sunrise he overtakes her — another moment and her heroic act had been in vain, bitt American tents are gleaming in the distance, an American soldier is already by her side. In the ardor of his exciting chase, the Englishman has, unnoticed, passed the lines of the hostile encampment; at the sharp tone of the American soldier, he now wheels about with an angry oath, and, thanks to his brave steed alone, makes good his escape to the British lines. The arrangement of the groups in this painting is very effective. The position of the girl looking down from the stone wall, and that of the young peasant reaching up to take the pitcher, is alike good, while the Dalmatian beauty seated in the foreground gives us an excellent opportunity of study- ing her picturesque attire, from her jaunty little scarlet skull-cap to the tip of her shoes. A long connection with Venice has made the Italian language, customs and architecture very general in Dalmatia, but their costume more nearly resembles the Greek ; and the male peasantry, in red cap and jacket, 8. ADAM, EUGENE Munich. DALMATIAN PEASANTS AT THE SPRING. CROCKER ART GALLERY. 5 blue trowsers and sandals laced up the ankle, present an exceedingly pictu- resque appearance. Quite in the foreground of the picture some horses, goats and a dog show that the artist excels likewise in painting animals. In the background, to the left, a train of peasants and mules are seen wind- ing along a road overshadowed by rocky cliffs. 9. EIBNER, L. FREIBURG CATHEDRAL. The cathedral before us is one of the most perfect specimens of Gothic architecture in Germany. The artist has succeeded admirably in presenting to us the pyramidal spire of most exquisite open-work tracery which sur- mounts the tower. Beneath is the main entrance into the church, through the magnificent portal, richly ornamented with sculptures. To the left of the cathedral is a handsome Gothic fountain, a woman in the national cos- tume is stooping beside it, busily washing some clothes, and a young girl, while waiting for her tub to fill, is gazing with interest at something across the street. 10. VANDYCK, SIR A. Flemish School PORTRAIT. Anthony Vandyck, the friend and pupil of Rubens, is justly termed the " Prince of Portrait Painters." In this department he is allowed to have but one superior— Titian. Vandyck was born at Antwerp in 1599, and died in London in 1641. The portrait before us is evidently that of some scholar and divine of the seventeenth century. 11. WYCK, THOMAS. Flemish School THE DENTIST. All but the favored few who have never visited the dentist, must sympa- thize with the poor unfortunate, who, with his hand supporting his jaw, is evidently still suffering cruelly from the recent operation. Thomas Wyck was born at Harlem in 1616. He excelled in painting small figures, shipping, the interiors of chemists' laboratories, etc. "His pictures are well com- posed, his coloring warm and transparent, and his pencil bold and free." He died in 1686. 12. BAGER, JOHANN DANIEL. PORTRAIT. At an open window, the upper part of which is overshadowed by vines, stands an elderly man in the dress and powdered hair of the eighteenth century. His left arm rests on a red cloth which is thrown across the win- dow-sill, and in his right is a small bas relief— a woman's head. * 6 CATALOGUE 13. REYNTJENS, H. E. Paris. A JOLLY PARTY. This picture represents four gallant cavaliers of the last century, enjoying the pleasures of the table. The gentleman in the brown coat, to the left, is evidently an epicure, while the others are devoting at least a share of their attention to the trim looking maid who is just entering. At a side table, a butler is drawing some corks. 14. VAN DER WERF, PETER. Dutch School. Peter Van der Werf was born in the vicinity of Eotterdam in 1665. A pupil of his elder brother, Adrian, he copied the latter's works in the same tone of coloring and delicate manner of penciling. In painting from his own de- signs he imitated his brother so closely that his pictures have sometimes passed for Adrian's works, although they are inferior to them. He died in 1718. JUDGE E. B. CROCKER AND FAMILY SKATING ON THE POND IN THE "GROSSER GARTEN," IN DRESDEN. 16. VANDYCK, SIR A. 1599-1641. ' Antwerp. THE EPIPHANY, OR ADORATION OF THE THREE KINGS. The church yearly celebrates this, almost the first event in the human life of the infant Savior. The Magi, or, as tradition has it, the "Three Kings," having seen His star in the east, have come to woi'ship Him and bring gifts, "gold, frankincense and myrrh." In the center of the picture, clad in an ermine mantle, his jeweled turban lying at his feet, sits one of the kings, tenderly holding the divine infant, whom he has just received from the arms -of the Virgin. Close beside him, to the right, the second king, a Moor, is bending down to present his offering, and behind him appears the figure of the other king. To the left, in scarlet robe and dark drapery, stands the blessed mother, contemplating her son, and quite in the background ap- pears the head of St. Joseph, while some figures— attendants of the Magi- fill up the center of the background. There is infinite grace and simplicity in the expression and attitude of the blessed Virgin, and the head of the king holding the infant is full of wonderful dignity, individuality and ven- eration. The paintings of Vandyck are very numerous, notwithstanding the shortness of his career. His best historical picture is undoubtedly the MEDOR AND ANGELICA. (From Ariosto's " Orlando Furioso.") 15. JUNKER, W. Dresden. CROCKER ART GALLERY. 7 Crucifixion, in the Church of the Recollets at Mechlin, of which Reynolds says that it "May be considered one of the first pictures in the world, and it gives the highest idea of Vandyck's powers, showing that he had truly a genius for historical painting," although, during the last ten years of his life he devoted himself almost exclusively to portrait painting. 17. PILOTY, CARL. Munich. THE HURDY-GURDY GIRL. Three quarters length figure of a young girl. The face is beautiful and full of expression ; the left hand and arm extended to hold the hurdy-gurdy are exquisitely modeled, and the arrangement of the drapery is highly artistic and picturesque. In the background is a profusion of variously tinted Virginia creepers. Professor Piloty was born in 1826, and is at present Director of the Royal Academy of Munich. He acquired European fame, by two great works, which of their kind are unrivalled : The " Death of Wallenstein," and "Nero Walking among the Ruins of Rome." He has numerous followers and imitators, among them Lindenschmidt and Toby Rosenthal. 18. MUHR, JULIUS. OTHELLO AND DESDEMONA. " These things to hear, Would Desdemona seriously incline." The Moor, seated to the left, appears to live over again the adventures which he is relating to Desdemona and Brabantio. The latter seated to the right, attired in his Senatorial robes, his left arm resting upon a marble table, listens with dignified demeanor to the spirited discourse; while Desdemona, attired in green velvet, and with the golden hair, in which the Venetians delight, stands leaning against a pillar to the right of her father, listening with clasped hands, and evidently drinking in love at every pore. In the background appear the blue waters of the Adriatic and a glimpse of fair Venice, the^City of the Sea.J 19. HAKL, G. Munich. THE EXHORTATION. This composition contains sixteen figures, of which each one is a study. To the left, before a table covered with a red cloth, on which lies an open Bible, stands the pastor, his hands clasped in earnest exhortation, while enthusiasm and devotion are expressed in his countenance. The woman in the foreground, whose face appears in profile, is listening with rapt attention. The other faces are equally expressive-; Munich. 8 CATALOGUE 20. VAN DER VENNE, A. Munich. THE UNLUCKY TRANSPORT. A winter scene — the sky is dark, the ground covered with ice and snow. A miserable wagon, laden with earthenware and drawn by three shaggy, demoralized looking horses, has just met with an accident, and broken vessels of every description are scattered on the ground. An old woman, in very hybrid costume, stands behind the wreck, to the left of the picture, anathematizing with clenched fists the awkwardness of the driver, who, standing beside his horses, is looking down with stolid stupidity, not even attempting to interrupt the volley of imprecations which is being hurled at him. 21. GLIEMAN, A. Dresden. GIRL AND PET DOG. A Saxon country girl is seated near a spring, looking down at her dog while her pitcher is filling with water. 22. BIENAIME, J. Paris. THE DANGEROUS NEIGHBOR. Chanticleer and two hens in the centre, and to the right a fox, just ready to spring. 23. F. ROFFIAEN, and EUG. VERBOECKHOVEN. LANDSCAPE WITH ANIMALS. A feeling of soft pervading stillness falls upon us as we gaze upon this exquisite picture, which possesses a double interest from the fact of its being the joint composition of two artists, each excelling in his line. The mountains rising from the water's edge to the -left and in the centre of the background are bathed in a flood of tender sunlight, while the rocky and perpendicular ones to the right lie in shadow. The grouping and pose of the animals are perfect; some of them are standing in the water, and all seem to be enjoying, in their bovine way, the balmy breath of evening. Eugene Verboeckhoven was born in 1799 at Warneton, a small village in Belgium. He is a member of the Antwerp Academy, an officer of the Order of Leopold, a Chevalier of the Legion of Honor, Commander of the Portugese Order of Christ, and Chevalier of the Order of Merit of Bavaria. Many painters who have risen to eminence have acquired a knowledge of the art in his studio at Brussels. 24. ROUX, CHARLES. CATTLE PIECE. Munich. CROCKER ART GALLERY. 9 25. VANDYCK, SIR A. (after) MADONNA AND CHILD. The Virgin appears in her regal character as the Queen of Heaven, wit h crown and sceptre. The infant Savior stands upon her knee, leaning against his mother, and supported by her right hand. 26: DURER, ALBERT. German School ST. JOSEPH. Albert Durer, the painter of this head of St. Joseph and its companion picture, " The Virgin Mary," was born at Nurnberg in 1471. He distinguished himself in youth by his exquisite carvings, and subsequently adopted painting as his profession. Albert Durer has been styled the father of the German School of Painting and the Prince of Artists. He died in 1528. 27. DURER, ALBERT. German School. THE VIRGIN MARY. 28. VERONESE, PAOLO (after) 1532-1583. Venetian School. CHRIST BEARING THE CROSS. "Dragged forward by a brutal crucifix, fainting under the weight of the cross, the Redeemer tottered feebly towards the Gate of Judgment, while the sainted Veronica, heedless of the rudeness of the soldiers, pressed forward to wipe from the countenance of the sufferer with her handkerchief the blood that trickled from his thorn-pressed brows (which handkerchief, according to the legend, ever afterwards retained the impression of the divine features); while behind, Mary, supported by the Apostle John, stretched her arms in speechless agony towards her beloved son." The original painting is in the Dresden Gallery. 29. DIETRICH, FRANZ. Dresden. CEDIPUS AND ANTIGONE. On discovery that he had been guilty of the double crime of parricide and incest, CEdipus in horror put out his eyes and exiled himself. Led by bis daughter Antigone, he proceeds to the grove of the Furies at Colones, where, amid thunder-peals, he is removed from earth. Advancing along a dreary and rocky road, Antigone, in a white garment almost completely covered by violet drapery, which veils without conceal- ing her beautiful form, is putting aside the briars from her father's path with the wand in her right hand ; her head is turned towards CEdipus, avIio 10 CATALOGUE on his daughter's left side and holding her hand advances with bowed head and the slow, uncertain step of blindness. The dark red drapery of CEdipus contrasts admirably with his silvery, flowing hair and beard. A boy and two men, one of whom carries some game slung across his shoulder, are descending a pathway in the background to the right. 30. MARTUSTEIG, F. Weimar. ULRICH VON HUTTEN SEEKING SHELTER. Ulrich von Hutten, born in Hesse Cassel, in the year 1488, was placed at the age of eleven in the monastery of Fulda, with the intention of his becoming a monk. When fifteen he ran away from the cloister to the University of Erfurt, where he joined the anti-monkish party. He subsequently became a great scholar and reformer. He died in Switzerland in 1523. No. 30 represents him seeking the refuge provided for him by Zwinglius, in the house of a clergyman named Schuegg, on the island of Ufuan, in the Lake of Zurich. 31. ADAM, BENNO. (after) TOWN QUARTERS. The interior of a city stable, containing two horses. A dog is making an ineffectual spring at a cat, which is comfortably seated high up on the window-sill. The original of this picture is in the Royal Bavarian collection, at Schleissheim. 32. TEIX. Dresden. MARY, QUEEN OF SCOTS, AND HER HUSBAND, WITH RIZZIO. On the evening of the 9th of March, 1566, Lord Darnley, Ruthven, and others, entered the Queen's apartments, Holyrood Palace, and carried out their fiendish plot of assassinating her confidential secretary and favorite, David Rizzio, before the eyes of his royal mistress. In the centre of the picture, Mary is seated in an attitude of alarm, her right hand extended towards Rizzio, as if to protect him., The latter, to the left, surprise and terror depicted on his countenance, leans back, gazing as if fascinated, upon Darnley, who, with outstretched arm, denounces him to the execu- tioner. In the background, to the right, the Countess of Argyle stands near the door, a terror-stricken spectator of the scene. 33. MUHR, JULIUS. Munich. BANQUET OF QUEEN JOANNA, NEAR NAPLES. At a table, covered with a damask cloth, on which are flowers, wines and sweetmeats, ladies and cavaliers are seated in various attitudes, all more or less careless. In the foreground, to the right of the spectator, sits Queen CROCKER ART GALLERY. 11 Joanna, a fair woman, of beautiful form and feature. She is clothed in • white satin; some drapery of gold brocade is thrown across her lap, which is full of flowers, and the tip of her daintily attired foot rests on a richly covered stool. Her head is turned towards the gentleman on her left, Prince Louis of Taranto, who, with his right hand on his heart, is evidently making some tender protestation. Behind the chairs of the Queen and her favorite stand two Moorish boys, holding fans of peacock feathers. To the left, a youth and maiden, in the costume of the Italian peasantry, are executing a national dance to the music of bagpipe and flute. In the background attendants are bringing in fruit, and on the extreme right of the picture a musician, seated on a stone fence, and two lazzaroni are eagerly gazing upon the festive scene. Between the vine-wreathed pillars, at the back of the table, we have a view of Vesuvius, and the blue waters of the far-famed Bay of Naples. Queen Joanna reigned from 1343 to 1382. She was a beautiful, but unprin- cipled woman, who caused the murder of her first husband in 1345, and was married three times afterwards. She was suffocated by command of her cousin and adopted son, Charles of Durazzo, who was proclaimed King of Naples in 1382. 34. WINTERSTEIN, E. CHARITY. Represents a woman, in dark drapery, barefooted, and carrying a naked child in her arms, depositing a coin in the poor-box. 35. GONNE, C. F. Dresden. THE NYMPH. In a cool and shady nook, on some red drapery which is thrown carelessly on the stony bank of a forest streamlet, sits a maiden of rare and exquisite beauty. One foot just touches the cool water, and her left arm is raised to throw a stone at a little frog, saucily perched upon a. stone to the left. The form and expression of the nude flgure are perfect in their graceful and refined loveliness. 36. NAHL, CHAS. C. San Franciseo. THE INDIAN CAMP. Gives fine moonlight and fire-light effects. 37. MULLER. SCHOOL EXAMINATION. A procession of children under the leadership of a "brother," is winding past a pillared balcony towards the arched entrance of an ecclesiastical edifice. The pavement is strewn with ripe, red apples and luscious pears, 12 CATALOGUE and from the garlanded balcony overhead "cowled heads" are gazing npon the scene below. The fruit has been purposely scattered in the children's path, to try the truth of the "brother's" words: that he could trust them all to pass alone without yielding to a temptation so great for childhood. Many are the longing looks cast by the younger ones at the ripe fruit, but only for one has the ordeal so far proved too great, and he, poor little fellow, is vainly trying to conceal the stolen apple behind his back. Roegge has represented Marguerite bowed down in the agony of remorse before a shrine of the Mater Dolorosa. A bunch of flowers, her prayer book and rosary, lie on the stone steps below, while in the utter abandonment of grief, Marguerite implores the intercession of the Mother of Sorrows. The best interpretation of the picture can be found in Goethe's own words: which are thus translated by Miss Swanwieck : " Ah rich in sorrow, thou Stoop thy maternal brow, And mark with pitying eye my misery ! The sword in thy pierced heart Thou dost with bitter smart Gaze upwards on thy Son's death agony. To the dear God on high Ascends thy piteous sigh Pleading for His and thy mute misery. Ah, who can know The torturing woe That harrows me and racks me to the bone? How my poor heart without relief Trembles and throbs, its yearning grief Thou knowest, Thou alone ! Ah ! whereso'er 1 go, With woe, with woe, with woe, My anguished breast is aching ! Wretched, alone I keep, I weep, I weep, I weep, Alas ! my heart is breaking." 38. ROEGGE, WILHELM. FAUST'S MARGUERITE. Ach neige Du Schmerzensreiche, etc., 39. UNKNOWN. BOY AND FALCON. CROCKER ART GALLERY. 13 40. BERGEN. THE FLAGEOLET PLAYER. In a humble interior a peasant lad is playing the flageolet, while a younger child listens attentively. 41. KOCKERT, J. Munich. ST. JOHN'S EVE. A group of peasants in different attitudes, celebrating St. John's Eve. The reflection of the fire upon the faces and figures to the left, is very effective. A young girl to the right of the group, stands half in the tire-light, half in shadow, waving her hat as an answering greeting to some one not seen on the picture. St. John's fires are gleaming on all the distant moun- tain crests. 42. DIETRICH, FRANZ. Dresden. PROCLAMATION OF PEACE AFTER THE THIRTY YEARS' WAR. A composition containing about seventy figures in the foreground and on the sides, besides an immense number more indistinctly seen in the distance. Young and old have come without the town to receive the glad tidings of peace, which are brought by twelve youths, crowned with flowers and clad in flowing garments, who are advancing slowly down the road. One bears a scroll of parchment in his left hand, the others carry olive branches. Some of the people are on their knees, while others stand gazing upwards, in mute giatitude to Heaven. Here and there, those whom the cruel war has made widows and fatherless, indulge in silent grief, unable to participate in the universal joy. To the left appear the steeples and buildings of a town, and from a half ruined tower flies the white flag of peace. In the distance, to the right, troops are seen returning. A river, the Rhine, probably, winds its serpentine course through the distant landscape, dotted along its banks with towns and villages, and castled crags, and over all, in the blue sky, gleams the rainbow of promise. 43. SIEBOLD, C. 1759. MARIA THERESA, EMPRESS OF AUSTRIA. The Empress of Austria, and Queen of Hungary and Bohemia, is painted by Siebold in her maturity, not as she appeared in the flush of youth and beauty before her faithful Hungarians, when, in 1741, she put herself and her infant son Joseph under their protection, and they, animated with the most enthusiastic loyalty, drew their swords, exclaiming: "We will perish for our King, Maria Theresa ! " 14 CATALOGUE 44. UNKNOWN. CAVALRY FIGHT. In the foreground, a soldier galloping at full speed has just fired at one of the enemy, who, with his horse, lies prostrate on the ground. Dense smoke in the background, to the right ; to the left, cavalry skirmishing, and a lurid sky. 45. VERONESE, PAOLO. (after) ABDUCTION OF EUROPA. Mythology tells us that Jupiter, becoming enamored of Europa, the beautiful daughter of King Agenor, of Phoenicia, appeared in the guise of a snow-white bull, among her father's herds. Europa, assisted by two of her maidens, and all unconscious of deceit, is in the act of seating herself on the animal, who kneels to receive her, and licks her sandaled foot. 46. BURDE, F. Berlin. PREACHING IN THE WOODS. Quite a large congregation has assembled in a forest, on the Baltic coast, to listen to a sermon preached in the aisles of one of Nature's grand cathedrals. The mellow rays of the sun, falling aslant the trees, shine upon the variegated hues of the foliage, and illuminate the figures to the right and in the centre. The grouping is well arranged, and the distribution of light and shadow is both forcible and natural. 47. DE KEYSER. (after) RAPHAEL PAINTING THE DUCHESS JOANNA OF ARRAGON. . Joanna, daughter of Ferdinand of Arragon, and wife of Ascanio Colonna, Prince of Tagliacozzo, was, from her beauty, surnamed The Divine. There are several paintings of her by Raphael. De Keyser represents her seated on a raised dais, under a canopy; she is clad in green velvet, and appears in profile. .Raphael stands near the centre of the picture, palette in hand, to the side of the easel, on which his canvas rests. Ladies are grouped in various attitudes in the apartment. 48. VAN DER WERFF, ADRIAN (after) MAGDALENE. The small painting in the Royal Pinakothek in Munich, of which this is a copy, is considered the best work of the master. Adrian Van der Werff was born near Rotterdam in 1659, and died in 1722. His works are exceedingly rare, and command a high price. Twenty-four of his principal pictures hang in the Dusseldorf Gallery. CROCKER ART GALLERY. 15 49. SALVATOR ROSA. (after) PORTRAIT. Considerable uncertainty exists with regard to the original of the picture before us; many connoisseurs, however, consider it to be a portrait of Salvator Kosa himself. The features certainly have a similarity, although perhaps not a striking one, to the portrait of the artist by Maratti, which is well known by the medium of engravings, and this opinion is, therefore, likely to be well-founded. Salvator Kosa was born in 1615, at Borgo