114 h < Co _ vt. ; -> \. -i > : > - t-r : -. . ;.‘ r ■> , > (’ • : rk . - ‘ $ ' f : ■ k . ~ - ■ ; - 1 ' ■ 0 .:■■■■ ' - V 4 ' ' V; >■'■ ■ 1 r> 1 FRENCH PAINTINGS, Etc —-H-- Prices realized at the Sale of the Paintings given by the French Artists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , also in Francs ( gold ). May \ 6 th and i ph, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Nos. Dollars, Francs, Nos. Dollars, Francs, Nos. Dollars, Francs. Nos. Dollars. Francs. 1 50 225 ! 40 115 518 78 80 360 117 20 90 2 425 1913 41 60 270 79 80 360 118 475 2138 3 90 405 42 200 900 80 260 1170 119 1300 5850 4 110 495 43 325 1463 81 170 765 120 205 925 5 150 675' 44 150 675 82 175 788 121 210 945 ' 6 65 293 45 220 990 83 100 450 122 200 900 1 35 158 46 625 2813 84 160 72!) 123 925 4163 8 9o0 4050 47 425 1913 85 175 788 124 275 1238 9 25 112 48 325 1463 86 180 810 125 360 1620 10 360 1620 49 35 158 87 645 2903 126 90 405 11 100 450 50 100 450 88 310 1395 127 12 450 2025 51 200 900 89 2000 9000 128 25 112 13 50 225 52 325 1463 90 100 450 129 25 112 14 30 135 53 150 675 91 270 1215 130 150 67 5 15 200 900 54 400 1800 92 110 495 ! 131 15 68 16 30 135 55 110 495 93 60 2,0 132 260 1170 IT 600 2700 56 60 270 94 75 338 133 70 315 18 700 3150 57 625 2113 95 110 495 134 85 383 19 55 248 58 1350 6075 96 110 495 135 25 112 20 750 3375 59 200 900 97 110 495 136 20 9o 21 200 900 60 85 383 98 40 180 137 35 158 22 800 3600 61 35 158 99 110 495 138 90 405 23 50 225 62 90 405 100 425 1913 139 25 112 24 225 1013 63 390 1755 101 125 563 140 35 158 25 575 25b8 64 750 3315 102 140 630 141 50 225 26 60 270 65 225 1013 103 125 563 142 7* 34 27 300 1350 65* 25 112 104 50 225 143 20 90 28 45 203 66 40 180 105 40 180 144 224 102 29 110 495 67 110 495 106 110 495 145 2275 10238 30 150 675 68 165 743 107 150 675 146 25 112 31 800 3600 69 70 315 108 675 3038 147 35 158 32 275 1248 70 110 495 109 540 2430 148 20 90 33 175 788 71 400 1800 i 110 150 675 149 350 1575 34 100 450 72 50 225 111 55 248 ! 150 25 112 35 240 1080 73 80 360 1 112 25 112 151 25 112 36 650 2925 74 275 1248 113 loo 450 152 75 338 37 160 720 75 190 855 114 95 428 153 150 675 38 330 1485 76 260 1170 115 700 3150 . 39 40 180 77 865 116 420 1890 i .1 \ •1—••••’- ——■■—~ ■ .. TOTAL AMOUNTS.—Dollars 37,335.00. Francs 168,098 FRENCH PAINTINGS, Etc -- *-<- Prices realized at the Sale of the Paintings given by the French Artists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , also in Francs (gold). May 16th and i ~jth, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Nos. Dollars. Francs. Nos, Dollars. Francs. Nos. Dollars. Francs. Nos. Dollars. Francs. 1 50 225 40 115 518 78 80 360 117 20 90 2 425 1913 41 60 270 79 80 360 118 475 2138 8 90 405 42 200 900 80 260 1170 119 1300 5850 4 110 495 : 43 325 1463 81 170 765 120 205 925 5 150 675 44 150 675 82 175 788 121 2lo 945 6 65 293 45 220 990 , 83 100 450 122 200 900 7 35 158 46 625 2813 84 160 720 123 925 4163 8 9<>0 4050 47 425 1913 85 175 788 124 275 1238 9 25 112 48 325 1463 86 180 810 125 360 1620 10 360 1620 49 35 158 87 645 2903 126 90 405 11 100 450 50 100 450 88 310 1395 | i 27 12 450 2025 51 200 900 89 2000 9000 128 25 112 13 50 225 52 325 1463 90 100 450 | 129 25 112 14 30 135 53 150 675 91 270 1215 130 150 675 15 200 900 54 400 1800 92 110 495 131 15 68 10 30 135 55 110 495 93 60 2,0 132 260 1170 17 600 2700 56 60 270 94 75 338 133 70 315 18 700 3150 57 625 2113 95 110 495 134 85 383 19 55 248 58 1350 6075 96 110 495 135 25 112 20 750 3375 59 200 900 97 110 495 | 136 20 90 21 200 900 60 85 383 98 40 180 137 35 158 22 800 3600 61 35 158 99 110 495 138 90 405 23 50 225 62 90 405 100 425 1913 139 25 112 24 225 1013 63 390 1755 101 125 563 1 140 35 158 25 575 25h8 64 750 3315 102 140 630 141 50 225 26 60 270 65 225 1013 j J 03 125 563 142 7* 34 27 300 1350 65* 25 112 I 104 50 225 143 20 90 28 45 203 66 40 180 J05 40 180 144 102 29 110 495 67 110 495 I 106 110 495 145 2275 10238 30 150 675 68 165 743 107 150 675 146 25 112 31 800 3600 69 70 315 108 675 303o [147 35 158 32 275 1248 70 110 495 109 540 2430 148 20 90 33 175 7»8 71 400 1800 i 110 150 675 ! 149 350 1575 34 100 450 72 50 225 1 111 55 248 150 25 112 35 240 1080 73 80 360 112 25 112 151 25 112 36 650 2925 74 275 1248 113 100 450 152 75 338 37 160 720 75 190 855 114 95 428 153 150 675 38 330 1485 76 260 1170 115 700 3150 39 f 40 180 77 190 855 | 116 420 1890 ! TOTAL AMOUNTS.—Dollars 37,335.00. Francs 168,098. FRENCH PAINTINGS, Etc. -M Prices realized at the Sale of the Paintings given by the French Artists for the benefit of the Sufferers by the Chicago Fire; in Dollars , also in Francs (gold). May 1 6th and lyth, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Nos. Dollars. Francs, Nos. Dollars. Francs. Nos. Dollars. Francs. Nos. Dollars. Francs. 1 50 225 40 115 518 78 80 360 117 20 90 2 425 1913 41 60 270 79 80 360 118 475 2138 3 90 405 42 200 900 80 260 1170 119 1300 5850 4 110 495 43 325 1463 81 170 765 120 205 925 5 150 675 44 150 675 82 175 788 121 210 945 6 65 293 ! 45 220 990 83 100 450 122 200 900 f7 i 35 158 46 625 2813 84 160 720 123 925 4163 8 900 4050 47 425 1913 85 175 788 124 275 1238 9 25 112 48 325 1463 86 180 810 125 360 1620 10 360 1620 49 35 158 87 645 2903 126 90 405 11 100 450 50 100 450 88 310 1395 I 127 12 450 2025 51 200 900 89 20(10 9000 128 25 112 13 50 225 52 325 1463 90 100 450 129 25 112 14 30 135 i 53 150 675 91 270 1215 j 130 150 675 15 200 900 54 400 1800 92 110 495 131 15 68 10 30 135 55 110 495 93 60 2,0 132 260 1170 17 600 2700 56 60 270 94 75 338 133 70 315 18 700 3150 57 625 21L3 95 110 495 ! 134 85 383 19 55 248 58 1350 6075 96 110 495 135 25 112 20 750 3375 59 200 900 97 111) 495 136 20 90 21 200 900 60 85 383 98 40 180 137 35 158 22 800 3600 61 35 158 99 110 495 138 90 405 23 50 225 62 90 405 100 425 1913 139 25 112 24 225 1013 63 390 1755 101 125 563 140 35 158 25 575 2588 64 750 3315 102 140 630 1 141 50 225 26 60 270 65 225 1013 103 125 563 142 34 27 300 1350 65* 25 112 104 50 225 143 20 90 28 45 203 66 40 180 105 40 180 144 224 102 29 110 405 67 110 495 106 110 495 145 2275 10238 30 150 675 68 165 743 107 150 675 146 25 112 31 800 3600 69 70 315 108 675 3038 1 147 35 158 32 275 1248 70 110 495 109 540 2430 148 20 90 33 175 788 71 400 1800 110 150 675 149 350 1575 34 100 450 72 50 225 111 55 248 150 25 112 35 240 1080 73 80 360 112 25 112 151 25 112 36 650 2925 74 275 1248 113 100 450 ! 152 75 338 37 160 720 75 190 855 114 95 428 153 150 675 38 330 1485 76 260 1170 115 700 3150 39 40 180 77 190 855 116 420 1890 TOTAL AMOUNTS.—Dollars 37,353.00. Francs 168,098. DUSSELDORF PAINTINGS, Etc. -H- Prices realized at the Sale of the Paintings given by the Dusseldorf Artists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , also in Francs (gold). May 18, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Note.— Some few errors occur in the Catalogue of this Collection , arising from names incorrectly given , and a few numbers duplicated. Nos, Dollars. Francs. Nos. Dollars. Francs. Nos. Dollars. Francs. Nos. Dollars. Francs. 161 90 105 201 195 878 241 15 203 284 5 23 162 13 58 202 20 90 215 60 270 285 65 293 163 55 218 203 100 450 216 70 315 286 15 68 161 75 338 20l 60 270 217 65 293 ! 287 IT.50 80 165 75 338 205 625 2813 218 20 90 288 15 68 166 10 180 206 25 112 219 40 180 289 55 218 167 25 112 207 125 563 250 30 135 290 12.50 56 N 168 25 112 208 65 293 251 40 180 291 110 630 169 60 270 209 95 428 252 80 360 292 50 225 170 30 135 210 25 112 253 210 915 293 90 405 171 55 218 211 110 495 251 60 270 291 15 203 172 100 150 212 10 180 255 15 68 295 10 45 173 15 203 213 85 383 256 100 90 296 3 13 171 100 150 211 10 45 257 200 900 297 11 50 175 20 90 215 30 135 258 5 23 298 5 22 176 15 203 216 50 225 259 30 135 1 299 35 158 177 75 338 217 20 90 260 25 112 178 35 158 218 55 218 261 65 293 T7^ __ • 179 30 135 219 35 158 262 30 135 Lngravm gs. 180 250 1125 220 70 315 1 263 55 218 1 3.50 15 181 20 90 221 35 158 1 264 170 795 2 1.25 5 182 100 150 ^22 15 68 265 45 203 3 6 27 183 35 158 223 15 68 1 266 45 203 4 1.75 7 181 55 218 225 25 112 267 55 218 5 1.75 7 185 30 125 227 20 90 268 150 675 6 2 9 186 35 158 228 80 360 269 55 248 7 4.50 20 187 30 135 229 30 135 270 85 383 8 5 18 188 105 173 230 30 135 271 30 135 9 2.40 10 189 25 112 231 35 158 272 • 10 45 10 3.13 11 190 10 15 232 70 315 273 30 135 11 3.75 16 191 10 15 231 125 563 271 100 450 12 2.25 10 193 30 135 235 110 495 275 110 495 13 2 9 191 30 135 236 75 338 276 125 563 11 2 9 195 20 90 238 25 112 277 40 180 15 1 1 196 85 383 239 55 248 278 45 203 17 13 58 197 70 315 210 15 68 279 65 293 18 17 77 198 25 112 211 30 135 280 35 158 19 4.50 20 199 25 112 212 25 112 282 60 270 200 90 105 213 65 293 283 35 658 TOTAL AMOUNTS.—Dollars, 7,978.00. Francs, 33,900. DUSSELDORF PAINTINGS, Etc. -M Prices realized at the Sale of the Paintings given by the Dusseldorf Artists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , also in Francs (gold). May 18 , 1872 . The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Note. —Some few errors occur in the Catalogue of this Collection , arising from names incorrectly given , and a few numbers duplicated. Nos. Dollars. Francs. Nos. Dollars. Francs. Nos. Dollars. Francs, Nos, Dollars. Francs. 161 90 405 ' 201 195 878 244 45 203 284 5 23 162 13 58 202 20 90 245 60 270 285 65 293 163 55 248 203 100 450 246 70 315 286 15 68 16-4 75 338 204 60 270 247 65 293 287 17.50 80 165 75 338 205 625 2813 i 248 20 90 288 15 68 166 40 180 206 25 112 249 40 180 289 55 248 167 25 112 207 125 563 250 30 135 290 12.50 56 168 25 112 208 65 293 251 40 180 291 140 630 169 60 270 209 95 428 252 80 360 292 50 225 170 30 135 | 210 25 112 253 210 945 j 293 90 405 171 55 248 211 110 495 254 60 270 294 45 203 172 100 450 212 40 180 255 15 68 295 10 45 173 45 203 213 85 383 256 100 90 296 3 13 174 100 450 214 10 45 257 200 9()0 297 11 50 175 20 90 j 215 30 135 258 5 23 298 5 22 176 45 203 | 216 50 225 259 30 135 299 35 158 177 75 338 1 217 20 90 260 25 112 178 35 158 ! 218 55 248 261 65 293 % 179 30 135 1 219 35 158 262 30 135 Lngravm gs. 180 250 1125 220 70 315 263 55 248 1 3.50 15 181 20 90 221 35 158 264 170 795 ! 2 1.25 5 182 100 450 222 15 68 265 45 203 3 6 27 183 35 158 223 15 68 266 45 203 4 1.75 7 184 55 248 225 25 112 267 55 248 5 1.75 7 185 30 125 227 20 90 268 150 675 6 2 9 186 35 158 228 80 360 269 55 248 7 4.50 20 187 30 135 229 30 135 270 85 383 8 5 18 188 105 473 230 30 135 271 30 135 9 2.40 10 189 25 112 231 35 158 272 10 45 10 3.13 14 190 10 45 232 70 315 273 30 135 11 3.75 16 191 10 45 234 125 563 274 100 450 12 2.25 10 193 30 135 235 110 495 275 110 495 13 2 9 194 30 135 236 75 338 276 125 563 14 2 9 195 20 90 238 25 112 277 40 180 15 1 4 196 85 383 239 55 248 278 45 203 17 13 58 197 70 315 240 15 68 279 65 293 18 17 77 198 25 112 241 30 135 280 35 158 19 4.50 20 199 25 112 242 25 112 282 60 270 200 90 405 243 65 293 283 35 658 | TOTAL WprjNTSDollar-?. 7 978.00 • 1 ia i OcJ j oOO. — - / DUSSELDORF PAINTINGS, Etc. -H- Prices realized at the Sale of the Paintings given by the Dusscldorf Artists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , also in Francs (gold). May 18 , 1872 . The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Note. —Some few errors occur in the Catalogue of this Collection , arising from names incorrectly given , and a feiv mmibers duplicated. Nos. Dollars. Francs, Nos. Dollars. Francs. Nos, Dollars. Francs. Nos, Dollars. Francs, 161 90 405 201 195 878 244 45 203 ! 284 ' 5 23 162 13 58 202 20 90 245 60 270 285 65 293 163 55 248 208 100 450 246 70 315 286 15 68 164 75 338 2(>4 60 270 247 65 293 287 IT.50 80 165 75 338 205 . 625 2813 248 20 90 288 15 68 166 40 180 206 25 112 249 40 180 289 55 248 167 25 112 207 125 563 250 30 135 290 12,50 56 168 25 112 208 65 293 ! 251 40 180 291 140 630 169 60 270 209 95 428 252 80 360 292 50 225 170 30 135 210 25 112 : 253 210 945 293 90 405 171 55 248 211 110 495 254 60 270 294 45 203 172 100 450 212 40 180 255 15 68 295 10 45 173 45 208 213 85 383 256 100 90 296 3 13 174 100 450 214 10 45 S 257 200 900 i 297 11 50 175 20 90 215 80 135 258 5 23 298 5 22 176 45 203 216 50 225 259 30 135. 299 35 158 177 75 388 217 20 90 260 25 ■ 112 j 178 35 158 218 55 248 261 65 293 179 30 135 219 35 158 262 30 135 Engravings. 180 250 1125 220 70 315 263 55 248 1 3.50 15 181 20 90 221 35 158 264 170 795 2 1.25 5 182 100 450 222 15 68 265 45 '203 3 6 27 183 35 158 223 15 68 266 45 203 4 1.75 7 184 55 248 225 25 112 267 55 248 5 1.75 7 185 30 125 227 20 90 268 150 675 6 2 9 186 35 158 228 80 360 269 55 248 7 4.50 20 187 30 135 229 30 135 270 85 383 8 5 18 188 105 473 230 30 135 271 30 135 9 2.40 10 189 25 112 231 35 158 272 10 45 10 3.13 14 190 10 45 I 232 70 315 273 30 135 11 3.75 16 191 10 45 234 125 563 274 100 450 12 2.25 10 193 30 135 235 110 495 275 110 495 13 2 9 194 30 135 236 75 338 276 125 563 14 2 9 195 20 90 238 25 112 277 40 180 15 1 4 196 85 383 239 55 248 278 45 203 17 13 58 197 70 315 240 15 68 279 65 293 18 17 77 198 25 112 241 30 135 280 35 158 19 4.50 20 199 25 112 242 25 112 282 60 270 200 90 405 243 65 293 283 35 658 TOTAL AMOUNTS.— Dollars, 7,978.00. Francs, 33,900. \' ^ - i X -\ ,• ^ ' ?■ ' - r- f o'* YY 4 <■ %- : t - w ■ " r i ( 'O ‘ v W 1 . r : = 7 1 • !■ . & ; r . L '-1 ■ - ■ f Y i yY <* . Y i r: - ■’ Y > I - l ' .}■ x -- ^::,r ».;■:< is, » *. ' V ■ V / ' ' \ J *\ /■ i- - ; ;< ■ i y ’• . -> ■•- ‘ ■>, : -- - ji’m • i • , - - ■ ' y 4 ; 1 T ,4 ... X . , > / , - ' . .. s i - • ' •- : , i ' i . " Y a v ‘ 4 ■ ,4 V- ’ - ( ■ 4- • S ( . . r> ' . 4 -^;- i V . v v t 1 'y Q' & > • ! '• . ■ Yi.vY S ' : Y' y. 4 ' , . i • - " r . ! 1 '■■■■ ■ , , ( , v- ' \ Ys '< y \ • i, t y ’ , ; - [\ 1 Tv Y ' t - . ft -'X Y Y ' / r . -.4. ' r v • ■■■ • \ ; - Y ' * • i- ' " • .. . , .. -. X - - •. " , 1 1 ;V t ‘ ‘ y* r, ; { . > \ l. ■ • Y Y '' : ; , . ^ . •. - >:/ .-x l ' - /'" ^ \ - 1 1 , ■ - ■ v ■ 4 ' f‘ x» ! i 4 : 4 . . .. ' Y ' • I > - - , S- • ■ I - V " . , . S'-. , ' ■- ■ v . v' : I'V . • . - V ;■ .y ' V K ■ V 1 . \'V . J '■ ’ i ■' i ■ ■ % i • • ■ - r , . ' N ■ *• < . . , - . ( ■/ . V ' ’ ■ I . >-X ■ : 'V 'y yy : -«;fy y:y ■' - -y - 1 - v ■- .{ \ , . . . ; L - , ' 'A- t V- . y ■ >r , 'V< f ' ‘ - r. ■; ; y . . , ' { , , ' ■ - ■ T • O ! - / ■ c; .1 { - . : /' - / ' ~ •* > - : ! - ; '• 4 , y ; - ) . ' . ^ ' :• 4 * 'V , ' V 1 ' , ,A': V . | Z . yy -l > yl . } , y :t y - " . \ y y ./ ^ t'' ' n - • i, ’,s y * I? r ' -■ y,. : - • . t . ■ • - , > ] : • V ' 1 ! a v 'I ■ v/ •, i * y,\i> !*! '< 1 \ < I>, y!-'-7vs ■ " ■ V y ■ ’ : S - - r / -• y. /<■ y> , - '' , ' ‘ ’ v ‘ , • / , yy ;?■ ■ v : y yy y i , • P : />■ a- t ; > . y • V ' ?\ !;•'■ V I/- . , r f,r A! ; A ' *''•• < K 'f> r 1 y \ /••■ I y ’ -y - , \ k ^'| i r ^ J ; . K ■ w . I ' . y . *• ' D raw in gs 9 En gra/vi n gs, AND BRONZES, DONATED BY TIIE ARTISTS OF PARIS DUSSELDORF. H THE WHOLE TO BE SOLD BY AUCTION ., For the Belief of the Chicago Sufferers, By the MESSRS. LEAVITT, AT THE CLINTON HALL SALE ROOMS, ON TIIE EVENINGS OF Thursday, Friday and Saturday, May 16th, 17th, 18th. N O W O 1ST EXHIBITION AT TIIE L E A V I T T ART ROOMS, No. 817 BROADWAY. Admission 25 Cts. Season Tickets, Sfj>l. H GEO. A. LEAVITT & 00,, Clinton Hall, New York, 1872. These Paintings, Drawings, etc., are now on Ex¬ hibition at the LEAVITT ART ROOMS, SIT BROADWAY. ADMISSION TWENTY-FIVE CENTS. And will be sold by auction on the evenings of THURSDA Y, FRIDA V & SA TURD A V t MA Y 16, 17, 18, AT THE Clinton Hall Sale Rooms, Astor Place, COMMENCING AT A QUARTER BEFORE EIGHT O'CLOCK. H SPECIAL. In order to further this Sale, and to promote the convenience and comfort of buyers, Seats will be reserved for such parties as shall register their names and address, and receive a Card to this effect from the Auction¬ eers. Applications should be made early, personally or by mail. This is important. THE FRENCH COLLECTION. DONATIONS OF THE ARTISTS OF PARIS, The Works of Art in this Collection are the voluntary and generous donations of the Artists of France to the sufferers by the conflagration at Chicago. They number 127 paintings in oil, 24 water-color, pastel, and crayon drawings, and two bronzes. It is not necessary to speak here of their great value ; this will be apparent at once to all visitors ; nor of the fact that the Collection contains examples of the greatest living Artists, many of them comparatively unknown in our salerooms, owing to the difficulty of obtaining examples of their works in Europe. But it may be interesting to put on record here, by whose agency and in what manner this remarkable Collection was brought to¬ gether, and this will be found, fully explained, in the following correspondence : The movement was set on foot by Messrs. Goupil & Co., who made an appeal to the Artists of Paris ; in response to which a committee was formed and the following address circulated by them. ADDRESS TO THE ARTISTS OF PARIS. “ Sir, —In consequence of the misfortunes, without number, which have fallen upon France, the citizens of the Great American Republic have given to us expression of their most lively sym¬ pathy and help without measure. ‘'A misfortune beyond example has destroyed a great portion of the City of Chicago, causing loss immeasurable to her people. ‘‘On all sides Committees and Commissions have been formed to come to the aid of the unhappy city. “ It seems to us that the Artists of France should take advan- 3 tage of this occasion to testify to the people of America how fully they recognize the sympathy, which they, in common with all Frenchmen, have received from them. “Hence the formation of the Committee which now applies to you. “Messrs. Goupil & Co. have placed themselves at our dispo¬ sition, and promised to give all their best attention to this work. They will receive, at No. 9 Rue Chaptal, all donations of Works of Art destined to be sold for the benefit of Chicago. “We think that the exposition and sale of the donations ought to take place in New York, as it is probable that the result there would be more satisfactory than if the works were sold in Paris. “We, therefore, hope that you will associate yourself with this work, and give expression to your sympathy by a donation.” MEMBERS OF COMMITTEE. President: J. C. Meissonier, Membre de l’lnstitut. Vice-President: V. P. Guillaume, Membre de lYnsti- tut, Directuer de l'Ecole des Beaux Arts. MEMBRES : Baudry, Membre de l’lnstitut. Bouguereau. G. Boulanger. J. A. Breton. G. Brion. A. Cabanel, Membre de l'lns. E. Dubufe. E. Fromentin. Ch. Garnier. J. L. Gerome, Membre de l'lns. t Ch. Talabert. Pils. PUYIS DE ClIAVANNES. G. VlBERT. Secretaire: A. Goupil. In response to this appeal the donations were given, which form this unique and valuable collection. The works were ex¬ hibited in Paris prior to their shipment here, where they were visited by many thousands, and received the encomiums of the press and connoisseurs. Whilst the collection was being formed in Paris, the Committee in Paris wrote to the gentlemen hereafter named, asking them to form themselves into a committee to carry out the scheme of exhibition and sale in New York. This committee was 4 promptly formed at a meeting held at the residence of the Hon. E. I). Morgan, and was constituted as follows: IIon. E. 1). Morgan, Chairman . J. H. Sherwood, E3Q. , Treasurer. R. L. Cutting, Esq., Secretary. Beecher, Henry Ward. Butler, T. R. Church, F. E. Dinsmoke, W. B. (tIBSON, H. C. Healy, Aaron. IIoe, R. Huntington, 1). Johnston, J. Taylor. Knoedler, M. Kensett, J. F. Mathews, Nathan. Scott, Thomas A. Stuart, R. L. Stewart, A. T. Vanderbilt, W. 11. Walters, W. T. White, A. The collection completed, the works of art were shipped at Havre, on board of the St. Laurent, and carried to this port free of charge, by the French Steamship Line. In advance of their arrival, the following letter, from the Committee in Paris to that in this city, was received: “Paris, March 29 th , 1872. “ E. 1). Morgan, Esq., Sir :—We have the honor to acknowledge receipt of your letter, addressed tons on the 29th of February, and announcing the formation of your committee. We thank you for accepting the commission to realize the value of our donations in aid of the sufferers of Chicago. ‘‘The high standing and influence of your committee cannot fail to contribute, largely, to give to our donation even more weight than it merits. ‘“We now send you by steamer, from Havre, by to-day's steamer, fifteen cases, containing the paintings, drawings and bronzes which we have succeeded in bringing together. “It now remains with you, gentlemen, to distribute the proceeds of the sale of this collection in the manner your best judgment shall decide. It is our desire that there shall be no distinction made as to nationality in the distribution; as in our eyes all the unfortunate have the same claims on Christian charity. AVc beg to enclose a complete catalogue of the objects for¬ warded, 5 “ We have obtained free transportation of the eases from the Transatlantic Steamship Company. . . . “Receive, Dear Sir, and convey to the members of your Com¬ mittee, assurances of our esteem and consideration. “A. Goupil, Secretary. “Hon. E. D. Morgan, New York City .” CONTRIBUTIONS OF THE F REN C H AR T ISTS. CATALOGUE. -M-- I ALLATN (MME. PAULINE), Paris. Cherries Ripe. The pleasing contribution of a lady artist, much esteemed for her painting of still life, fruit and flowers. 2 ANTIGNA (JEAN PIERRE ALEXANDER), Paris. Medals , 1847 , ’ 48 , ’ 51 , ’55 ; Chevalier of the Legion of Honor, 1861 . The Young Peasant. Posed with charming grace ; quiet, yet attractive in color ; pleasing to the last degree in its freshness and simplicity of treatment, this painting will be accepted as one of the finest specimens of the painter ever exhibited with us. The bright, clear atmosphere, and the suggestion of “ the breeze that wooes the morning,” are admir¬ able ; and there is a sweet thoughtfulness in the face of this nut- brown maid, exceedingly attractive. Lite Jules Breton, Antigna teaches us the poetry of this peasant life in both its sunshine and its shadow. 9 3 Paris. v.. ARTZ (ADOLPHE), Morning Coffee. A very pleasing bit of out-door life, skillfully painted, and suggestive of that luxury—a cup of cafi a la frantais. 4 AUFRAY (JOSEPH). » , Pussy’s Breakfast. Aufray has not often been more happy in his subject than he is in this charming little passage of every-day history ; for pussies by the thousand are feasted in this compulsory way every morning that the sun rises. The absorbing interest of the little ones in the duty which they perform, is very pleasantly suggested, in the na¬ turalness of the pose of the figures as in the thoughtful little faces of the pair. There is agreeable sparkle, too, in the color which catches the light, and to which the quiet warm gray of the interior lends much value. 5 BACON (HENRY), • Paris. Born at Boston, U. S. H 0 Taking Toll. ' i t Mr. Bacon is well known among us, as a young artist who has done his country honor, while pursuing his art in Paris. He was a pupil of Edouard Frere ; but not a mere imitator, for his works are ever fresh in subject, and have a vi.or and abandon of color pecu¬ liarly his own. This “Taking Toll” represents, him well, and suggests in a pleasant and simple way, the rare delights of travel¬ ling in New England when the coal-scuttle bonnet was in fash¬ ion, and railroads neither so plenty nor so popular. There is a capital suggestion of motion in the figures, as of a bracing appe¬ tizing morning for a drive in the atmosphere, and the color is very pleasing, both of sky and figures. It is to be imped that the bridge-keeper won’t rebel against this invasion of his rights, and that there are other bridges to cross before this duet is finished, 10 Paris. 6 BAIRD (W. BARKER), Spring Time. A pleasant out door study, strong and skillfully painted by a Scotch artist, studying at Paris. 7 BARILLOT (LEON), Paris. Boats on Shore. A vigorous sketch. 8 BAUGNIET (CHARLES), Paris. Sorrow and Sympathy. This artist, always eminently successful in his stories of domestic life, has excelled himself in this touching picture. It will, of course, be apparent that in the figure in mourning the stricken city of Chicago is personified ; and in the other, the tender sympathy awakened by her great misfortune. If not so highly finished as others of Baugniet’s works, this picture is not the loser thereby, for it has the breadth of treatment and freedom of manner much more valuable. The grief of the mourner, is well expressed in the sweet, sad face, low’ bent in sorrow' ; as are also sympathy and protection in the face of her who, while she encircles her friend with protecting arm, looks out upon the devastation of the city. 9 BELLEL (JEAN JOSEPH). Medal', 1848 ; Chevalier of the Legion of Honor. In the East. A highly picturesque scene, impressive by the grandeur of its forms, aud its rich, but sombre color. The figure of the mounted Arab as he moves along the rocky pass, suggests rough travel, as the caves and recesses of the scene awaken thoughts of danger to the wanderer. 11 IO BERANGER (JEAN BAPTISTE-ANTOINE EMILE), Paris, Medals, ’46 and ’ 48 . The Oyster. An exquisitely fiuished little gem, in which we recognize the enjoy¬ ments that sometimes wait on waiting maids. The young woman knows the value of an oyster and where to put it. Nor could it find a daintier fate than that in store for it. In the figure on the panel there is clever suggestion that late suppers are congenial places to his Majesty—with the tail. The grace of pose, delicate color in both drapery and fiesli, and general brilliancy of this morsel of art are not excelled by anything in the collection. I I BERCHERE (NARCISSE). Medals, 1859 , ’61 and ’ 64 . Souvenir of the East. A masterly sketch by an artist highly esteemed in France for his treatment of Eastern subjects. I 2 BERNE-BELLECOUR (ETIENNE), Paris. Medal, 1869 . The Latest Fashion Gossip. In this picture the quaint humor and purely original treatment of the artist are well expressed. We can readily understand a lacquey so exquisite in his make-up being deeply interested in the latest styles. The light is admirably managed, and it seems as if the artist so posed his figures that lie might gratify his love for fun bv painting that droll, bird-like shadow on the tapestry. 12 Paris. 13 BLANC (PAUL JOSEPH), Prize of Rome, 1867. At the Fountain. A pleasing picture of a Roman girl idling at tlie spring, quiet yet very attractive in color. 14 BLOIS DE (F. B.), Paris. Casa de Orcanieus. A vigorous and brilliant out door study of an Italian ruin. 15 BOLDINT. Paris Waiting. A remarkably vigorous little gem, brilliant in color, and in every way skillfully painted. The impatience of the lady, who waits the appearance of her lord and master, is pleasantly suggested by her play with the parasol, and the somewhat weary pose of her figure and expression of her face. The presence of the cat—the personification of patience—is evidently lost on her. l6 BOMBLED (CHARLES), Paris. Born at Amsterdam. Chasing the Deer. A spirited picture, suggesting the closing scene of a deer hunt, and the manner in which the chase was pursued by Northern races in the days of primitive hunting weapons. 13 17 BOUGUEREAU (WILLIAM-ADOLPHE), Paris. Prize of Rome, 1850 ; Medals, 1855, 1857; Gross of the Legion of Honor, 1859, and Medal, 1867. The Happy Wife. A fine specimen of this great artist, much more desirable than many of his more highly-finished pictures. The color is pure and trans¬ parent, and the face admirably expressive of the trusting affection of the young peasant wife who listens to the pleasant words of a loving husband. 18 BOULANGER (GUSTAVE-ADOLPHE), Paris. Prize of Rome , 1849; Medals, 1857, ’59, ’63; Chevalier of Legion of Honor, 1865. ^ | The Arabs Friends. This artist, already a great favorite in this country, is one of the most successful of the pupils of Paul Delaroclie. Ilis specialty is Eastern subjects, in which he is best able to gratify the love of that brilliant color for which his works are so much esteemed. In this picture we have the return of the Arab chief suggested, and are reminded by it that it is the w'ife of the Arab to whom he entrusts the safe-keeping of his horse—his other self. There is probably no finer example of Boulanger’s sentiment, wealth of color and graceful composition, than this noble gift of his. The pose of the woman is grace itself, and the dreamy expression of her face awakens sympathy at a glance. How skillfully, also, is the drapery arranged, and how superb in color the garniture of the horse ; the group being rendered still more brilliant by the warm, shadowy background of foliage, and the cool, gray stone of the fountain. 14 19 BOURGES (Mlle. LOUISE), Paris. In the Country. Miss Bourges is recognized as one of the most successful of the pupils of Edouard Frdre, without being a copyist of him in either subject, manner of treatment, or color. She affects most the painting of chil dren out doors, and thus secures that brilliancy of color which she likes, and of which this charming little picture is a unique exam¬ ple, The landscape, too, is also painted with nice feeling and effective use of light and shadow. There is great delicacy and sweetness in the faces of these children—the actors in this happy scene—and an easy grace and naturalness in the action of the one and in the repose of the other. 20 BOUTIBONNE (CHAS. EDOUARD), Paris. Born in Hungary. Medal , 1847. Industry and Ease. An elegant interior, with a figure surpassingly graceful in form and expression—an amiable happy face, suggestive of true womanly gentleness of disposition. But more than in the pleasing nature of his composition, the great ability of the artist is to be recog¬ nized in the delightful beauty and harmony of his color, and in the finish of his accessories, so suggestive of the quality of the things they represent—the texture of the tapestry, the velvet of the lady’s dress, the delicate purity of the flesh painting, and the careful rendering throughout of the minutest detail. 15 BREST (FABIUS), Paris. 2 I Medal, 1864. Scene in Turkey. A highly interesting picture, and painted in a broad and masterly manner. But few artists have cared to paint the common-place life, either in-door or on the street, of the Turkish people for us ; the many preferring to give m the ideal rather t .an the real. But here we have the life which parallels that which is familiar to us here—the common people doing the common things of every-day life; and imagination is not slow to suggest, in the figures of this quaint street, the heroes and heroines of the Eastern stories, ever attractive to old and young. 22 BRETON (JULES ADOLPHE), Paris. Medals , 1855, ’57, ’59, ’61, ’67 ; Chevalier and Officer of the Legion of Honor. Women of Brittany at Church. In this picture of the-penitent the power of this great artist is ad¬ mirably expressed. It is the custom of the people of Bretagne, as of those of other Catholic countries, to burn tapers in honor of the Virgin or some saint whom it is desirous to propitiate. Thus, here we have the peasant woman telling her beads and burning her light : her face wonderfully expressive of the earnestness of her devotion. The distant lights and suggested forms tell up that the ceremony of the Mass is going on in the chapel. A sol¬ emn religious feeling pervades this picture, which is heightened rather than lessened by the severity and somewhat harsh features oi the toiling peasant of Bretagne. \ 10 Paris. 23 BRIDGMAN (FREDERIC A.), “ A Corner in my Studio.” Mr. Bridgman, an American artist, studying in Paris, is rapidly ac¬ quiring an enviable reputation, both at home and abroad. Several important pictures by him are owned in Brooklyn by connoisseurs who paid high prices for them. This brilliant little composition suggests his strength and vigor as a colorist, and provides us with a peep at his studio wealth, in the rich old hangings and antiques which he introduces in his pictures. The dog, it may be presumed, is modern—thereby, however, hangs a tale—he is a famous wag, they say. 24 BRILLOUIN (LOUIS GEORGES). Medals , 1865 and 1869. The Morning Stroll. A characteristic sketch of this brilliant colorist. There is nice sug¬ gestion of the pleasant stroll, in the pose of the figure, and of en¬ joyment of the scene and of the smoke in the face. The color is peculiar and attractive. The costume is of the time of Louis XV. 2 s BRION (GUSTAVE), Paris. Medals , 1853, ’59, ’61, ’63 ; Chevaliei' of the Legion of Honor, 1867 / Medal , 1867 ; Medal of Honor, 1868. At the Outpost. It is not often that an opportunity offers itself to secure a picture from this great artist’s easel of such moderate size as this ; and pos¬ sessing all the fine qualities of his work. Herein is an admirable expression of the anxious and important nature of duty at the out¬ post. The pose of the figure—the sudden rest, the uplifted hand and the thoughtful listening face tell the whole story at a glance. , The picture is noticeable also for the low toned rich color of the drapery, and the subtle atmospheric effect, by which the feeling ' of loneliness and suggestion of danger is much heightened. 17 [1 >» ST? 26 BROWN (JOHN LEWIS), Paris. Medals, 1865, ’66 and 67. The Amazon. This highly effective and brilliant little example of an artist of first rank, is presented to the charity hy P. L. Everard, Esq., a con nisseur who thus at once shows liis sympathy and confirms tlie good opinion of his judgment. For this is indeed a most pleasing piece of color and composition, with the light and shadow managed with great breadth and skill, and the story of the pleasant relations between the mistress and her pets most pleasantly told. 27 BROWN (JOHN LEWIS), Paris. Medals, 1865, ’66, ’67. Washington. A nohlo picture, in the broad and vigorous manner of the artist, who holds the highest rank as a painter of esquestrian subjects. Washington is represented on a prospecting tour, followed hy his staff. The pose of horse and horseman, as for a moment they have come to rest, is statuesque in its grace of line; and the ex pression of the face of the great General suggests the earnestness and seriousness of his character. This is, indeed, a generous con¬ tribution, and one which cannot fail to lend additional value to such works of this artist as may reach us in the future. 28 BRUN (CHARLES), Paris. Medal, 1868. “ Woman of Constantinople.” An excellent illustration of the masterly touch of this great artist, and a very interesting composition ; telling us in a very expressive manner, the primitive ways yet common with the humbler classes of the Eastern races. There is most pleasing motherly solicitude ex¬ pressed in the up turned face of the woman, who soothes her babe and at the same time prepares the simple meal. 18 29 BURGERS (HENRY), Paris. Student of the Academy of Fine Arts, Amsterdam. Study of a Head. A strong and able study, low toned and rich in color. 30 BUTIN (ULYSSE LOUIS AUGUSTE), Paris. The King’s Fool. This humorous and ably painted picture is the donation of Wm. H. Stewart, Esq. The Court Jester has ever been a favorite subject of the artist and the writer. That this painting by Butin gives admirable expression to the peculiarities associated with the char¬ acter, can be readily recognized—those peculiarities wherein drol¬ lery and intelligence, combined with cunning, are most satisfac¬ torily expressed. The pose of the figure, too, is fun-provoking, and in the presence of the pet parrot and the hound, we have ex¬ pression of the amiability of disposition for which the Fool was often distinguished. In color this work will be accepted as emi¬ nently pleasing ; for it is brilliant, without recourse to the exag¬ geration with which kindred subjects are often treated. 31 CABANEL (ALEXANDER), Paris. Prize of Rome, 1845/ Medals, 1852, ’55; Chevalier of the Legion of Honor, 1855; Member of the Institute, 18C3; Officer of the Legion of Honor, 1864 ; Medals of Honor , 1865 and ’67. An Italian Girl. Cabanel holds first rank amongst the greatest painters of our day ; and it is but rarely now that an opportunity is found to secure a specimen of his work; when such an opportunity does offer the price attained for a fine example is enormous. This finely mod¬ elled bust, with the classic head and face, expresses the power of the great master well. For it gives us not only the fine qualities of his work as an artist—truthfulness of flesh texture and subtle modelling—but that intensity of expression which he secures so admirably. It is only necessary to call to mind the “ Desdemona” by Cabanel, lately exhibited and sold at Goupil’s, to have before us such another expression of a bouI behind the canvas, as this beautiful and thoughtful face suggests. 19 32 CASTIGLIONE (JOSEPH), Paris. The First Lesson. A very attractive specimen of an artist wlio treats tliese Spanish subjects with much grace and feeling. The patient attitude of the Padre, the attentive pose of the child, and the position of the mother, so expressive of her admiration and delight, give us a very pleasing and highly picturesque group; much heightened in interest by the charms of form and color in the drapery and the happy arrangement of the background. 33 CLAUDE (JEAN MAXIME), Paris. Medals, 1866 and ’69. Huntsman and Hounds. A very beautiful low-toned picture, telling its story of early morning in the woods and of the preparation for the day’s sport, with con¬ summate skill. The dogs are drawn with the ability of a master in his specialty—of one who has made a life study of such work. The patience of some, and the expectancy and impatience of others, are as well expressed by the varied positions of the animals as the lat¬ ter emotion is on the face of the huntsman, who is evidently anxious for the coming of the sportsmen. The central point of interest is well secured in the scarlet jacket and burnished horn of the hunts¬ man, opposed to the sombre green of the foliage, which is also painted with great fidelity. 34 COESSIN DE LA FOSSE (CHAS. ALEXR.), Paris. Autumn in the Woods. 0 A remarkably vigorous expression of late autumn in the woods. Nothing could be more satisfactory than the way in which the nearer foliage and almost naked stems are painted ; and there is fine sentiment in the introduction of the dark, bare limbs of the tree against the cold, grey sky. The crispy looseness of the dead leaf is very skillfully suggested, and the figures of the sportsman and his dog, happily introduced, are in perfect keeping with the scene. 20 35 COM PTE-CALIX (FRAN901S-CLA U DIUS), Paris. Medals , 1844, ’57, ’59 and ’03. “ He Comes!” A sparkling little picture, the figure posed with grace, in the atti¬ tude of expectancy. That the expected one is near i* suggested by the well-pleased expression on the lady’s face, and by the less bashful dog, who wags his recognition, and thus welcomes the lover to his mistress. 36 COOMANS (JOSEPH), Paris. A Daughter of Pompeii. The beauty and brilliancy of Coomans’ Pompeiian pictures is every¬ where recognized, and there are many highly prized examples of him in our collections. But it has not been our good fortune hitherto to have had any work of his so superb in color and mas¬ terly in treatment in every respect, as is this beauty of Pompeii. Indeed, it is difficult to find words to express in fitting terms the admiration which such a picture as this excites. Nor is it for its brilliancy of color only that the contribution must be looked upon as worthy of great admiration. The hand of the master is no less recognizable in the charming disposi tion of forms and in the exquisite painting, in both light and shadow, of the flesh. And how well, also, he here typifies the abandon and barbaric elegance of the most luxurious people known to history. ♦ 37 COT (PIERRE AUGUSTE), Paris. The Brunette. A carefully and powerfully painted head and bust, and an excellent specimen of an artist whose faces are remarkable for their life like earnestness. Many will remember the great beauty of form and expression in the painting by this artist, not long since exhibited at Goupil’s, of a young, fair girl reading—a picture which created quite a sensation at the time. This painting is distinguished no less for that same earnestness and intensity of expression. There is a startling reality in the merry and searching look of this dark- brown maid, which has wonderful attraction in it. 21 38 33 * COTTIN (PIERRE). Barn-yard Scene at Bassecour. A carefully and successfully painted picture, with fine sunlight effect and admirable suggestion of texture in the old architecture of the place. The birds and all the accessories are skillfully painted, and truthful and effective in color. 39 COUBERTIN (CHAS. de), Paris. Chevalier of the Legion of Honor, 1805. Affliction. A highly emotional picture, and one which presents with painful truthfulness and power, a passage from life, of deep sorrow and solemnity. And the great artist is recognized in the way in which he contributes, by the pose of his figures, the expression of their faces, and that weird effect of light peculiar to the interior of the house of prayer, to impress us with the grief yet prayerful recon¬ ciliation of the women. Technically the painting is finished in the artist’s best manner. It is indeed a highly impressive work. * [\§ 40 DARGELAS (HENRI), Paris. ' “ A Clock that Goes.” There can be no doubt of the appropriateness of the title, whatever there may be of the future good behavior of the time-keeper. This is a capital story of the mischief indigenous to childhood, and sprouting readily when the opportunity presents itself. The absence of the mother has given the little rogues a rare chance to pursue their scientific investigations, and such is their ardour, evidently, that the more prudent little sister’s remonstrances are lost upon* them. 22 4i DARJOU (ALFRED), Paris. The Gamekeeper. A welcome visit to the kennel of the old whipper-in ; the dogs sug¬ gesting their readiness for a good day’s sport. 42 DAUBIGNY (CHAS. FRANCOIS), Paris. Medals, 1848, ’53, ’55, ’57, ’59, ’07 ; Chevalier of the Legion of Honor. Boats on Shore. An example of the breadth of manner and masterly vigor of an artist of great reputation, whose paintings command the highest pi ices. He is not a painter of pretty pictures, but chooses rather such sub¬ jects as are expressive of life in shadow, here suggested in the glowing sky, the sombre forms of the fishing boats, and the bleak stretch of sandy beach. 43 DEBON (HIPPOLYTE), Paris. The Visit to the Do^e. This important picture represents the visit of the Turkish Ambassa¬ dors and his suite to the Doge of Venice in 1574; when all civilized nations paid their tribute of respect and admiration to the great republic. The scene is laid at Lida, and is historical. Such generosity as that which inspired so noble a donation as this, can¬ not be over praised ; for in it we have, evidently, the thought and labor of many months, with a result of great value. The glory of the time, when Venice stood first among the cities of the world, is admirably expressed in the wealth and beauty suggested in this reception. The grouping is done with fine effect, the figures gracefully drawn and posed, the faces expressive, and the color throughout rich and mellow. 28 Ifo 44 DE COCK (CESAR), Paris Landscape. A fresli and vigorous picture, pleasantly suggestive of early summer, and with airy freshness of atmosphere and color. 3-9 -o 45 DELOBBE (FRANCOIS ALFRED), Paris. The Prayer. A most expressive and thoroughly pleasing subject. The earnestness of devotion and trusting faith of childhood could not be more hap¬ pily suggested than in the face and attitude of this young girl. There is nice modelling in the swat thy sun-kissed flesh, which sug¬ gests the healthy, hardy life of the peasant; and rich color in the picturesque head dress. But few pictures in the collection can rival this in the interest which attaches to its simple and graceful'na- turalness. 46 DELORT (CHARLES EDOUARD), Paris. Early Visitors. A unique example of the originality and vigor of an artist of rapidly rising reputation, assumed by connoisseurs as likely to take the place of the lamented Zamacois. The composition suggests the entrance of cavaliers into a city in the morning, bright and early and the commotion that such visitors would be likely to awaken The victualler, who evidently takes deep interest in the coming strangers, is doubtless questioning himself whether or not they will stop at a neighboring inn, and what his chances are for ten sous more per pound for chicken. The effect of early morning is very fine, and the pose and pleasing color of the butcher highly attractive and suggestive, 0 “ 24 47 DETAILLE (J EAN-BAPTISTE-EDO UARD> Medals, 1869. Grenadier of the Guards. A vigorous expression of tlie strength and naturalness of this artist, who has made a brilliant reputation within a few years, in treating subjects relating to military life in France. A painting, lately painted by him, in which German soldiers are seen carrying off booty from a French town, was sold by Goupil & Co. for 25,000 francs. 4 8 DUBUFE (EDOUARD). Thoughts of Love. An important example of this artist. The subject is a young girl knitting, but with an expression of face which suggests that her mind is not with her labor. The dog looks up enquiringly in the face of his mistress. The treatment is in the broad and effective manner of the artist, aud partakes largely of his brilliancy of color. 49 DURAN (CAROLUS), Paris. Medals , 1866 and 1869. Head of an Italian. A good study ; noticeable for the breadth and vigor characteristic al¬ ways of this artist’s work. 25 So DUVERGER (THEOPHILE-EMANUEL). Medals, 1861, 1803 and 1865. Ready for the Fray. One of the most charming stories of child-life, probably, ever painted by this fine artist, is seen in this equipment of baby Cupid, by his sister, to whom the danger of such a play-toy as love’s quiver can scarcely yet be known. And thus the subtle charm of the pleasing story, since it suggests how readily, at sweet sixteen, the gentle sex do take to bows and arrows. There is also a sense of humor in the evident reluctance of the little one to be so burdened— heavy is the head that wears a crown. This picture, in color and composition, is in Duverger’s happiest manner. 5i ELVEN (PAUL TETAR, van), Paris. Street Scene. A highly picturesque street scene, rich in quaint architecture, and heightened, in its most pleasing effect, by the play of the subdued sunlight from a sky laden with fleecy clouds. The incident of the forge and its ruddy light is very skillfully introduced, and there is excellent suggestion of life and bustle in the distant street. 52 ESCOSURA (IGNACE de LEON y). The Musketeer. A brilliant little picture, in the highly-finished manner of this artist. 26 53 FAIVRE DUFFER (LOUIS STANISLAS), Medals, 1851 and 1861. The Washerwomen,—A Recollection of Italy. This is the simple title given to this beautiful work by the artist; but the close observer will recognize that another is suggested by the attitudes of the women, and the expression on their faces. In her who bears the infant, it is not difficult to perceive the deceived and fallen one, for this is but too palpably suggested by the finger of scorn of the kneeling figure, and the contempt in the face of her companion The sad face of the mother also con¬ tributes to the story. The work, technically, is very pleasing, carefully drawn and composed, unobtrusive yet rich in color: 54 FORTUNY. Interior. This highly suggestive sketch is from the easel of an artist whose works to-day are so much sought after, that it is difficult to obtain the lea«t important of his productions. He is at present engaged on a picture for one of our collectors, for which he is to be paid 60,000 francs in gold. He is recognized as one of the great masters of the modern Spanish school. Sketchy as this picture is, there is remarkable suggestion of character in it, and exquisite grace in the pose of the figure of the woman feeding her pet canaries. 55 FRfiRE (PIERRE EDOUARD), Paris. Medals , 1851, ’52, and ’53; Chevalier of the Legion of Honor. An Interior. An example of an artist of world-wide fame, representing a cottage interior in Auvergne, and suggesting the rude simplicity of the peasant’s life. 27 5 6 FROM ENT (EUGENE), Paris. Chevalier of the Legion of Honor , 1868. The Distribution. A charming Idyl, with figures gracefully drawn and expressive. The female figure is of statuesque beauty, and probably symbolizes the Goddess of Night, giving sleep to the weary. 57 FROMENTIN (EUGENE), Paris. Medals , 1849, ’67, ’59, ’67 ; Chevalier of the Legion of Honor, 1859 ; Officer of the Legion of Honor , 1869. Watering the Horses. A fine example of this distinguished artist, notable for his admirable painting of animals and the beauty and richness of his color. This specimen illustrates his rare knowledge and ability in laying on color, so that every touch of his brush is effective. The scene is Eastern, as suggested by the distant architecture, and the costume and color of the rider. But very few examples of this artist reach this country. 58 GEROME (JEAN LEON). Medals , 1847, 1848, 1855 ; Chevalier of the Legion of Honor, 1855; Member of the Institute, 1865 ; Medal of Honor, 1867 ; Officer of the Legion, 1867. Souvenir of Mount Sinai. The peculiar merits of this great artist’s manner are apparent in this sombre figure of the East, and in the primitive mode of life of the children of the desert and the mountain—the heathen possessors of the land most sacred to the Christian and the Hebrew which he here suggests. 28 59 GIDE (THfiOPHILE), Paris. Medals, 18<51, ’65, and ’66; Chevalier of the Legion of Honor , 1866. Early and Late. A vigorous example of this great artist, powerful in its effect of light and shadow and rich in color. The different rewards that wait on late and early risers is capitally told, in the happy face of the ruddy monk coming home laden with his alms, and in the sohr and dis contented one of him who sets out upon his mission. 6 o GIRARDET (KARL), Paris. A Swiss Home. A pleasant summery picture of a Swiss homestead—one of the com¬ fortable old cottages of the valley—not the conventional chalet of the highlands. 6i GIRARDET (HENRI), Paris. A Swiss Woman. 34 ) A masterly head and bust of an old woman, full of expression and rich in color. 29 62 GLAIZE (LEON), Paris. Medals, 1864-, ’66, and ’68. Head of a Young Girl. A fine expressive head, painted with great skill and effectiveness. 63 GOUBIE (JEAN RICHARD). The Morning Walk. Even when a choice will be so hard to make as in this rare collection this contribution by Goubie cannot fail to be selected as one of the gems. It is unquestionably one of the most thoroughly realistic pictures ever exhibited in New York; for its realism is as recog¬ nizable in the tree forms and foliage ; in the paintiug of the dis¬ tant house, and the grasses of the sward, as it is in the admirable finish of the horses, where texture is so wonderfully suggested. This is, indeed, a work of great beauty, thoroughly satisfactory in all its parts, and one which cannot fail to elicit admiration from all who will give it the careful study which it merits. 64 HAMMAN (EDOUARD-JEAN-CONRAD), Paris. The Rivals. ' A noble contribution, surely.. Attractive in subject and composed and painted with great skill and most pleasing results. The con- cen*ration of light on the figure of the lady is highly effective, yet subdued. The delicate drapery of her figure and her fair face are positively luminous. The vexation of the suitor, appropriately placed in shadow, is well suggested by the upraised face, its ill-concealed sneer and the petulant pulling at the gloves. That the gallantry of the rival—a courtier in two senses—is likely to reap a rich reward, is suggested by the well-pleased look of the beauty, as she waits but for his closing compliment to accept his gift. The scene is Yenice, and the time suggested three hundred years ago. 30 FRENCH PAINTINGS, Etc. -M -- Prices realized at the Sale of the Paintings given by the French Artists for the benefit of the Sufferers by the Chicago Fire; in Dollars , also in Francs ( gold ). May 16th and 17///, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hall, New York. Nos. Dollars. Francs, 1 Nos, Dollars, Francs, Nos. Dollars. Francs, Nos, Dollars. Francs. 1 50 225 ; 40 115 518 78 80 360 117 20 90 2 425 1913 i 41 60 270 79 80 360 118 475 2138 3 90 405 42 200 900 80 260 1170 119 1300 5850 4 110 495 48 825 1463 81 170 765 120 205 925 5 150 675 44 150 , 675 82 175 788 121 210 945 6 65 293 45 220 990 83 100 450 122 200 900 ft t 85 158 46 625 2813 84 160 720 123 925 4163 8 900 4050 47 425 1913 85 175 788 124 275 1238 9 .25 112 48 325 14G 3 86 180 810 125 360 1620 10 360 1620 49 35 158 87 645 2903 126 90 405 11 100 450 50 100 450 88 310 1395 127 12 450 I 2025 51 200 900 89 2000 9000 128 25 112 13 50 225 52 325 1463 90 100 450 129 25 112 14 30 185 53 150 675 91 270 1215 I 130 150 675 15 200 900 54 ' 400 1800 92 110 495 131 15 68 16 30 135 55 110 495 93 60 2 . 0 132 260 1170 17 600 2700 56 60 270 94 75 338 133 70 315 18 700 8150 57 625 2113 j 95 110 495 n 34 85 383 19 55 248 58 1350 6075 96 110 495 135 25 112 20 750 3575 59 200 900 97 110 495 ! 136 20 90 21 200 900 60 85 383 98 40 180 137 35 158 22 800 3600 61 35 158 99 110 495 138 90 405 23 50 225 62 90 405 1 100 425 1913 139 25 112 24 225 1013 63 390 1755 1 101 125 563 140 35 158 25 575 25s8 64 750 3315 102 140 630 141 50 225 36 60 270 65 225 1013 103 125 563 142 7* 34 17 300 1350 65* 25 112 j 104 50 225 143 20 90 '8 45 208 66 40 180 105 ■ 40 180 144 224 102 39 110 495 67 110 495 106 110 495 145 2275 10238 10 150 675 68 165 743 107 150 o75 146 25 112 d 800 3600 69 70 315 i 108 675 303 s 147 35 158 12 275 1248 70 110 495 109 540 . 1 2430 148 20 90 13 175 788 71 400 1800 110 150 675 149 350 1575 :4 100 450 72 50 225 111 55 248 150 25 112 5 240 1080 78 80 360 112 25 112 151 25 112 6 650 2925 74 275 1248 113 100 450 152 75 338 160 720 75 190 855 114 95 428 153 150 675 330 1485 76 260 1170 115 700 3150 40 180 77 190 1 855 116 420 1890 TOTAL AMOUNTS.—Dollars 37,355.00. Francs 168,098. DUSSELDCRF PAINTINGS, Etc. -H Prices realized at the Sale of the Paintings given by the Dusseldorf irtists for the benefit of the Sufferers by the Chicago Fire ; in Dollars , Iso in Francs (gold). May 18, 1872. The Messrs. LEAVITT, Auctioneers, Clinton Hail, New York. Note. —Some few errors occur in the Catalogue of this Collection , rising from names incorrectly given , and a few numbers duplicated. Jos, Dollars, Francs. Nos. Dollars. Francs. Nos. Dollars. 1 Francs, Nos. Dollars. Francs. 31 90 405 201 195 878 244 45 203 284 5 23 32 13 58 202 20 90 245 60 270 285 65 293 33 55 248 203 100 450 246 70 315 286 15 68 14 75 338 204 60 270 m 65 293 287 17.50 80 35 75 338 205 625 2813 248 20 90 288 15 68 36 40 180 206 25 112 249 40 180 289 55 248 37 25 112 207 125 563 250 30 135 290 12.50 56 38 25 112 208 65 293 251 40 180 291 140 630 39 60 270 209 95 428 252 80 360 292 50 225 70 30 135 210 >25 112 253 210 945 293 90 405 ri 55 248 211 110 495 254 60 270 294 45 203 72 J 00 450 212 40 180 255 15 68 295 10 45 '3 45 203 213 85 383 256 100 90 296 3 13 '7 100 450 214 10 45 257 200 900 297 11 50 '5 20 90 215 30 135 258 5 23 298 5 22 '6 45 203 216 50 225 259 30 135 299 35 158 r 75 338 j 217 20 90 | 260 25 112 1 8 35 158 218 55 248 1 261 65 293 ) 30 135 219 35 158 262 30 135 Engravings. ) 250 1125 220 70 315 263 55 248 1 3.50 15 1 L 20 90 221 35 158 264 170 795 2 1.25 5 3 loo 450 222 15 68 265 45 203 3 6 27 3 35 158 223 15 68 266 45 203 4 1.75 7 L 55 248 225 25 112 267 55 248 5 1.75 7 > 30 125 227 20 90 268 150 675 6 2 9 » » 35 158 228 80 360 269 55 248 7 4.50 20 r 30 135 229 30 135 270 85 383 8 5 18 > > 105 473 | 230 30 135 271 30 135 9 2.40 10 9 25 112 231 35 158 272 10 45 10 3.13 14 ) 10 45 232 70 315 273 30 135 11 3.75 16 1 10 45 234 125 563 274 100 450 12 2.25 10 3 30 135 235 110 495 275 110 495 13 2 9 4 30 135 236 75 338 276 125 563 14 2 9 5 20 90 238 25 112 277 40 180 15 1 4 6 85 383 239 55 248 278 45 203 17 13 58 7 . 70 315 240 15 68 279 65 293 18 17 77 8 | 25 112 241 30 135 280 35 158 19 4.50 20 fi 1 25 112 242 25 112 282 60 270 0 | — r 90 405 243 65 293 283 35 658 4 TOTAL AMOUNTS.—Dollars, 7,978.00. Francs, 35,900. 65 HEULLANT (ARMAND). The Drawing Lesson. X ^ " Heullant is amongst the first of that new school of color seen in the works of Fortuny, Madrazo, Pasini, Delort and a few others, who have succeeded so admirably in giving us brilliant out-door sub¬ jects, with flesh, drapery, and objects generally, in the full glare of sunlight, or in the broad, diffused light from a cloudless sky. Of this the idyl before us, “ The Drawing Lesson,” is a very beau¬ tiful example. The figures are posed with statuesque grace and draped no less skillfully, yet simply and naturally, for effect. The color effect, in the bright light, is brilliant, and there is the airiness, the unmistakable out-of-door feeling, which the artist sought to secure as a primary object. The story is not new, yet has not. often been so gracefully told—of the young art student receiving his first lesson. 6s* HIRSCH (ALPHONSE), Still Life. Paris. A broad and ably painted study, suggestive of the creature comforts of the studio. 66 HUGARD (CLAUDE SEBASTIEN). Swiss Landscape. Morning effect on the lofty Alpine peaks, with lake in the foreground in shadow, and the mists rising upwards towards the sunlight. 31 * 67 IMER (EDOUARD). The Gulf of St. Juan,— where Napoleon disembarked in 1814. A very beautiful marine; able as a work of art and valuable as an historical painting ; being a vivid portrait of the Gulf of St. Juan and the blue Mediterranean, at the point whereupon Napoleon landed on his escape from Elba. JACOMIN (ALFRED LOUIS), A Pause in the Journey. Paris. A skillfully painted and highly effective bit of life outdoors at a time when travelers were much more picturesque objects than now-a-days. How different the quaint costume here depicted to the rigid lines and sombre color of the drapery of to-day ! Doubt¬ less there is a story in this duet, if we could hear it; for the ex¬ pression of the gayest of the gallants suggests his disappointment about something. Who knows, but there is a woman in the case, more interesting, if less kind than the bounteous hostess, who comes with nourishment for the body, if not with comfort for the soul 1 JACOMIN (MARIE-FERNAND). Early Morning. A broad and effective sketch, with the feeling of early morning con¬ veyed in the landscape and sky, and of honest determination to do a good day’s business in the figure of the sportsman. 32 » 70 JACQUET, (GUSTAVE), Paris. Fancy Head. A vigorous work, eminently pleasing in expression, and rich in color. 71 JALABERT (CHARLES-FRANQOIS), Paris. Medals , 1851 , ’ 53 , ’ 55 , and ’ 07 ; Chevalier of the Legion of Honor , 1866 ; Officer of the Legion of Honor , 1867 . The Lesson. A/-6C An exquisite example of this great artist. Composition could not be more graceful, expression more truthful, or color more pleasing. This is, indeed, a gem, worthy of the study of the artist, for its rare technical qualities, and most covetable to the collector as a unique example of one of the greatest painters of our time. 72 JAN MOT (LOUIS). Pupil of Ingres. Born at Lyons. Reverie. This picture, of a young Italian girl, was exhibited at the Paris ex¬ position of 1870. It is a good example of the artist, pleasing h- expression and rich in color. 73 JAPY LOUIS), Paris. Landscape. A pleasant passage of lake scenery, vigorous and truthful. 33 / JOURDAN (ADOLPHE), Paris. Medals, 1864 , 1866 and 1869 . Unconscious Beauty. A wonderfully expressive and beautiful face, painted with the skill of a great artist; for in it vve recognize that which is most valu¬ able, the suggestion of spirit on the canvas. Our admiration is less for the merit of technique than for the wonderful suggestion of a beautiful humanity in the sweet and thoughtful face before us the dreamy, dove-like eyes, the exquisitely fashioned mouth sug¬ gesting the happy thought of the lovely dreamer. 75 KAEMMERER (FREDERIC HENRY), Paris. Innocence. A very beautiful and highly finished nude, modeled with consummate skill and eminently pleasing in color. The pose is extremely natural and graceful. It must be conceded that the artist has most satisfactorily expressed his idea of innocence in this pure and charming picture. And pleasing as his figure is, the cool land¬ scape opposed to it is no less so, and admirably in keeping with its sweet repose. The face of the figure being turned from us calls attention to the approaching figures ; but a glance at these while it suggests her sensitive modesty, does not suggest invasion of the privacy of the fair bather—beautiful as a Naiad. LAMBINET (EMILE), Paris. Medals, 1843 , ’53; and ’57 ; Chevalier of the Legion of Honor, 1867 . Home in Normandy. One of the finest specimens of this renowned French landscape paint¬ er, if not the very best, ever imported ; and to his honor be it said, for the donation is indeed a noble one. The scene is in Normandy, and suggests the peaceful peasant life of that lovely province. The stream in the foreground, overhung by fruit-laden trees; the warm shadows beneath these, and the bright passage of sunlight in the middle distance, make up a composition of most pleasing repose and natural beauty. 34 77 LANDELLE (CHARLES). Medals , 1842 , ’ 45 , ’ 48 , ’ 55 ; Chevalier of the Legion of Honor, 1855 . W asherwomen. A highly finished and very interesting composition, with the figures well grouped and full of life and motion. The long shadows and dull light suggest the early morning, and account for the low- toned and quiet character of the treatment. The sea, as it comes rolling in, barred with long rays of light, is also painted with nice feeling and in perfect harmony with the cool gray sky above it. The fastidious care of the conscientious artist is seen also in the painting of the pebbly beach, of the utensils of the women, and of the piles of garments scattered round about. Landelle has, indeed, done honor to Chicago in this choice example of his skill. LAPIERRE (LOUIS EMILE). Medals, 1848 and ’63 ; Chevalier of the Legion of Honor, 1869 . Winter Scene. Huntsmen at a fire in the woods, towards the close of a day’s sport. The twilight feeling is well suggested, and there i-> masterly vigor in the sketch throughout. LASSALLE (LOUIS SIMON), Washing Day. Paris* A charming specimen of an artist well known and esteemed with us. It has all his best qualities, happiness of subject, truthful and harmonious color, and careful treatment of accessories. Could a more happy little housewife be imagined than this snug little lady, well content to do her share to make home comfortable ? Such pictures are sermons on contentment, that state for which more than any other, life’s roses bloom, and to which the sunlight comes with joy. 35 8o LEJEUNE (EUGENE). Spring Flowers. A very pleasing story of the joys of life’s spring time, and of peaceful peasant life. The face of the elder sister is very charming and ex¬ pressive, and her figure gracefully posed. The landscape, although but of secondary interest, it very skillfully painted and agreeable in color. LELOIR (.LOUIS), Paris. Medals, 1864 and ’ 68 . “ At Bay.” A highly finished specimen of this renowned artist; powerful in its action and brilliant in its color. The face is a fine study of charac¬ ter, expressing as it does the cou age and determination to brave the fight against all odds. There is a rare picturesqueness in the quaint, costume of the period, and the oddly formed weapon—the arquebuss—is itself a study. The collection -does not contain a picture upon which more fastidious care has been bestowed to se¬ cure finish by the artist, and but few of such interest to the stu dent of history, apart from its intrinsic merits as a work of art, which are great. 82 LEMAIRE (Mme. MADELINE J.), Paris. The Guitar. A work of very remarkable strength and beauty ; one of the most im¬ portant and valuable contributions of the collection and the gift of a lady artist. The eminently graceful and natural poses of the figure ; the admirable disposition of the forms and color of the drapery and the subtle modelling of face, neck, arms hands and bosom, cannot be overpraised. And the features, if they have not the conventional beauty of outline, are full of expression, sug¬ gestive'of the genius of the gifted Improvisatore. A work of un mistakable merit, this painting cannot fail to secure its full share of admiration. » 36 Paris. 83 LENOIR (PAUL-MARIE), Egyptian Water Carriers. A very peculiar and interesting picture, descriptive of life among the lowly in the hot land of Egypt. The strong contrast of light and shadow, and the thick atmosphere, tell of the early morning. The figure of the nearest woman is posed with infinite grace—itself a picture—and the long line of forms present a tableau dreamy and strange in character, yet eminently pleasing and suggestive. 84 LESREL (ADOLPHE ALEXANDRE). The Fisherman’s Wife. A desirable specimen of an artist, whose works are now much sought after with us, and admired for their careful finish, and brightness and transparency of color. 85 LfiVY (EMILE), Paris. Prize of Rome, 1854 . Medals, 1859 , 1864 , 1866 , 1867 , and Medal of Honor at the Universal Exposition of year last named. Sad and Weary. •This very beautiful work will readily be accepted as one of the most attractive and, in every respect, pleasing pictures by this artist, ever exhibited here. The story of the worn-out watcher by the sick-bed is most touchingly told in the expressive face and sug¬ gested lassitude of the tired limbs. But, beyond this, and appeal¬ ing most forcibly to the connoisseur, is the overflowing wealth of color in the picture, and the admirable harmony with brilliancy which pervades it. Abandonment to rest of wearied human na¬ ture, and the quiet of the still chamber wooing to repose, could not have been more skillfully or successfully suggested. « 37 86 LOBRICHON (TIMOLfiON). Medal, 1868 . Mamma’s Darling. A thoroughly charming bit of baby life, and painted with consum mate ability. Nothing could be more graceful than the pose of the little figure, nor more satisfactory than the painting of each de¬ tail. The sunny face and head, the plump and dimpled arms, the sparkling color of the dress and ribbons, the gathered pets, the garden steps and vines and flowering shrubs, all are finished with the nicest care, and with a harmony and beauty rarely, if ever, equalled in a work of this character. Such a sweet picture as this is, indeed, a treasure in a home, and a sermon to old bachelors. MADRAZO (FREDERIC Born at Madrid. Medals, 1838 , ’ 39 , ’45 and 1855 ; Chevalier of the Legion of Honor t 1846 ; Officer of Legion of Honor , 1860 . The Mandolin. An exquisite specimen of an artist of world wide fame, eminently beautiful in color, and pleasing in subject. The pose of the figure is wonderfully graceful in its perfect abandon, and the face inter¬ esting beyond translation in its dreamy expression and beauty. The masterly manner of the execution of this little gem is truly marvellous; the color has been laid everywhere with such con¬ summate knowledge and skill. 38 88 MAZEROLLE (ALEXIS JOSEPH), Paris. Medals, 1857, ’59, and ’61. The Prophet Elijah. There is no painting in this noble collection so calculated to produce a profound impression on the visitor as this truly great work, nor one more likely to impress him with astonishment at the great¬ hearted charity of tire artists of France. For here we have not simply a sketch or study, nor even a carefully finished work merely, the labor of a week or month; but a masterly composition, noble in . subject and sentiment, and painted with such ability that words of praise must fail to do it justice. The Scriptures do not tell of a miracle of precisely this character done by the prophet, but of the raising of the son of his hostess. There may be a legend of the Church, however, to justify this treatment; or the artist may have assumed that Elijah performed many such wonders. The figure of the prophet is eminently imposing, and the face wonderfully expressive of the magnetic action of the will. And how admirably is the birth of a new life portrayed in the face of the rising figure still encased in the covering of the dead! The first flush of color tints the flesh ; between the parted lips enters the breath of life, and there is the joy of a glad awakening,-of be atitude almost, in the general expression. And only less impres. sive is the figure of the rejoicing mother, whose gratitude is so fervidly told by her gesticulation and the unspeakable joy of her uplifted face. The figures of the watchers, abandoned to fear, no less admirably posed and painted, with the skillfully painted archi¬ tecture, and accessories of the place, complete a painting which de¬ serves the highest rank among modern works of art, and cannot fail to make the painter honored and beloved wherever his noble gift finds exhibition. 3d 8 9 MERLE (HUGUES), Paris. Medals, 1861 and 1863. Gross of Legion of Honor, 1866. Industry. A remarkably vigorous work by one of the greatest of living artists, and one who approaches more nearly the great painters of the past than any other of his school The light and shade of this head is managed with consummate skill, and the graceful abandon ot dress and flowing wealth of hair are pleasing to the last degree. I he face, too, has all that subtle beauty of expression, for which Merle’s studies of life are so famous, conveying at a glance, as they always do, the prominent thought of the subject. It will be no¬ ticed, too, how gracefully the hands are drawn, and how sugges¬ tive their position is of the motion of the lingers. The color is quiet, yet eminently rich and pleasing. 90 MEYNIER (JULES JOSEPH), Paris. Medal, 1867. Souvenir of Italy. Interior of a court yard with figures of women, and a donkey waiting for his rider. A carefully painted and pleasing picture. 9i MOREAU (CHARLES), Paris. After Breakfast. A thoroughly satisfactory painting, possessing every good quality that a genre painting should possess-pleasing in story, graceful in pose ot figure, quiet yet rich in color and most carefully finished throughout. The pearly tints of the background are exceeding tender, and the quality of the objects represented is everywhere suggested with great skill. 40 92 MOUCHOT (LOUIS), Paris. I/O A Home in Capri. A humble Italian home, within sight of Vesuvius, is here suggested, with the mother watching her sleeping babe, and preparing the warp or woof for the weaver seen in the more distant room. Paris. MUNKACSY (MIHALY), Study. A vigorous sketch of a girl’s head. Paris. MURATON (ALPHONSE), Medal , 1868. Winter. A highly suggestive and vigorous sketch, with the true winter feel¬ ing in it; and a portrait of “ Un Coin de Paris,” which will, doubt¬ less be recognized by many. EUPHEMIE), Paris. MURATON The Dessert. A vigorous and very effective painting of peaches, grapes and objects of the table. The peaches are rich in color, ripe an l luscious. These, and the other objects are treated with a nice love of truth, and with a result much more satisfactory than is often seen in more highly finished pictures of like subjects. 41 9 6 NAVIER (GABRIEL), Paris. Expectant. 1(0 F A carefully finished work, skillful in drawing, pleasing in color and with admirable suggestion of texture in the drapery. The lady is attired in the costume of the time of Louis XIII. It scarcely needs to be told that she is waiting the coming of a welcome guest. 97 NITTIS (JOSEPH de), Paris. Pupil of Gerome. / In the Sunshine. A sunny little gem, most delicate in its finish and delineation of detail. 9 8 NORBELIN. A Recollection of Italy. A very beautiful painting, classic in subject and treatment 99 * OUVRlfi (PIERRE JUSTIN), Paris. Lake Scene. A picturesque view of a Swiss village on the border of a lake. 42 IOO PASINI (ALBERT), Paris. Born at Basseto, Italy. Medals 1859, 1863, 1864, and Gross of the Legion of Honor, 1868. n-Vf At the Mosque. A very beautiful example of one of the greatest of living colorists, and painted expressly for this Charity. There are but very few ex¬ amples of this artist in America, his works being much sought after in Europe, and obtainable only at very high figures. He is deservedly esteemed as a leader in a new school of color, wherein the aim is to secure the peculiar clearness and brilliancy of color in the full light, yet preserve the delicacy and harmony which objects, so placed, present in nature. Of this outdoor breadth and brilliancy this little picture is an exquisite exponent. Tho ar¬ rangement of color in the drapery of the figures is as effective as a well-ordered bouquet of flowers ; the positions are graceful and natural, and the finish extremely delicate. There is story in the picture, too ; for which, note the longing look of the dismounted horseman watching the movements of the women, as, with their beauty veiled from him, they pass to and from the Mosque. IOI PERIGNON (ALEXIS), Paris. Medals } 1836, ’38, ’44 ; Chevalier of the Legion of Honor , 1856. ) Joan of Arc. \ An imposing figure of the Maid of Orleans; less refined in feature than the subject is usually painted, but more suggestive of the in¬ spired peasant girl than those more idealistic in treatment. Sim¬ ple and graceful in pose and rich, yet quiet in color, it is a paint¬ ing the worth of which grows upon the observer. 43 PERRAULT (LEON), Paris. Medal, 1864. The Dark Beauty. A very charming 1 study of a young girl’s head, full of expression, and in color exceedingly attractive. The face is finely modelled, and the effect of light brilliant in the extreme. 103 PERRET (AIME), Paris. Washerwomen at Early Morning. A well suggested chapter of low-life history, telling of the early and arduous labors of the poor. The hot and misty morning, with the sun deep-veiled by fog and the city’s smoke, are well suggested. 104 PLASSAN (ANTOINE EMILE). Medals, 1852, ’57, ’59 ; Chevalier of the Legion of Honor, 1859. Landscape. A pleasing sketch by an artist of great reputation, tender in color and suggestive. 105 PORTAELS (JEAN FRANCOIS), Paris. Medal, 1855. Bohemians in Hungary. A desirable example of an artist of reputation, and one who has made especial study of gypsey life. 44 io6 PUVIS de CHAVANNES (PIERRE). Medals, 1861, V>4, ’67 ; Chevaliei' of the Legion of Honor , 1867. The Pigeon—The Balloon. (A Pair). Allegorical subjects illustrating the late sufferings of France—the former, the genius of France defending her against the enemy ; the latter, the expression of her hope in the bitterest hour of her adversity. Thoroughly original and peculiar subjects by an artist of high rank. 107 ROUSSEAU (PHILIPPE), Paris. Medals, 1845, 1848, 1855 ; Cross of the Legion of Honor, 1855. Veterans of the Siege. This is assuredly one of the most touching of all the tributes of sym¬ pathy which Chicago has received, and the fullness of the artist’s heart is told in the lines quoted underneath : “ Tell them, oh birds 1 our sorrow ; Oh ! fly and bear our love.” In the treatment of his simple, beautiful and appropriate subject the great artist has shown his masterly vigor and ability. 108 SAINTIN (JULES EMILE), Paris. Medal , 1866. Charity. This exquisite example of an artist, renowned not’only as a colorist, but for the delicate sentiment of his works, was painted expressly, as the subject readily suggests, for the benefit of the Chicago suf¬ ferers. The exhibition, many as are its attractions, does not boast a more touching tribute, than this rarely beautiful and touching picture. Charity, “ which falleth like the gentle dew, from Heaven,” was never more sweetly personified than it is here; whilst apart from the merits of the composition, there is all that is admirable in the treatment of the subject: grace and naturalness of pose, sympathetic expression and subtle delicacy and beauty of color and finish. This, indeed, must ever remain a much prized memento of the lively sympathy of France for the stricken city of the West. 45 109 SCHENCK (AUGUSTE FRED. ALBRECHT). Medal, 1865. The Return from Market. Unquestionably one of the finest works of this great artist ever placed on exhibition in this country. The sheep are painted with inimitable skill and fidelity; and the figure of the old market- woman is admirably introduced. The winter feeling of atmos¬ phere and landscape, could not be surpassed, and the presence of the watchful dog completes a picture highly impressive for its honest faithfulness to nature. I IO SEIGNAC (PAUL), Paris. “ Our Father who art in H eaven.” Seignac is such a favorite with our art collectors, and is so well re¬ presented in their collections, that it is unnecessary here to expati¬ ate on his peculiar merits. The charm of this simple and beautiful composition needs no translation. The trusting faith of childhood was never more touchingly portrayed than in this peasant child, who asks protection during the day just born, from Him who said, “ Suffer little children to come unto me ; for of such is the Kingdom of Heaven.” I I I SOYER (PAUL), Paris. Head of a Child. A vigorous and expressive study, boldly and effectively painted. I 12 SWIFT (CLfiMENT), Paris. Scene in Brittany. A woman at a fountain, washing. A choice little morsel; pleasing in story and color. 46 t 11 3 TIM BAH (CHARLES), Paris. Italy XVI. Century. The contribution of an artist of great reputation as a colorist. The face is very agreeable in expression, and modelled with n ; ce skill. The pose is very graceful ; the head upraised as if in contempla¬ tion of the future. The eyes are full of feeling. The drapery is skillfully arranged, and the effect of light very successful. ii4 TODD (JOHN GEORGE), Paris. Born at Canterbury, England. Waiting for the Owner. Very delicate in color and texture; the flowers painted with nico skill and effectively arranged. The figure of the bird, attracted by tha ears of grain, is gracefully introduced, and by the opposition of its sombre color lends additional value to the bouquet by which it has been attracted. ”5 TOULMOUCHE (AUGUSTE), Paris. ' Medals , 1852 and 1859. His Portrait. A very charming specimen of this favorite colorist, graceful in pose and exceedingly chaste in color. The face is very expressive, and skillfully painted, whilst the treatment of the drapery of the figure and of the brocaded couch in the distance, could scarcely be sur¬ passed for delicacy of finish and suggestiveness of texture. 47 TRAYER (JEAN BAPTISTE JULES), Paris. Medals, 1853 and ’ 55 . The Sister of Charity. A picture of rare sentiment and able execution. The quiet of the 6ick-chamber is skillfully suggested by the soft play of light and shadow and unobtrusiveness of color anywhere. But more than for its merely technical qualities, fine as these are, this picture will be prized for its most touching story. The face of the good Sister, as she feels the little sufferer’s pulse, is beautiful in its ten¬ der sympathy, suggesting, as it does, the grateful pleasure which she feels in recognizing that her patient is convalescent. And the trusting and grateful expression of the child’s face is touching in the extreme. The emotion such a pure and beautiful work must excite in all who look upon it, will be the best praise it can receive. n 7 VALADON (JULES EMMANUEL), Paris. Still Life. A very desirable study. 118- V ; VERNET LECOMTE (EMILE), Paris. Medals, 184(5, 1863/ Cross of the Legion of Honor, 1864. A Persian Maiden. One of the gems of this brilliant collection, a superb piece of color. The face of the maiden is wonderfully expressive of the trusting simplicity of girlhood, the pose of the figure easy and g'-aceful, and the drapery, in both form, color and suggestion of texture, ad¬ mirably painted and eminently picturesque. 48 119 VERNET (HORACE). The contribution of Goupil & Co., of Paris. / 3 6 6 Allan Macaulay. This exquisite work of art, the subject of which is one of the heroes of Sir Walter Scott, is one of the finest specimens in existence of one of the greatest artists France has known. It would be indeed a work of supererogation to write of its merits here. The connois¬ seur will readily recognize them ; while subject and treatment are such as to attract and charm the youngest student of form and color. There remains, however, a story to tell about the picture, of exceeding interest, and accounting for the presence of a work of such exceptional interest and great value in this collection of donations. From documents before us we learn that this picture was painted by Horace Vernet in 1823, for the Duke of Orleans, in whose col¬ lection it was then placed. Whilst there, it was a special favorite of the Citizen King, Louis Philippe, into whose p >ssession it passed after the Duke’s death. It was hung in the King’s study at Neuilly, where it was when the revolution of 1848 occurred. The palace of Neuilly was almost completely destroyed by fire, but in that por¬ tion saved was the King’s study, and in it this picture. Neverthe¬ less, after the fire, it was discovered that the picture had been car¬ ried off. It was presumed that it was stolen by some thief who knew its value; but all efforts to recover it were fruitless, and the work was set down as lost. Twenty-three years later, at a sale at the Hotel Drouot, it was bought by Goupil & Co., of Paris, its history unknown to them. With them it remained a valuable and esteemed work, hidden away with many other treasures, until the appeal was made for the Chicago sufferers ; when Goupil & Co. concluded to contribute it, as their donation. During the exposi¬ tion of this and the other contributions at Goupil's gallery, prior to their shipment here, among the visitors were the Orleans princes. As soon as the Duke de Montpensier came to this picture'he started and exclaimed to his brother, “ Why, here is our dear father’s own picture!” And so it was, the veritable Horace Vernet, the favorite picture of King Louis Philippe. There was of course much expression of delight and surprise, and Mr. Goupil at once offered to return the picture to the princes as their property; but after consulting with each other, they decided to leave it in the collection, even had they a right to its possession, which they doubted, saying that they will be but too happy in knowing that America possesses a picture for which their father, the king, had such affection. When this story got abroad in Paris, very large offers were made on all sides for the picture, by connoisseurs, but as it had already been donated to Chicago, no price could buy it. 49 120 VERNIER (EMILE), Paris. Presented by Goupil & Co. In the Country. A good specimen of the breadth, vigor, and suggestiveness of the French landscape school. iO ■ I 2 I VOLLON (ANTOINE), Paris. Medals, 1865,1868 and 1869. Fishing Boats going out to Sea. This painting is a notable example of the breadth and vigor of this great artist’s manner. But very few of Yollon’s pictures have been imported here, as they command the highest prices, for such class of works, of any sold in Paris. 122 WASHINGTON (GEORGES). Caravan in the Desert. An important and highly impressive picture, suggesting, with re¬ markable vigor and success, the arid waste of the desert, its hot sand and hotter atmosphere ; and the weary, yet patient look of the great animals tells us of the toilsome march. This is a work of power, painted with thorough appreciation of the subject and in a broad and masterly way. A donation of great value. 50 123 WILLEMS (FLORENT), Paris. Medals, 1844, ’40, ’55, ’67 ; Chevalier of Legion of Honor , 1853/ and Officer of the Legion, 1864. The Spring Time. A brilliant example of this great artist, unrivaled in his painting of subjects of the class here represented. The dignity and grace of this charming figure could not be surpassed, or the delicacy of finish and skillful arrangement of drapery excelled. Paint never suggested better the texture of things .than under the brush of Florent Wil¬ lems. His faces beam with intelligence ; his flowers are fragrant; his satin glistens; every inch of the canvas proclaims the master. 124 WORMS (JULES), Paris. Medals, 1867, ’68 and ’69. A Spaniard. A covetable example of an artist of great reputation, richly posed, carefully painted and pleasant in color. s • ' * -s )> V ' J 125 WYLD (WILLIAM), Paris. The Palace of the Doges. 3 b G The famous view of the Grand Canal at Venice, with the palace of St. Marks in the distance, and the crowded wharfs to right and left. This artist has a European reputation for his treatment of archi¬ tectural subjects ('■ p 51 126 YON (EDMOND CHARLES), Pans * Country and Town. A thoroughly able and effective sketch of the environs of an old French town. 62 ATER- OLOPv AINTINGS AND DRAWINGS. 128 AZE (MADAMOISELLE), Flowers. Paris. A very graceful and careful drawing of roses, with leaves and stems, in black and white crayon. 129 BARTHOLDI (FRED’K AUGUSTE), Paris. Green River—Rocky Mountains. A broad and vigorous sketch in water colors, with river and abutting rocks, and figure in the foreground. 130 BELLANGE (EUGENE), The Zouave. Paris. The figure of a soldier—a zouave—seated in an easy and natural po¬ sition ; his gun resting in one hand, and in the other his pipe. The expression of his face suggests the eager listener—to a story, may be, told by a comrade opposite. The color is subdued but effective; and the work throughout able and satisfactory. 53 BOURGOIN. Landscape. A bold and brilliant sketch, in the broad manner of the English school; good sky and luminous distance. 132 BROCHART (CONSTANT), Paris. Coquetry. Head and bust of a young girl, in pastel, with the face and head carefully modelled, and drapery skillfully painted. Brochart holds first rank as a pastel painter, and this is a fine example of his works. 0 1 33 CHABAL (DUSSURGEY), Paris. Flowers. A very beautiful wreath, in neutral colors and wrought with both brush and crayon. The rare charms of this most pleasing picture are in its careful and correct drawing, nice modulation of forms, and the grace of its general arrangement. i34 CICERI (EUGENE). A River View—at Evenino-. A very pleasing composition, replete with the sentiment of the hour ; the color subdued but ric'i. The water is very transparent, and the twilight sky broad and effective. 54 Paris. DESCHAMPS (Mme.), The Trap. A charming little gem, iu water colors, after an oil painting by Du- vergor. 136 EHRMAN. Paris. The Fan. An exceeedingly graceful design for a fan ; very rich in color, and with figures of cupids nicely and suggestively posed ; that of the medallion in the centre being mounted on a bird, and distributing the fires of passion as he speeds .through the air. 137 GIRARDET (EDOUARD), Paris. The Terrors of War. A sad and touching reminiscence of the miseries that wait on war. A mother and her child weep and pray over the dead body of the husband and father. In the distance the old grandmother covers her face and gives way to grief; and still more distant is seen the terrible strife going on. Alas ! but too true a picture of that which has so lately been. r 38 g 0 GIRARDIN (Mme. PAULINE, Paris. ' Flowers. I A very beautiful work, in water colors; giving us the tall purple lily of the river’s bank, with its long sword-like blades and companion grasses. Very pleasing in its richness and transparency of color. 55 139 HARPIGNIES (HENRY), Paris. » Landscape. A fine sketch, in water colors, of a brook, brook’s bed, rocks and trees, very pleasing in color. 140 HARPIGNIES (HENRY), Paris. The Tuileries. A strong and masterly sketch, giving us a view of the palace of the Tuileries, the bridge and quay, from the opposite side of the Seine; with steamboat lying at the wharf, and crowds of people on the docks. 141 HUBERT (ANTOINE-AUGUST-ERNEST), PqriC Italian Girl. Very pleasing in color and graceful in pose, representing the primi¬ tive ways of the washerwomen of Italy; who, whilst they really do surpass our washerwomen in picturesqueness of costume, would be infinitely more at ease if they had less of it, and knew the value of the machine and the patent wringer. rt> 142 LAURENS (JOSEPH-AUGUSTIN), Paris. Studies from Nature. Three careful and able studies of tree form and foliage; nice in gradation, and presenting bold and graceful forms against tinted backgrounds. 56 Paris. 143 LEHOUX (PIERRE FRANgOIS), A Souvenir of Bareges. A good charcoal study of the bed of a mountain torrent ; with strong effect of light on the nearer rocks. 144 MARCEL, Paris. The Tiger. A vigorous sketch, in pen and ink. <2<2 so 145 MEISSONIER (JEAN-LOUIS-ERNEST), Paris. Medals, 1840 , ’ 41 , ’ 43 , ’48 ; Grand Medal 'of Honor, 1855 ; Chevalier of the Legion of Honor, 1846 ; Officer of the Legion of Honor, 1856 ; Commander of the Legion of Honor, 1887 . Soldier of the Time of Louis XIII. A remarkably fine example of this great painter; superb in color and finished in the most exquisite manner. There is probably no finer example of the artist than this in the country. There may be larger paintings in oil; but it is questionable if any of these is more thoroughly satisfactory in all its parts than this. The pose of the soldier is one of great ease and dignity, as he stands awaiting the attack of an enemy. The face is wonderfully ex¬ pressive ; the eye, keen and searching, is full of life, and the firm- set mouth suggests courage and determination. The relief of the figure, against the rich, warm background, is most skillfullv realized, and drapery and casque modelled with groat subtlety and success. This will be a prize, indeed, for the connoisseur who suc¬ ceeds in securing it for his collection; and one which cannot fail to attract as many admirers as any other work of the great artist, in any medium, ever exhibited with Us. •% 57 I'f 146 MERY (ALFRED EMILE), Paris. A Court-Yard. A broadly-treated impasto—the interior of a court-yard, with birds, seeking food, on the ground and on the wing. Very carefully painted; sober in color, yet quite effective. SiT 147 MOULIGNON (LEOPOLD de), Paris. The Dogs -The Rabbits. (A pair). Two good charcoal studies; pleasant in story and carefully drawn and modelled. I48 RICHOMME (JULES), Paris. A Paris P'ortification. The interior of a fort; a careful study, in water colors. iso 149 VIBERT (GEORGES JEHAN), Paris. Medals, 1834, ’67 and ’68. Smoker of the Time of Louis XV. A. brilliant example of this great colorist, representing a cavalier, returned from a long ride, taking a rest and smoking. The picture is noticeable for the natural abandon of the figure and for the rich color which pervades it; the whole being managed with the masterly certainty of touch of the accomplished artist. 58 150 VEDAL (VINCENT), Paris. Memories. A very delicate and pleasing drawing, in tints, of the head and bust of a young and beautiful girl. The pose eminently easy, and face expressive. i5i VVYMBS (MADELINE), First Grief. Paris. A crayon drawing of a child, with her pet bird dead in her lap, and her face expressive of her sorrow at this, her first great loss. -H- 152 BARTHOLDI (FRED’K AUGUSTE), Paris. Chevalier of the Legion of Honor, 18G5. The Good Samaritan. A very pleasing and impressive group, telling the Scripture story most sat sfactorily, the faces of both figures being beautifully expressive, and forms posed and modelled with masterly knowl¬ edge and power. . 1 53 FREMIET (EMMANUEL), Medals, 1849, ’51, ’55 and ’07 ; Chivalier of the Legion of Honor, 1860. Le Due d’Orleans. A noble statuette, in bronze, of a knight in armor, mounted on his war-horse, and with his lance in rest. The figures of both horse and knight are modelled with great skill, and highly impressive in their dignified repose. The details of the costume and armor of the knight, and of the caparison of his steed, are modelled with the nicest skill. 60 CONTRIBUTIONS OF THB DUSSELDORF ARTISTS. . THE DUSSELDORF COLLECTION. CONTRIBUTIONS OF THE ARTISTS OF DUSSELDORF. This collection of objects of Art is the result of the contribu¬ tions of the Artists of Dusseldorf, who were appealed to by Prof. Carl Hiibner. The following letter from Prof. Hiibner was followed by the forma¬ tion of the Committee therein suggested. CARL HUBNER’S LETTER. “Dusseldorf, December 5th, 1871. “ To the Honorable Ladies' Committee in New York : “The terrible disaster which has befallen Chicago has induced me to call upon my friends and colleagues in this place to unite with me, and by a donation of pictures, sketches, drawings and engravings, to relieve the distress of our countrymen in that city. I take pleasure in stating that, as yet, one hundred and twelve subscriptions have been received. These pictures will be entered at New York free of duty. The directors of the North German Lloyds Company have, in the most liberal manner, assured me that the same will be sent from Bremen free of expense. ‘ ‘ I now take the liberty, honorable ladies, to propose the request that you have the kindness to take everything farther upon your¬ selves, in order that those works of art may be exhibited in New York by themselves alone, and then disposed of at public auction; and by this means, and your co-operation, I think our object will be attained to the best advantage. I leave it to you, honorable ladies, to apply the proceeds which are hereby obtained, in the way intended by the givers, and as circumstances demand. “Awaiting your respected answer, I am with great esteem, Carl Hubner.” MR. APPLETON’S REPLY. “New York, January 10. “Professor Carl Hiibner , Dusseldorf : “ Dear Sir: Your favor of the 5th of December addressed to the ‘Ladies’ Committee of New York, offering a donation of one liun- 63 dred and twelve pictures, drawings and sketches for exhibition and sale in behalf of your countrymen who are sufferers by the recent Chicago fire, has been duly received. “As no committee of the character addressed exists in New York, it has been deemed only proper at once to organize such a body for the purpose of receiving the noble gift, and carrying out the generous design of yourself and brother artists. The names of the ladies forming this committee, to which those of a fe>v well- known citizens have been added, are appended to this letter. “The pleasing duty has devolved upon me of acknowledging the receipt of your communication, and of thanking you in the name of the committee of ladies for this munificent offering to the poor and suffering of your countrymen by the recent great calam¬ ity at Chicago. With sentiments of great respect, believe me very sincerely yours, William H. Appleton.” On the receipt of this Communication the Committee was form¬ ed as follows: LADIES. Mbs. A. Belmont, “ S. L. M. Barlow, “ L. von Hoffman, “ J. J. Astor, “ Robt. L. Stuart, “ W. H. Appleton, “ E. D. Morgan, “ . Lloyd Aspinwall ; “ P. Lorillard, “ R. L. Cutting. Prior to their transmission to New York, the Dusseldorf con¬ tributions were exhibited at the gallery of Mr. Leopold Conzen, at Dusseldorf, who gave his valuable assistance in collecting and forwarding the works. They were transmitted free of charge by the respective Railroad Companies en route to Bremen, and thence by the North German Lloyds Steamship Company to New York. GENTLEMEN. Mr. W. LI. Appleton, Chairman. “ A. T. Stewart, “ A. Belmont, “ Robert Hoe, “ M. Knoedler. CATALOGUE. 161 ACHENBACH (ANDREAS), Dusseldorf Landscape. A vigorous sketch of this great master. 162 ANDERS, Dusseldorf. Child’s Head. A bright little study. 163 ANDRE, Dusseldorf Landscape. Lake and landscape; with fine effect of sky, and rich in color throughout. 65 164 Dusseldorf. ARNZ (ALBERT), Capri. View of the village of Capri ; the Bay of Naples and Vesuvius in the distance. Broadly painted and effective in color. A very pictur- ( esque subject. 165 ARNZ (ALBERT), Landscape. Dusseldorf. Another generous contribution from this artist, giving us a pleasing pastoral with village in the distance, and autumn wealth of fruit and grain in the foreground, figure and cattle. 166 ASCHEN BROICH, Dusseldorf. The Young Mother. Figure of a little girl with her dolly. l67 ASCHEN BROICH, * Dusseldorf. Madonna. A carefully painted picture of the Madonna and Child. The faces are pleasing and the drapery agreeable in form and graceful in its color. 66 168 BAUER (A.), Dusseldorf. 3$ Girl and Butterflies. A young girl in an arbor, with butterflies alighting on her hands . f and dress ; quite brilliant in color. I69 BECKMANN (LUDWIG), Buffaloes. Dusseldorf. A prairie scene with two buffaloes in the foreground and the herd in the distance. I 70 BERMUTH (von), Dusseldorf. c do Landscape. A pleasing little landscape, with storm cloud and rainbow effect ; cattle in the foreground. 171 BERNARDI, Dusseldorf. Landscape. A very pleasing and effective little picture; scene on the edge of a wood ; hut and figure of a woman in the foreground-. 67 BERRIKE (F.), Dusseldorf. 1 Prayers for Peace. A gathering of German villagers at a shrine, supplicating for peace Htf 173 BODE (W.), Dusseldorf. Swiss Landscape. / cr° 1 74 BOTTCHER (PAULINE, von), Dusseldorf. Still Life. A very strong and effectively treated group of flowers, fruit, and a German drinking glass. The color is pleasing, and general ar¬ rangement of objects, drawing and painting very successful. 175 BUND (W.), Dusseldorf Study of a Head. 68 176 BUTLER (JAS.) Dusselclorf. Swiss Landscape. 1 77 DAHLEN (REINERT), Dusseldorf Winter Landscape. Scene on the edge of a forest, with deer and hut. A fox is seen in the foreground, struggling through the snow. 178 DEIDERS (H.), Dusseldorf. Landscape. A pleasant passage of lake scenery, with cool quiet color, still water, and agreeable general effect. 179 DEIKER (C. F.) Dusseldorf Dogs Head. A good sketch of a terrier’s head—a student’s pet, doubtless, with a piece of chalk on his nose, waiting the word of command. 69 i8o DUNTZE (T.), Dusseldorf Swiss Landscape. A very careful and pleasing painting, with a brilliant effect of light in the sky and on the more distant waters of the lake. The fore¬ ground is painted skillfully in shadow, and the whole effect is pre¬ eminently picturesque. 181 EBEL (F.), Dusseldorf. German Woods. A good little sketch of a wood interior with figures. l82 ERDMANN (OTTO), Dusseldorf Lost in Thought. A very charming study of the head of a young girl, and suggestive of that pensive melancholy that waits on love. 183 EVERS (H.), Dusseldorf The Happy Mother. A very pleasing little sketch of mother and baby. 70 / FABARIUS (F. W.), Marine. Dusseldorf. View of a light-house, with rough sea and threatening sky ; a steamer in the distance. •85 FAHRBACH (F. W.), Dusseldorf. On the Neckar. A luminous landscape with a view of the river; path through the woods in the foreground. 186 FAIRMAN (JAS.), Twilight. Dusseldorf $3" An old English church by twilight, with a brilliant effect of sky and cool shadowy foreground. FLAMM (A.), 187 Dusseldorf. Landscape. A brilliant sketch of a village at the foot of a mountain ; with a strong effect of light in the distant sky. 71 FRIEDICHSEN (F.), Dusseldorf. The Sick Mother. A German interior, carefully painted, with figures effectively intro¬ duced, and telling the story of the invalid mother’s recovery very agreeably. There is nice realization of the quality of things in this honest piece of work. I89 FRISCHE (FI.), Dusseldorf. The Mountain Torrent An excellent study of water in motion, boldly and effectively painted, and with rocks and landscape carefully rendered. 190 GEBFIARD (ED.), Dusseldorf. The Mendicant. Study of a head and bust. I()I GEGERFELD (W. von), Landscape. Dusseldorf. 72 GEGERFELD, I92 Dusseldorf. Landscape. 193 GERTZ (JULIUS), Dusseldorf. Landscape. 3 6 A bold sketch ; early morning ; sportsman setting oat. 194 GRABER (F.), Dusseldorf. Landscape. A lonely scene in the woods, with still water in foreground, and deer. 195 HANNAN (von). Landscape. An effective little study. JL6 196 HELANDER, Dusseldorf. The Lover s Visit. A pleasing composition, telling its interesting story well. The faces are quite expressive, and the figures carefully drawn and colored. There is the evidence of care also in the painting of the interior. 73 HELANDER, Dusseldorf. The Farewell. Another pleasing composition by the same artist, depicting an inci¬ dent in the recent war history of Germany, I98 HENNERT (F.), Dusseldorf. Landscape. Carefully painted view of mountain and lowland; good tree painting in foreground. 199 HENRICI (FRAULEIN), Dusseldorf. • Moonlit View. A careful and effective little painting, with moonlight well suggested. 200 HIDDEMANN (F.), ' Dusseldorf. The Prisoner. £ T Sketch of an old man in prison, who whiles away his heavy hours by tracing forms upon his drinking mug. 74 201 HOFF (CARL), Dusseldorf. Meditation. A figure of a young girJ, seated, lost in thought. lfi> 202 v.v HOFFMANN, Dusseldorf. Solitude. A low-toned landscape, on the borders of a river; with cranes. 203 HORNEMAN (A.), Dusseldorf J dO The Spinner. A vigorous sketch of an interior of barn, with woman spinning. 204 HUBNER (JULIUS), Simplicity. Dusseldorf. Figure of a young girl in an attitude of prayer. 75 205 HUBNER (CARL, Prof.), Dusseldorf. The Stricken Home. In this touching subject Prof. Hubner has given us a fine example of both his sentiment and his skill, and one which cannot fail to ap¬ peal forcibly to all sympathizers with the sufferers in whose behalf these generous donations have been made. For here the artist has typified, in the most graceful way, the sorrows which wait on the de¬ structive element that laid Chicago low. We have the ruined home, the smoke still rising from the debris; to which the girl has come in search of her little favorite. The fire has not even spared the bird-cage which she carries in her hand ; whilst her fa¬ vorite robin lies dead upon the ground. The simple naturalness of the child, the sorrow which overflows in tears, and her evident re¬ luctance to leave the spot so dear to her, are eminently touching ; so much so, indeed, that few will look upon this picture and fail to share with her her grief. In technique the painting is no less a good specimen of the artist ; exhibiting his careful treatment of de¬ tails, conscientious realization of the quality of things, and pleasing and effective disposition of color. • ' r l * 206 IRMER(C.), Dusseldorf. Landscape. 207 ITTENBACH (Prof.), Dusseldorf Jesus and the Woman of Samaria. / A very beautiful example of this great artist, distinguished for the delicacy of his work and the religious feeling which pervades them. The figures are gracefully posed and drawn, and finished with great care ; the color quiet but pleasing. 76 208 JACOBSEN, Dusseldorf. Winter Landscape. 209 JANSEN, Dusseldorf. On the Danube. A brilliant landscape, with fine effect of sky, and motion of river ad¬ mirably suggested. 2 10 JERNBERG, Dusseldorf. Study of a Head. • • - - • — - >r -v A careful study with the head gracefully posed, and face pleasing and expressive. 21 I JNGENMEY. Union is Strength. //G A group of united German soldiers, drinking on the battle-field after a victory. 77 212 JRELAND (E. A.), Dusseldorf. Wood Interior. * 213 JUNGHEIM (CARL). Dusseldorf. In the Cool Shade. A pleasing view of lake, with a farm-house on its border. The cattle are coming down to drink and rest in the cool shadow of the rocks and trees, which are the prominent objects of the picture. Boat¬ men are seen upon the lake, and a village at the foot of the dis¬ tant mountain. 2 14 KAELENBERG (A), Dusseldorf. Landscape. 21S KESSLER (A.), Dusseldorf. Landscape. A very pleasing low-toned picture, carefully painted and agreeable in color. 78 ✓ 2l6 V. 4T> A masterly sketch, showing the interior of the arena at a bull-fight, with the excited bull attacking a picador; in the distance the crowd of spectators. KINDLER (A.), Dusseldorf. The Bull Fight. 21 7 KLEIN (W.), Dusseldorf. Landscape. A brilliant little specimen, very picturesque in subject; with agree¬ able effect of light. 2 I 8 KOLITZ (L.), Dusseldorf. Road Scene. A very suggestive sketch ot a shady road, with figures walking un¬ derneath the trees and donkey cart with driver making towards the city. 2 19 KRONER (C.), Dusseldorf The Wounded Boar. A winter scene, with huntsman in the distance, and boar, wounded, trying to escape, followed closely by a dog. 79 220 KRUGER, ' Dusseldorf. Italian Landscape. A very charming picture, painted with nice care and most pleasing effect. The subject is very picturesque ; giving us the ruins of an old fort in the foreground, with mountain pass ; in the distance, the town at the foot of the mountain, and to the right the blue waters of the bay. In both subject and treatment this will be esteemed as among the most satisfactory pictures of the Dusseldorf collection. 221 LANGE (FRITZ), Dusseldorf. Chickens. A very carefully painted picture, and pleasing in color. / 222 LASCH (Prof.), Dusseldorf. Study of a Head. Carefully modeled and expressive. 223 LEINEWEBER, Landscape. 80 Dusseldorf. LERCHE. 224 Architectural Subject. LEWIS (H.), 225 Dusseldorf. Lake View. 226 LOYSFOOD. The Poacher. 227 LUDWIG (C.), Dusseldorf. Landscape. 228 LUDWIG (FRAU EE IN), Dusseldorf. The Pet. A very pleasing little picture of a chila, vvitli pretty and expressive face; carefully painted. 81 METZNER (A.) 3* Alpine Scene. A very picturesque scene ; view of chalet in middle distance, Alpine heights in background ; good effect of sky and color ; pleasing throughout. 3* 230 MUCKE. Fishermen. stf- 231 MUNSTE (L.) Wood Interior. #fO 232 NORDENBERG (B.) Return of the Hero. A very telling story of peasant life in Germany. Mother and child on horseback in foreground, followed by the herdsman and herd. 233 NORDGRUN. Under the Willows. A very pleasing picture, with careful painting of willow overhang¬ ing a trout pond. Solitary fisherman, intent upon his employment, is playing for a trout. Good effect of light and distance. 82 NORDPEU. 23 4 ) ■=) The Deer-stalking. An effective winter scene among tlie Alps, with herd of deer in the distance, and huntsman in foreground. There is pleasing effect of atmosphere in this picture, and careful realization of rocks in the foreground. OEDER. 235 Landscape. OSSERLEY. 2 37 PAHL (von), Dusseldorf. A Sketch. 238 PALE (von), Dusseldorf. Landscape. 83 239 PERBAUDT, Dusseldorf. Landscape. If 240 PERLANDS (FRAULEIN, von), Dusseldorf. Landscape. 30 241 P HIL LIP PI, D usseldorf. At the Well. A vigorous sketch of an Italian girl, waiting the filling of her pitcher at a well. if 242 PLASEPKE (M.) Dusseldorf Landscape. Iq 5 243 PLASTNER (H.), Dusseldorf The Young Visitor. POHLE (F.) 244 Leimburg au der Lenne. An imposing view of one of the historic structures of Germany on the banks of the Lenne, with a picturesque old mill at the foot of the rocks in the middle distance; and in the foreground chil¬ dren fishing in the mill stream. Pleasing in color. 245 POST. Farm Scene. A very picturesque view of farmhouse on the bank of a river, with old woman seated at the door, and in the foreground ducks and ducklings in the pool. 246 PREYER (ERNEST), Landscape. Dusseldorf. » 70 247 PREYER (PAUL), Dusseldorf. __ 6 S' Young Soldier. A very careful and pleasing little gem, depicting an incident of child- life during war time. 85 RAVEN (von), 248 Dusseldorf. Landscape. 249 RICHTER (FRAULEIN), Dusseldorf. Mamma’s Pet. Good study of a head ; expressive face. 250 RISSE (R.), Dusseldorf. Italian Woman. M 0 251 ROTH EL (O.), Dusseldorf. Woman Readme. 252 SANDERLAND (FR.), Dusseldorf. Decapitated. The well-told story of a great family misfortune. 86 253 Dusseldorf. 4 SARTER, Mischief. A little fellow in a conservatory grappling for gold fish ; with the cat waiting for a prize. The story is well told, and the color bright and pleasing. 2 54 SCHAFFER, Dusseldorf. . - Fruit and Drinking Cup. A very careful and effective painting; the drinking cup nicely mod¬ elled and painted, and the fruit luscious and rich in color. 255 SCHEUENBERG, Dusseldorf. /£> A Sketch. 256 SCHMIDT (ED. ALLEN) Dusseldorf. Grandfather. ^ A very delicately finished, nicely modelled, and expressive head of an old man. 87 J \ 257 SCHMIDT (ED. ALLEN), Dusseldorf. Thinking About It. An exquisite little picture, finished witli the utmost delicacy, and very beautiful in color. A gem in this collection. if 258 SCHNEIDER, Dusseldorf. The Beer Drinker. 259 SCHROEICH, Dusseldorf. Landscape If 260 SCHROER (G), Dusseldorf Swiss Village. 261 SCHUTAK. The Pets. 88 SDEVER, 262 Dusseldorf. Christ and the Angels. A luminous sketch ; rich in color, and suggesting a fine subject for a larger picture. 263 SELL, Dusseldorf. The Bivouac. 264 SIEGERT (A.), Dusseldorf Going to Church. 776 A very pleasing specimen of this artist; giving us grandmother on her way to church. The face, as may be always said of those by the artist, is full of expression, suggesting a peaceful old age and religious feeling. 265 SIM M LER (W.), Dusseldorf. The Brook’s Bed. A very pleasing bit of nature ; trees carefully painted, and nice effect of light and shadow. This is One of the most pleasing pictures in the Dussddorf collection. 89 266 SIMMONpS, Dusseldorf Head and Bust of a Girl. Face very delicately painted., and pleasing in expression. 5 German prince on horseback, with staff in distance. 97 The contributions of Messrs. Camphausen, Gertz, Stang, Jansen, Barthelmeo, Bosch, Schulte, Droger, Von Mille, Mengelborg, Scheuren, Glaser, Schulgen, Sell, Von Pale, Crola, and Henrici. ------ LOT 1 Two large Mezzotints, after Gertz. 2 Annunciation (line), after Deger. 3 Four (line), after Bosch ; subjects various. 4 One (line), after Schrader. 5 One (line), after Siegert. 6 Four, Woodcut, Lithograph, and Mezzotint. - - •• ' - • u. 7 Three, after Siegert and Hasenclever. 98 LOT 8 Four, after Meyer, von Bremen, Tiedeman, and Lessing. 9 Four fine Lithographs, after Camp- hausen. 10 Five Photographs and two Litho¬ graphs, after Camphausen. 11 Five, after Vautier, Roth, and others. 12 One large Lithograph — F rederick the Great—after Camphausen. 13 Luther burning the Popes Bull, after Lessing. 1 14 Christ carrying Cross, after P. Ver¬ onese. 15 Two Lithographs, after Bosch. 16 Nineteen Lithographs, after Meyer- berg (same). 99 17 Book of Etchings, after Dusseldorf masters. 18 Tiddemans Illustrated Norway. 19 I lluminated Texts by M me. Schrader. I ; ' r • . " o ■ «, ' ./^ 4 V J ' ■ L I ;• ;,v • . i J ' J ' c U ' : ' , - ‘ , • '.• ! ' ■ \ ’ t .A .■ f X • / ' . ; s * A "V f " . Vy, :,-v > • \v Wy- ■ i ■ - Y Y, 7 v * . •, fr- 7 . / ‘ .. , ’ 7) ■ y . , \ \ f ' Y ) . r- \ ■ . .-i ■ .V V) v L .... I ■ :* v' ■ r ' > ' ■; ' ’ Y- I * ' l " x • ■■ , ' Y. ■ ■V A : • '• Y :y ; - Yy/.' •J ' 1 , , Y , aY/^TJS ; .! - ; ' \ . -. ' i ' I ' <- V . t U ' Y 7 - ; Y ' ' J 'i' '7 - v ^ ’ . ( u ’ ;-*■ -YJ > * • #i 4 'i - 7 , V .'j A# .. ' Y-. 1 , Y ' > - . 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